Tales of Terror and the Uncanny in Proust‘s In Search of Lost Time
This essay reads the opening of Marcel Proust‘s In Search of Lost Time against its high-modernist reception history to recover its Gothic unconscious. My argument first traces the repressed horror tale at the heart of ‘Combray I’ by foregrounding tropes of fear and imprisonment; I then recontextualize Proust within the Gothic tradition, drawing explicit comparisons to Poe and Radcliffe. I suggest that the narrators invocation and subsequent repression of Gothic forces, in particular of the uncanny, constitutes the novels primal dialectic and plays a constitutive role in the dramas of memory and desire.
This paper examines Gothic traditions across the survival horror videogame series Silent Hill. Considering Gothic dimensions of the videogame medium, then Gothic themes in survival horror videogames, the paper proceeds to explore Silent Hills narrative aesthetics and gameplay in relation to the Gothic. Considerations include: the intrusion of sinister alternative worlds, fragmented narrative forms, a sense of the past impinging upon the present, and the psychoanalytic dimensions of the series. Throughout this paper attention will be paid to ways in which Gothic themes resonate with or are transformed according to the dictates of the videogame medium.
The Return of the Hibernian Repressed During
the Rise and Fall of the Celtic Tiger
Whilst debate rages in certain circles as to what constitutes an Irish Gothic tradition
and whether imposing canonical status upon it is even possible or desirable, very little
of this discussion focuses on twenty-first century writing, and certainly not upon writing
for the stage. The aims of this essay are twofold: to argue the case for a contemporary
Irish Gothic theatre school (whose primary proponents I will identify as Martin McDonagh,
Conor McPherson, Marina Carr and Mark ORowe); and to place this contemporary school in
conversation with the Irish Gothic literary corpus identified by the scholarship of Terry
Eagleton, Seamus Deane, W. J. McCormack, Jarlath Killeen, Christopher Morash, Richard
Haslam, Sinéad Mooney and David Punter. The resulting intention here is to open up a fresh
way of reading and comparing contemporary Irish playwrights,that allows us to place their
work into sharper focus when it comes to comparing them to each other as pre-eminent Irish
writers of the millennial period.
This article examines Denise Mina‘s treatment of Scottish identity and the gothic tradition in her run on Hellblazer, an American horror comic about an English occultist, John Constantine. Mina takes Constantine to Glasgow to confront the deadly “empathy plague” which forces victims to emphasise with others. Mina argues that the Scots revel in the misery of others, making them easy victims for this malady. However, this failing becomes a means for victory, as everyone is united in an outpouring of shameful joy at the story‘s conclusion. Mina‘s Scotland is a home away from home for Constantine – haunted, embittered and lost – and her image of Scotland mirrors representations seen in other Scottish Gothic texts.
oppositions convey to the reader the inner life and emotional
responses of a passionate and unconventional heroine.
Brontë and Stoddard both borrow from, and adapt, the romantic
Gothictradition of, for example, the British writer Ann Radcliﬀe’s
Mysteries of Udolpho (1794). In addition, Stoddard anatomises the
pathology of a repressive regional culture in a style known as provincial
Gothic, used by American writers such as Nathaniel Hawthorne in his
The House of the Seven Gables (1851). Such borrowings and negotiations
between British and American traditions of the Gothic
systematised as social fraternity develops.
GEORGE ELIOT AND THE CONTRADICTIONS
OF GOTHIC CONVENTIONS
To position George Eliot within both
a Gothictradition and under queer investigation might seem surprising,
irreverent or, at the very least, anachronistic. Gordon Haight fiercely
stresses that George Henry Lewes’s love for Eliot ‘left no
Looking for Mother
Gothic writing returns again and
again to the image of the dead mother’s body. If the maternal body
is a primal scene of transgression in a French Gothictradition that can
be mapped from Sade to Bataille, a maternal spectral presence has
haunted Gothic writing by women from Radcliffe to Margaret Atwood. This
displacement of the mother resonates with Luce Irigaray
Deader ) 3
Clive Barker's works
frequently invoke fundamental elements in the gothictradition. As
both an author and artist, Barker enjoys crossing generic boundaries
and expectations, borrowing, blending, and manipulating motifs of
the gothic, the fantastique , the fairytale, and the quest
narrative in order to
The self-destroying Gothic villain in Pauline Hopkins’ Of One
Bridget M. Marshall
’ novel Of One Blood; or, the Hidden Self , originally serialised in Colored American Magazine , 1902–03 . Of One Blood is difficult to categorise, but many of its features – haunted houses, family secrets, ghosts and incest, just to name a few – indicate its place within the Gothictradition. Several critics have remarked on its Gothic characteristics: Yogita Goyal describes the novel as having ‘a particularly Gothic twist’ 7
; Eugenia DeLamotte notes that it is filled with ‘Gothic mysteries’ and provides ‘great Gothic insight’ 8
This book develops insights into the vexed question of Carter's textual practices through the dusty lens of the Gothic. It argues that European Gothic is vital to illuminating and understanding the tension between politics and aesthetics in Carter's work. The book shows how a more concerted focus on Carter's European literary inheritance sheds light on her particular and perverse engagements with androcentric literary and cultural frameworks. It emblematises the tension between her textual extravagancies and her self-declared 'absolute and committed materialism'. Her firm belief 'that this world is all that there is, and in order to question the nature of reality one must move from a strongly grounded base in what constitutes material reality'. The book examines the fraught relationship between Carter's sexual and textual politics. Exploring the ways in which Carter's work speaks to broader discussions about the Gothic and its representations, the book is especially concerned with analysing her textual engagements with a male-authored strand of European Gothic. This is a dirty lineage that can be mapped from the Marquis de Sade's obsession with desecration and defilement to surrealism's violent dreams of abjection. The book not only situates Carter as part of a European Gothic tradition but theoretically aligns her with what Jane Gallop, in her book on Sade, describes as France's "deconstructive" feminism, daughter of antihumanism.