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Glennis Byron

the emergence of new gothic forms. As many of the chapters in this book show, gothic has energetically participated in the cultural flows and deterritorialisations that characterise globalisation. It is no doubt significant that the majority of the chapters focus upon gothic representations produced within the first decade of the twenty-first century. Globalisation literature of the period from around 1980 until

in Globalgothic
Locating the globalgothic
Justin D. Edwards

, travelling ideas and narrative shifts. The genealogy of zombie narratives, for example, is often traced from an African diaspora and the forced movement of people from West Africa to the Caribbean and then, later, to the United States where they were adapted for such films as I Walked with a Zombie ( 1943 ) and Dawn of the Dead ( 1978 ). 1 Such deterritorialisations can help us to reflect historically on the pressure of

in Globalgothic
Fred Botting
Justin D. Edwards

nervous temporality of the transitional, or the emergent provisionality of the “present”’ (216). Gone are the fixed meanings of binary structures, clear borders, cultural coherence or causes and effects. In their place we find flows and disjunctions in the ‘stubborn chunks’ of cultural identification, as well as a reiteration of migrations, displacements, translations, deterritorialisations and

in Globalgothic