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Cultural remains and literary beginnings
Eric Parisot

Towards the end of the eighteenth century, in her ‘Invocation: To Horror’ (1788), Hannah Cowley summons Horror ‘from the mould’ring tower, / The murky church yard, and forsaken bower’, where ‘morbid Melancholy’ and ‘phantoms of Despair’ conjured by Horror’s ‘grisly labours’ dwell (Voller, 2015 : 205, lines 16–17, 21, 26). Cowley’s derivative homage to graveyard poetry of

in Graveyard Gothic
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Visiting (and revisiting) the burial site in late eighteenth-century Gothic fiction
Yael Shapira

local rumours that the abbey is haunted; in fact, he deliberately ignores a servant’s warning ‘not to venture myself in [the abbey] after Sun-set’ (1711: 453) and goes at night, as though seeking to make the experience more eerie. All this suggests less the solemn mindset of the spiritual seeker than the pleasure-oriented one of the tourist. Graveyard poetry, too, likely aroused in its readers more

in Graveyard Gothic

The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.

Serena Trowbridge

Gothic fiction. The concept that Gothic literature was influenced by Graveyard Poetry is entertained briefly by David Punter and Glennis Byron: ‘It is also important to notice that as early as the 1740s we can trace the development of a form of poetry which was radically different from anything Pope advocated, and which came to be called “Graveyard Poetry”. Graveyard Poetry is

in The Gothic and death
A literary history
Author:

The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914 - between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.

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Graveyard Gothic
Eric Parisot
,
David McAllister
, and
Xavier Aldana Reyes

. What is more, it is a space where the imagined and the physical coalesce, a place that perpetually draws the functional capacity of stories to attempt to explain the troubling ambiguities of existence, and where layered narratives accumulate as blankets of moss upon stone. The essays in this collection follow a rough chronology, moving from graveyard poetry of the eighteenth century to video games

in Graveyard Gothic
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Andrew Smith

This study has explored the various ways in which the dead and dying have been represented in Gothic texts from the mid eighteenth century to the early twentieth century. The history explored here began by looking at how Graveyard poetry functioned as a precursor to the Gothic. As we have seen, critical discussion about death, spirituality and creativity was established in

in Gothic death 1740–1914
The Gothic, death, and modernity
Carol Margaret Davison

twenty-first centuries. The chapters in Part I , ‘Gothic graveyards and afterlives’, coalesce around anxieties about, and representations of, the grave and post-mortem spiritual existence and experience as expressed in eighteenth- and nineteenth-century Gothic literature and its hugely influential precursor, Graveyard Poetry. Both forms lent expression to anxieties and desires about the grave while

in The Gothic and death
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Eighteenth-century Gothic poetics
Andrew Smith

‘human’ to close critical scrutiny. The Gothic, as it emerges in the 1740s–1750s in Graveyard poetry, is generated out of this metaphysical uncertainty even whilst it formally models images of the dead that will become one of its iconographical features. The Gothic, in other words, was born out of anxieties about death, but in order to explain this it is helpful to outline critical discussion that

in Gothic death 1740–1914
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Andrew Smith

this capacity for self-reflection indicates the presence of a radical strand within the Gothic that is centred on ideas about death, art, creativity and modes of interpretation. The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914 – between Graveyard poetry and the mass death occasioned by the First World War. The corpse

in Gothic death 1740–1914