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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
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
Charles Bonnet and William Blake’s illustrations to Robert Blair’s The Grave (1808)
Sibylle Erle

graveyard, talks about death as equaliser and becomes increasingly preoccupied with physical decay. He moves non-chronologically from loss and burial to dying. Natural progression from material to spiritual life was a popular conceit in elegiac poetry classified as Graveyard Poetry. Blake engages with its iconographic focus, the graveyard, but collapses the corporeal into the

in The Gothic and death