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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
A literary history

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.

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
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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
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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
Abstract only
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
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Caledonian fatality in Thomas Percy’s Reliques
Frank Ferguson
Danni Glover

on both pages link to suggest this: ‘ non omnis moriar ’ (verso, ‘not everything decays, perishes’) because ‘ durat opus vatum ’ (recto, ‘the work of the poets/bards/prophets endures, lives’). In the combination of these two images, Percy celebrates and compartmentalises the past. He opens up the possibility of glimpsing English history in all its imagined ceremony, and lamenting its passing at the same time. His antiquarian’s version is one not so much of graveyard poetry, as the poetic object firmly within its mausoleum, evidenced by the right-hand picture

in Suicide and the Gothic
The medium and media of Fatal revenge
Christina Morin

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

in Charles Robert Maturin and the haunting of Irish Romantic fiction