The official journal of the International Gothic Association considers the field of Gothic studies from the eighteenth century to the present day. The aim of Gothic Studies is not merely to open a forum for dialogue and cultural criticism, but to provide a specialist journal for scholars working in a field which is today taught or researched in almost all academic establishments. Gothic Studies invites contributions from scholars working within any period of the Gothic; interdisciplinary scholarship is especially welcome, as are readings in the media and beyond the written word.
This article defends the view that Gothic Studies should encourage research on contemporary gothic youth cultures from a Cultural Studies point of view. This is justified on two grounds: research on these youth cultures is a unique chance to consider gothic as a living cultural practice and not just as textual analysis mostly disengaged from the present; on the other hand, these subcultures are currently under attack by the media and moral minorities, especially in the USA, and Gothic Studies could - maybe should - help correct this regrettable situation born of prejudice against, and ignorance about, Gothic itself. The article reviews the embarrassing position of the Gothic Studies researcher today as regards gothic youth cultures and calls for the reinforcement of the poor knowledge we have of the evolution of these cultures in the last 20 years.
In his analysis of the evolution of sexuality in society in Making Sexual History, Jeffrey Weeks comments that, following a series of major challenges throughout the twentieth century (ranging from Freud‘s work to the challenges of feminism and queer politics), ‘sexuality becomes a source of meaning, of social and political placing, and of individual sense of self ’. This special issue of Gothic Studies intends to foster further research on the topic of queer sexuality. This is research which has already been underway for some time but it has not always been interdisciplinary in nature, as is the case for these five articles, in their discussion of theatre, cinema, and literature or literary conventions borrowed from Gothic novels.
species. If crime, violence and sexual transgression were at the heart of sensation fiction's plots, Darwin's plant researches were full of their botanical counterparts: the lures and traps set by orchids and insectivorous species to secure food and sex, the array of sexual arrangements and reproductive possibilities offered by heterostyled dimorphic and trimorphic plants, the little shop of horrors in which insectivorous plants imprisoned, drowned, crushed and dissolved their victims. And if sensation fiction induced the same physiological response in its readers
The book explores crucial questions concerning human social existence and its animal substrate, and the intersection between the human and the wolfishly bestial. The collection connects together innovative research on the cultural significance of wolves, wild children and werewolves from a variety of perspectives. We begin with the wolf itself as it has been interpreted as a cultural symbol and how it figures in contemporary debates about human existence, wilderness and nature. Alongside this, we consider eighteenth-century debates about wild children – often thought to have been raised by wolves and other animals – and their role in key questions about the origins of language and society. The collection continues with analyses of the modern werewolf and its cultural connotations in texts from nineteenth-century Gothic through early cinema to present-day television and Young Adult fiction, concluding with the transitions between animal and human in contemporary art, poetry and fashion.
Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV series and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. The book creates an understanding of a ubiquitous but hitherto under-researched cultural phenomenon by showing how the Gothic narratives make visible cultural anxieties haunting the Nordic countries and their welfare systems, and how central these anxieties are for the understanding of identities and ideologies in the Nordic region. It examines how figures from Nordic folklore and mythology function as metaphorical expressions of Gothic themes, and also how universal Gothic figures such as vampires and witches are used in the Nordic context. The Nordic settings, and especially the Nordic wilderness, are explored from perspectives such as ecocriticism and postcolonialism and subcategories such as Gothic crime, Gothic humour, troll Gothic and geriatric Gothic are defined and discussed. Furthermore, the phenomenon of transcultural adaptation is investigated, using the cases of Lars von Trier’s Riget and John Ajvide Lindqvist’s Låt den rätte komma in, two seminal works of contemporary Nordic Gothic.
This book is a shadow cultural history of transplantation as mediated through medical writing, science fiction, life writing and visual arts in a Gothic mode, from the nineteenth century to the present. Works in these genres explore the experience of donors or suppliers, recipients and practitioners, and simultaneously express transfer-related suffering and are complicit in its erasure. Examining texts from Europe, North America and India, the book resists exoticising predatorial tissue economies and considers fantasies of harvest as both product and symbol of ‘slow violence’ (Rob Nixon), precarity and structural ruination under neoliberal capitalism. Gothic tropes, intertextualities and narrative conventions are used in life writing to express the affective and conceptual challenges of post-transplant being, and used in medical writing to manage the ambiguities of hybrid bodies, as a ‘clinical necropoetics’. In their efforts to articulate bioengineered hybridity, these works are not only anxious but speculative. Works discussed include nineteenth-century Gothic, early twentieth-century fiction and film, 1970s American hospital organ theft horror in literature and film, turn-of-the-millennium fiction and film of organ sale, postmillennial science fiction dystopias, life writing and scientific writing from the nineteenth century to the present. Throughout, Gothic representations engage contemporary debates around the management of chronic illness, the changing economics of healthcare and the biopolitics of organ procurement and transplantation – in sum, the strange times and weird spaces of tissue mobilities. The book will be of interest to academics and students researching Gothic studies, science fiction, critical medical humanities and cultural studies of transplantation.
understanding of a ubiquitous but under-researched cultural phenomenon: Nordic Gothic. Here, it is necessary to first define what ‘Nordic’ and ‘Gothic’ mean. Of these two concepts, strangely enough, Gothic is perhaps the least elusive, despite its long and complex theoretical history. Most contemporary critics agree that Gothic is a continuously productive, transhistorical genre characterised by a certain affect or effect of terror or horror, by a dark and often uncanny atmosphere, and by a specific ideological endeavour: the interrogation of
’s analysis is not only historicist for I wish also to approach these works anachronistically, as offering figures for recipient experience since the onset of the transplantation era. These works can be seen as coincidentally foreshadowing – in fantastical and poetic terms – elements that have come, decades later, to be pertinent to some recipients’ experience and which can be exceptionally challenging to communicate. Several researchers of transfer recipient experience have observed that, in qualitative interviews, the ‘intangibles’ and ‘embodied interaction’ of emotional
also at play in other ways in this national milieu. As in the US, transplantation signifies ‘marketable modernity’, the reputational value of a new transplant ward enhancing other streams of medical profitability. 50 Sales continue. 51 Contemporaneously with Padmanabhan’s writing of Harvest , some transplant surgeons silenced queries about donor welfare by quoting neoliberal philosophy. 52 Yet whilst research in the West has consistently indicated no long-term damage to living kidney donors from their donation, within these contexts the sale of a kidney