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Edward Bacal

I focus on two contemporary art installations in which Teresa Margolles employs water used to wash corpses during autopsies. By running this water through a fog machine or through air conditioners, these works incorporate bodily matter but refuse to depict, identify or locate anybody (or any body) within it. Rather, Margolles creates abstract works in which physical limits – whether of bodies or of art works – dissolve into a state of indeterminacy. With that pervasive distribution of corporeal matter, Margolles charts the dissolution of the social, political and spatial borders that contain death from the public sphere. In discussing these works, I consider Margolles’ practice in relation to the social and aesthetic function of the morgue. Specifically, I consider how Margolles turns the morgue inside out, opening it upon the city in order to explore the inoperative distinctions between spaces of sociality and those of death. In turn, I consider how Margolles places viewers in uneasy proximity to mortality, bodily abjection and violence in order to illustrate the social, political and aesthetic conditions by which bodies become unidentifiable. I ultimately argue that her aesthetic strategies match her ethical aspirations to reconsider relations to death, violence and loss within the social realm.

Human Remains and Violence: An Interdisciplinary Journal
Tadesse Simie Metekia

Atrocities that befell Ethiopia during the Dergue regime (1974–91) targeted both the living and the dead. The dead were in fact at the centre of the Dergue’s violence. Not only did the regime violate the corpses of its victims, but it used them as a means to perpetrate violence against the living, the complexity of which requires a critical investigation. This article aims at establishing, from the study of Ethiopian law and practice, the factual and legal issues pertinent to the Dergue’s violence involving the dead. It also examines the efforts made to establish the truth about this particular form of violence as well as the manner in which those responsible for it were prosecuted and eventually punished.

Human Remains and Violence: An Interdisciplinary Journal
Spencer J. Weinreich

Drawing on Maggie Kilgour’s dictum that the Gothic activates a dormant past with the power to harm the present, this article explores the early modern histories invoked by the Regnum Congo, a sixteenth-century account of Africa featured in H. P. Lovecraft’s cannibal story ‘The Picture in the House’. The Regnum Congo taps into Lovecraft’s racism, instantiating, within and beyond the story, the racial and cultural convergence he dreaded. The tale’s cannibal resembles the Africans depicted in the Regnum Congo to a striking degree, even as his reverence for the book colours his putative status as a puritan. Integrating the book itself into the analysis enables a reading of the tale’s controversial cataclysmic ending as oneof several exemplars of Jeffrey Andrew Weinstock’s ‘Gothic thing-power’, which disrupts subject/object boundaries. The multifarious histories summoned by ‘Picture’ reflect Lovecraft’s own ambivalence about the past, as well as the possibilities of attention to Gothic pasts.

Gothic Studies
Kristen J. Davis

The following considers Richard Marsh’s 1897 gothic novel The Beetle in relation to fin-de-siècle anxieties, specifically sexual deviancy, empire, and venereal disease. While the domestic Contagious Diseases Acts had been revealed in the 1880s, continued high rates of VD amongst British soldiers in particular continued the debate as to who was responsible for spreading diseases such as syphilis both at home and abroad. At a time of ‘colonial syphiliphobia’, to extend Showalter’s term, The Beetle suggests the necessity of regulating venereal disease in the Empire to protect Britain’s ‘racial superiority’ and conservatively warns against the potential consequences of dabbling with the sexually ‘deviant’ and dangerous Orient.

Gothic Studies
Claire Nally

Whilst the focus of much criticism has addressed goth as a subculture, considerably less attention has been given to the gendered status of marketing and advertising in subcultural magazines, whilst ‘glossy’ goth magazines have enjoyed little concerted analysis at all. Subcultures are frequently represented by participants and critics as ‘idyllic’ spaces in which the free play of gender functions as distinct from the ‘mainstream’ culture. However, as Brill (2008), Hodkinson (2002) and Spooner (2004) have identified, this is unfortunately an idealistic critical position. Whilst goth men may embrace an ‘androgynous’ appearance, goth women frequently espouse a look which has much in common with traditional feminine values. Slippages between subcultural marketing and mainstream advertising are frequent and often neotraditional in their message regarding masculinity and femininity. In using critiques of postfeminism alongside subcultural theory, I seek to reevaluate how gender functions in these publications. By close inspection of scene representations of ‘goth’ in the twenty-first-century through magazines such as Gothic Beauty (US), Unscene and Devolution (UK), as well as interviews with participants, I argue women’s goth fashion, sexuality and body image often (but not exclusively) represent a hyperfemininity which draws from conventional ideas of womanhood.

Gothic Studies
James Uden

Scholars of eighteenth-century literature have long seen the development of the Gothic as a break from neoclassical aesthetics, but this article posits a more complex engagement with classical imitation at the origins of the genre. In Horace Walpole’s formative Gothic novel The Castle of Otranto, his Gothic drama The Mysterious Mother, and in the curiosities in his villa, classical elements are detached from their contexts and placed in startling and strange juxtapositions. His tendency towards the fragmentation of ancient culture, frequently expressed through the imagery of dismemberment, suggests an aesthetic not of imitation, but of collection. Moreover, rather than abandoning or ignoring the classical, Walpole reconfigures literary history to demonstrate elements of monstrosity and hybridity already present in Greek and Roman texts.

Gothic Studies
Sofia Wijkmark

In Swedish author John Ajvide Lindqvist’s Gothic-horror novel Little Star (2010) graphic violence has a central function – thematically, but primarily as an aesthetic device. The plot contains motifs from classical video nasties, motifs that also have an effect on the text itself. This paper examines the novel’s use of extremely violent scenes, influenced by violent horror films, defining them as a kind of remediation. One point being made is that the use of violent effects, often described as a kind of spectacle, can be interpreted as a formal play upon the conventions of violent fiction.

Gothic Studies
Matt Salyer

Marryat’s involvement with the Lower Canada Rebellion situated his encounter with civil war at its ‘most exterminating’ within the production of Phantom, the Cycle’s least conventional historical sea novel; it offered both a point of imaginative recursion and a concentrated image of his broader critique of the Early Republic. Just as the seamen of Midshipman Easy or The Naval Officer operate within multiple hierarchies at once, Marryat’s strangest yarn, replete with ghost ships and werewolves, operates across multiple genres and cultural formations. The common denominator for both the writer and the written in this case is multivalence – the ship that is both ship and ghost, the woman who is both mother and wolf, their writer who is both ‘insider’ and ‘outsider’, witness and contriver – but in this, Marryat the writer performs the same essential functions as imperial agents and colonial ‘factors’ do within Phantom: adjudication, translation, and open-ended transformation.

Gothic Studies
Laura Beadling

Older than America (2008), by Georgina Lightning (Cree), and Imprint (2007), directed by Michael Linn, who is non-Native, but who worked with producer Chris Eyre (Cheyenne/Arapaho), both use and revise Gothic elements to explore Indigenous history and contemporary issues. Both films use various Gothic elements to draw non-Native audiences into Native-centered movies that deal with Indigenous history and culture. Older than America simultaneously works to promote healing as well as addresses difficult but underrepresented history, while Imprint only uses Native history as a plot device and does not engage with setting, history, or trauma in effective or complex ways.

Gothic Studies
Eleanor Dobson

This essay proposes that a number of the concerns expressed in Dracula can be read through Bram Stoker’s employment of the imagery of precious metals and jewels. Focusing on the materiality of place – the treasure-laced landscape of Transylvania and the cliffs of Whitby famous for their reserves of jet – and the association between these materials and vampirism, I argue that analysing the symbolism of precious materials leads to a fuller understanding of many of the novel’s key anxieties. Not only does this analysis demonstrate Stoker’s elaborate use of jewel imagery in developing the notion of the female vampire as a hard, penetrative woman, it identifies the imperial implications of the trade in precious materials. In doing so, it claims that Stoker employs a ‘language of jewels’ in Dracula, through which he critiques the imperialistic plundering of Eastern lands, and demonstrates how these monsters – intimately entwined with these materials – attempt a rejection of Western appropriation.

Gothic Studies