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Chris Louttit

Since 2005 Tim Burton’s imagination has frequently turned to Victorian-related subjects. Focusing primarily on Corpse Bride (2005), Sweeney Todd (2007) and Alice in Wonderland (2010), this article argues that Burton’s response to (neo-) Victorian culture is a distinctly Gothic one. Unlike other more literary and canonical types of neo-Victorianism it engages with the popular and strongly Gothicised conceptions of the Victorian that emerged through the horror cinema of the twentieth century. It is also Gothic in the way that it self-consciously blends the Victorian with other cultural trends. As a result, rather than offering a strongly theorised, academic view of the Victorians, Burton remediates them for his own aesthetic purposes.

Gothic Studies
Gothic Landscapes and Grotesque Bodies in Mary Shelley‘s The Last Man
Patricia Cove

In The Last Man, Mary Shelley builds on Edmund Burke‘s aesthetic theory and Ann Radcliffe‘s definition of Gothic terror as elevating and imaginative by projecting sublime terror onto her landscapes. Yet, her characters’ identification with sublime landscapes insufficiently articulates their visceral pain; Shelley also emphasises the horrible, physical dimensions of her characters’ suffering, asserting the primacy of their bodies as sites of their identities and afflictions. The freezing, grotesque horror of disease conflicts with the landscapes elevating sublimity, as the Romantic and Gothic aesthetic categories of terror and horror collide in Shelley‘s efforts to articulate the materiality of her characters’ traumatic experiences.

Gothic Studies
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Felicia Hemans and Burial at Sea in the Nineteenth-Century Imaginary
Jessica Roberson

This article identifies sea-burial as a topos of the early nineteenth-century imaginary that draws on both Gothic tropes and Romantic reformulations of Gothic aesthetics in order to signal a sea changed poetics of shifting dislocation, decay, and denial in the work of Felicia Hemans. The loss of a corpse at sea makes visible the extent to which any act of posthumous identification relies upon a complex network actively maintained by the living. This article will also develop our understanding of the ways in which Gothic tropes of burial might extend into specifically maritime literary cultures of the early nineteenth century. This strand of a nautical Gothic reflects not only nineteenth-century anxieties about nautical death but the corporeality of both individual and cultural memory. Such representations of sea-burial negotiate a nautical Gothic aesthetic that might propel new understanding of the relationship between poetry and the material dimensions of affective memorialization.

Gothic Studies
Representations of Lower-Class Voices in Ann Radcliffe’s Novels
Reema Barlaskar

This paper investigates lower-class voices within the context of anti-Gothic criticism, using Ann Radcliffe’s novels and early Gothic critic Joseph Addison’s essays to highlight the ways in which Radcliffe reassigns value to the Gothic aesthetic. It further emphasizes Radcliffe’s reconfiguration of domestic roles as she positions patriarchal figures as anti-Gothic critics, the heroine as reader of gothic narratives, and lowerclass voices and tales as gothic texts. The Mysteries of Udolpho and Romance of the Forest subvert critical discourse and its motif of servants’ contagious irrationality. In Radcliffe’s novels, ‘vulgar’ narratives as superstitious discourse do not spread fear to susceptible heroines, embodiments of bourgeois virtue, but demonstrate the ways in which fear is a construct of patriarchal discourse. Servants and country people, in turn, construct a pedagogy for reading gothic texts that permit heroines to deconstruct metaphors of ghostly haunting embedded in their tales and resist patriarchal hegemony and interpretative authority over gothic texts.

Gothic Studies
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Murderous Midwives and Homicidal Obstetricians
Diana Pérez Edelman

Ever since the publication of Frankenstein, the Gothic has been read as an expression of the fears associated with scientific, technological, and medical advances. This essay argues that obstetrical medicine, from midwifery to obstetrics, is the most Gothic of medical pursuits because of its blurring of boundaries between male and female, natural and supernatural, mechanical and organic, life and death. From subterraneous passages to monstrosity, the professionalization of obstetrics over the course of the eighteenth century and into the nineteenth reads like a Gothic novel. Tracing the parallels between the Gothic aesthetic and several fictional and quasifictional accounts of obstetrical ‘stories’ - from the Warming Pan Scandal of 1688 to the work of Scottish obstetrician William Smellie and man mid-wife William Hunter - this essay demonstrates the Gothic nature of reproductive pursuits.

Gothic Studies