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Marie Mulvey-Roberts

: splatterpunk, the slaughterhouse novel, torture porn and surgical horror. Setting out to give priority to the body within the Gothic text, Reyes places it at the centre of the Gothic experience. He argues that the value and complexity of corporeal writing within the horror or Gothic tradition has often been underrated. At a time when notions of the body are under threat from decorporealisation in this digital

in Dangerous bodies
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The dance of global darkness
Steven Bruhm

been considered together. 1 I take as a working premise that at least some aspects of the contemporary gothic aesthetic owe as much to butoh as butoh owes to an earlier Western dance practice, which itself owes much to the gothic tradition in literature, music and visual art. In so juxtaposing these expressive worlds, I want to use butoh to raise some questions about the notion of a ‘globalgothic

in Globalgothic
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Unburying Japanese figurality
Charles Shirō Inouye

. ‘The otherworlds of Mizuki Shigeru’. Mechademia , 3 : 8–28 . Hardacre , Helen. 1989 . Shintō and the State 1868–1988 . Princeton : Princeton University Press . Hughes , Henry J. 2000 . ‘Familiarity of the strange: Japan’s Gothic tradition’ . Criticism , 42 . 1 : 59–89 . Inouye , Charles Shirō

in Globalgothic
Tom Waits’s Bone Machine
Steen Christiansen

: 15). Jacobs positions Waits within an American gothic tradition which, as Eric Savoy points out, is ‘haunted by the dark recesses of its own history’ (2002: 187). As Jeffrey Weinstock observes in Spectral America ( 2004 ): ‘The ghost is that which interrupts the presentness of the present, and its haunting indicates that, beneath the surface of received history, there

in Monstrous media/spectral subjects
Poe, Brontë and Eliot
Andrew Smith

interesting bridge to the earlier Gothic tradition. We noted in the previous chapter that James Boaden’s The Man of Two Lives (1828) makes explicit engagement, via Franz Mesmer, with ideas about mesmerism and animal magnetism. Indeed, Boaden’s influence on Poe’s ‘William Wilson’ (1839) has been suggested by one critic. 3 The concluding paragraph of Boaden’s novel asserts the importance of developing a

in Gothic death 1740–1914
Executions, graves and dreams
Andrew Smith

have been supplanted by troublesome dreams. Dickens was indebted to a Gothic tradition, and whilst some of those points of contact are clear, as in the Christmas ghost stories or in the constructions of his villains, for example, there are other, more oblique psychological and emotional impulses at work. These issues of the self are worked through Dickens’s ostensibly reformist social agenda, and it is

in Gothic death 1740–1914
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Gothic television – texts and contexts
Helen Wheatley

following exploration of Gothic television. The Gothic tradition in national cinemas beyond Hollywood has also received scant critical attention, with a few notable exceptions. For example, German Expressionism has been seen as a key site of the Gothic in cinema (see Eisner, 1969 ; Coates, 1991 ). The critical analysis of the Gothic horror film as an important cycle within British cinema has also been

in Gothic television
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1990s style and the perennial return of Goth
Catherine Spooner

transgressive potential of a ‘queer’ identity: goth [ sic ] punk identities, by no means as stable as many would like them to be, exist by suturing the canonical and anti-canonical, the cynical and the romantic, the high and the low, the straight and the queer, most often via the index of the Gothic tradition in

in Fashioning Gothic bodies
Margaret Atwood and Lady Oracle
Susanne Becker

uncertain’ (Kristeva 1982 , 7), which highlights the ambiguity of the whole issue of separation from m/other – and thus suggests the resulting desire for order and control that will structure Joan’s life as an adult. This wish for separation in Lady Oracle parodically recalls the ‘split heroines’ and doubles from the gothic tradition, especially the opposition of the

in Gothic Forms of Feminine Fictions
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Elisabeth Bronfen and Beate Neumeier

the persona both of Hamlet but also, perhaps, of Shakespeare’s John of Gaunt (cf. The Tragedy of Richard II 2.1.40–66). The example of Isabella Kelly, however, and of later writers in the Gothic tradition, suggests that it is more than simply a matter of either identification or resource that is at issue. Clearly in the case of Walpole it is a question of

in Gothic Renaissance