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Rhetoric and Identity in James Baldwin’s Revolution from Within
Davis W. Houck

Despite the proliferation of interest in James Baldwin across popular culture and the academy, few, if any, critical studies of his public oratory have been conducted. This is unfortunate and ironic—unfortunate because Baldwin was a marvelous orator, and ironic in that his preferred solution to what ailed whites and blacks as the Civil Rights movement unfolded was thoroughly rhetorical. That is, Baldwin’s racial rhetorical revolution involved a re-valuing of the historical evidence used to keep blacks enslaved both mentally and physically across countless generations. Moreover, for Baldwin the act of naming functions to chain both whites and blacks to a version of American history psychologically damaging to both. Three speeches that Baldwin delivered in 1963 amid the crucible of civil rights protest illustrate these claims.

James Baldwin Review
The Return of the Hibernian Repressed During the Rise and Fall of the Celtic Tiger
Stephen Carleton

Whilst debate rages in certain circles as to what constitutes an Irish Gothic tradition and whether imposing canonical status upon it is even possible or desirable, very little of this discussion focuses on twenty-first century writing, and certainly not upon writing for the stage. The aims of this essay are twofold: to argue the case for a contemporary Irish Gothic theatre school (whose primary proponents I will identify as Martin McDonagh, Conor McPherson, Marina Carr and Mark ORowe); and to place this contemporary school in conversation with the Irish Gothic literary corpus identified by the scholarship of Terry Eagleton, Seamus Deane, W. J. McCormack, Jarlath Killeen, Christopher Morash, Richard Haslam, Sinéad Mooney and David Punter. The resulting intention here is to open up a fresh way of reading and comparing contemporary Irish playwrights,that allows us to place their work into sharper focus when it comes to comparing them to each other as pre-eminent Irish writers of the millennial period.

Gothic Studies
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Colonial Structures and the Gothic Genre in Contemporary Puerto Rican Narrative
Sandra M. Casanova-Vizcaíno

This article analyses the representation of several colonial structures in the Caribbean reconfiguration of the Gothic genre, specifically in two works of contemporary Puerto Ricanfiction: Miss Florences Trunk: Fragments for a Romantic Trash Novel (1991) by Ana Lydia Vega and Over My Dead Body (2012) by Marta Aponte Alsina. In these novellas, specifically through the main characters reading of diaries and confessions, we are presented with a description of the physical structures. At the same time, the colonial structure also emerges, a context in which slavery, sexual abuse and mulataje are described as ubiquitous sources of terror.

Gothic Studies
The Case of Sophia Berkley
Richard Haslam

In an influential essay, Rolf Loeber and Magda Stouthamer-Loeber have claimed that The Adventures of Miss Sophia Berkley, by A Young Lady, which was published in 1760 (four years before Horace Walpoles The Castle of Otranto), is an Irish Gothic novel. The Loebers claims have been supported and developed by later critics, such as Christina Morin and Jarlath Killeen. Using the methodology of rhetorical hermeneutics, this essay investigates the validity, from a literary poetics perspective, of categorising Sophia Berkley as an Irish Gothic novel. I argue that the Loebers, Morin, and Killeen do not make a convincing case for doing so.

Gothic Studies
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Dental Degeneracy and the Savage Mouth
Clayton Carlyle Tarr

At roughly the same time that dentistry became a respected profession, teeth became a sign of biological origin. In the nineteenth century, long, white, uniform teeth signalled the threat of degeneracy, a counter narrative to evolution predicated on humanity‘s decline into a primitive, animalistic state. We can trace this anxiety through depictions of native people‘s teeth in travel narratives, slave narratives, and accounts of the auction block. The distinctly menacing mouths of white characters, such as Poe‘s Berenice and Dickens‘s Carker, draw on the fear of degeneracy— a threat to Western civilisation that coalesces in depictions of the vampiric mouth.

Gothic Studies
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Khaki Gothic and Comedy
Sunday Swift

On first glance, M*A*S*H (1972–83) might not be the ideal text for Gothic analysis. Aesthetically, the traditional dark castles surrounded by black forests in the moonlight are replaced by muted khaki and green canvas Army tents, and the tinny canned laughter punctuating the sardonic jokes echo longer than the terrified screams in the night. Gothic and war are uneasy bedfellows; it is the inclusion of comedy, however, that determines just how horrific the result can be. Using M*A*S*H as a primary example to explore what I refer to as Khaki Gothic this paper will explore how, utilising Gothic tropes, comedy can disguise, diffuse and intensify the horrors of war.

Gothic Studies
Evil, Privation and the Absent Logos in Richard Marsh‘s The Beetle
Simon Marsden

This essay explores the influence of the theological tradition of privation theory upon Richard Marsh‘s novel The Beetle (1897). Focusing on images of ontological nothingness, corruption and uncreation, it argues that the novel employs the concept of privation both in its depiction of the supernatural Other and in its parallel interrogation of its contemporary modernity. Imagery of privation in the novel is associated not only with the Beetle itself, but with the modern urban environment and weapons of mass destruction. The essay concludes by examining the corruption of language and absence of a creative logos able to respond adequately to the privations of the modern city and industrial economy.

Gothic Studies
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Amy Bride, Claire V. Nally, Jonathan Greenaway, Shannon Scott, Ruth Heholt and Diana Edelman-Young

Gothic Studies
Sarah Harriet Burney‘s The Romance of Private Life
Stephanie Russo

Sarah Harriet Burney‘s little-known 1839 novel The Romance of Private Life is a novel that, in many ways, seems to belong to the 1790s, rather than to the early years of Victoria‘s reign. Burney constantly draws attention to both her own works deviance from the Gothic plot, and her reliance on this plot to structure the two stories that comprise the volume. While The Hermitage is arguably the world s first murder mystery, The Renunciation represents a process of thinking through the afterlife of the Gothic plot in a rapidly changing world, anticipating the works of the Brontës and Dickens. The Renunciation represents a conscious reworking of what Italy had come to mean in the early Victorian period, reframing Italy as an artistic wonderland where women were given the means and opportunity to pursue artistic and other independent professional existences. I argue that Burney‘s story represents an ambitious, critically overlooked attempt to reframe the literature of the eighteenth century for a new age.

Gothic Studies
The Uncanny Shark
Nichole Neff

Sharks haunt the human imagination more than vampires, werewolves or ghosts. Sensational representations make the shark the villain of each piece as the top predator of even humanity. Yet since its Gothic beginnings in Anglophone representation, the shark has been the victim. The word sharke comes from slavers tongues when the first of its kind was brought ashore to be flayed, eaten, and its inner bowels excavated and examined. In reading and writing the shark, humanity opens up the belly of the beast to express the repressed and to give utterance to that which cannot be uttered– the uncanny. The argument that follows isnt that we should read the shark as a Gothic figure, but that we already do.

Gothic Studies