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interpretation of him. Figure 1 Joseph Merrick Frederick Treves, ‘A Case of Congenital Deformity’, Transactions of the Pathological Society of London , XXXVI March (1885), 494–8 Plate XX What we witness is how crucial a role a Gothic aesthetic
a more jocular reference to Dracula , writing, ‘He comes pale vampire, through storm his eyes, his bat sails bloodying the sea, mouth to her mouth’s kiss. Here. Put a pin in that chap, will you?’ 20 German Expressionist films such as Wiene’s The Cabinet of Dr Caligari (1919), Wegener’s The Golem (1920), and Murnau’s Nosferatu (1921) exploited a Gothic
2.1 Cornelius Tacitus (55 to after 115 AD), Germania (trans. 1777), translated by John Aikin The Gothic aesthetic in architecture, poetry and fiction did not emerge in a vacuum. In the words of one authority, ‘the history of the “Gothic” begins not in the eighteenth but in the seventeenth century, not in aesthetic but in political discussion’ (Kliger, 1945, p. 1
, tentacled abomination, frozen in mid-writhe, a single, unblinking, golden eye gazing out from its dark mass. 3.7 Postmodern Gothic sculptures and figurines The dismembered ‘Disaster’ polymer figures of Jake and Dinos Chapman’s installations, Damien Hirst’s statues and Alexander McQueen’s clothed manikins have each influenced each other in Gothic
reverence for the foundations of British freedom. Designed with triangular floorplan and a façade involving three great arched windows with trefoils and doorways and a castellated Gothic tower of Northamptonshire ironstone, it is one of the most imposing Gothic follies of Britain. It is inscribed with the words: ‘Liberty of our Ancestors’. In the first stirrings of Gothic aesthetic taste, garden
(as a mode of knowledge) and writing (a new Gothic aesthetic), as it is the form that is centred on issues of representability and explores emotional extremes (and how to modify or contain them). The tensions between the extra-textually authentic and literary conceptions of creativity were explored in relation to Pfau’s idea of a compensatory aesthetic that attempts to overcome symbolic absence. The
acceptance in society: this might explain why the family of the Jewish businessman Joshua Norden paid for a memorial in Grahamstown’s church. 129 Memorials declined sharply after Gray’s arrival. Not only did they challenge the Church’s claims to be an inclusive institution, they were also regarded as out of step with the gothic aesthetic. Merriman instructed the local military to erect stained
play’s offended parties. As the Gothic aesthetic insists (through its idealisation of Romance) these taboos are rationally rooted in a providential nature, supporting political and familial legitimacy’ (p. 119) while Clery finds the play resistant to its contemporaneous political hegemony. 29 Samuel
Irish ‘pre-Gothic aesthetic’ arguably discernible in works as diverse as Temple’s Irish rebellion , Jonathan Swift’s A modest proposal ( 1729 ), and the elegiac Graveyard poetry of the 1740s. 58 These early stirrings of the Gothic imagination in Ireland evocatively reveal the ways in which the Gothic mode provided, as Killeen maintains, ‘the means by which late eighteenth-century Irish
, not only glorifying suffering but also distancing it through its conscious theatricalisation. As Hannaham argues, ‘The requisite adornment that goes hand in hand with a “Gothic” aesthetic, as rock and roll defines it, calls the sincerity of the wearer into question. They’ve dealt with their feelings of alienation from society by reinventing themselves as “monsters”.’ 16 The consensus among these