for radical change. This brief study, then, intends to dislodge a few more bricks. I take a few steps away from Romantic and Victorian writing and focus attention towards a Gothic volume, Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories
Gothic Ecology in Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories
Convergences and Divergences of the Gothic Literary Heroine
What brand of heroine can be found in the Twilight series? What discernible characteristics of a heroine can be found in gothic fiction and do these characteristics contribute to a social definition of girlhood/womanhood? In an analysis of the Twilight series' protagonist as a gothic heroine in contrast to Charlotte Brontë's Jane Eyre, I claim that the author, Stephenie Meyer, constructs a particular category of contemporary gothic heroine. Drawing on the statement made by the novel's leading male character, Edward, to Bella that she is his “brand of heroin,“ this article plays with the idea that Meyer merged elements of the bildungsroman and the Female Gothic to create her brand. This brand of heroine fulfills the three distinct categories of girlhood/womanhood that characterize both the Gothic novel and the bildungsroman: a dependent stage, a caretaker stage, and a wife stage.
’s Other Voices, Other Rooms ( 2004) , the protagonists are so susceptible to the backward temporalities of return and the gothic that their adolescences become non-transitional. 1 In Love’s discussion of backward affects, “adolescent feelings
Adapting the Gothic Metropolis
, across a diverse range of genres. Peter Hutchings has described 2003’s From Hell as a return to the ‘Victorian gothic’ aesthetic popular in the cinema of the 1970s; 1 nonetheless, its production team were still interested in ‘find[ing] a city that will
This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).
Eric S. Rabkin
Frankenstein and Dracula represent two different genres in print but only one in film. The emergence of science fiction from the Gothic exemplifies normal public genre development. The translation of the written Frankenstein and Dracula into film exemplifies genre development as an adaptation both to historical moment and to medium. In both the print and film cases, we can see the same mechanisms by which a genre is not only established in the public sphere but in the mind of a reader or viewer, a dialectic process in which the genre forms and informs reading and viewing and potentially, as a genre, is reformed by reading and viewing. Consideration of cognitive mechanisms involved in verbal and visual cognition shows both the interaction and the typical dominance of the visual, although genre, and hence individual works, can be modified by increasing our focus on the verbal.
Queer Gothic Girlhood in John Harding’s <em>Florence and Giles</em>
Literary fiction is a widely popular arena in which discourse on sexuality and queerness is produced and disseminated. The Gothic is an especially crucial mode in literary fiction that has a historically intimate relationship with queer subjectivity. Observing this relationship between Gothic fiction and queer subjectivity, in this article I analyze the representation of queer Gothic girlhood in contemporary fiction, taking as my focus John Harding’s 2010 reworking of the Henry James classic, The Turn of the Screw (1898). I show how Florence and Giles develops familiar tropes attached to the figure of the queer child and look specifically at how readings of the parent text implicate contemporary readings of this figure. With close readings that draw on the queer feminist ethics of Lynne Huffer, I consider what seems to be happening to the figure of the queer Gothic girl in contemporary fiction.
Horror, Vampires, and the Maternal in Late Nineteenth-Century Gothic Fiction
The most intricate element shared by both psychoanalysis and gothic narratives is their preoccupation with the past and its complex impact on the genesis and state of the present. This is the case from a historical and cultural perspective as well as from the point of view of subjectivity and identity. Who are we, how do we relate to the world around us, and what threatens our sense of ‘being present/in the present’ – these questions are at the centre of any psychoanalytic inquiry and simultaneously seem to inform what could be referred to as a gothic narrative structure. The concept of haunting, the hidden spectre in the past/of the past ready to strike when we least expect it are intrinsic to both the psychoanalytic discourse per se and any tale of horror and terror where an unsuspecting hero (or more often a heroine) has to develop strategies to fight off the unspeakable monstrosities attacking him or her. Thus, what Victor Sage and Allan Lloyd Smith regard as particular to the Gothic: ‘it is a language, often an anti-historicising language, which provides writers with the critical means of transferring an idea of the otherness of the past into the present’ could also be defined as a specific element of any psychoanalytic discourse.
J. Brandon Colvin
People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.
(Dis)covering the Victorian City
David W. Chapman
obviously have ante-Victorian precedents and post-Victorian accretions. The spires of Westminster Palace are, after all, echoes of medieval Gothic. And the gilded high altar in St. Paul’s Cathedral is Victorian in its conception and far removed from Wren