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complain?’ – Horace Walpole, The Castle of Otranto. (150–1) More often than Gothic sons and much earlier in the Gothic tradition than they, Gothic daughters are identified with and by matriarchal portraits. As sons and portraits serve as parallel, imaged afterlives of patriarchs, daughters and portraits serve as parallel, imaged afterlives

in Gothic kinship
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Maternal kinship in Rowling’s Harry Potter series

Inferi and Voldemort himself). See also Lena Steveker’s article: through her discussion of the parallels between Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and Rowling’s novels, Steveker argues that though ‘Rowling’s Harry Potter series inscribes itself into the late-Victorian Gothic tradition of problematising the destabilisation of the unitary Self’ (p. 75), the

in Gothic kinship
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Neoliberal gothic

frequently as objects of horror, both in Europe and in the gothic tradition of the American South. 8 The highly gothic ‘miseries and mysteries’ genre inaugurated by Eugène Sue in his Mysteries of Paris (1843) and critiqued by Karl Marx in The Holy Family (1845) is a case in point. Whilst it

in Neoliberal Gothic
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman

and even established accounts of horror sub-genres in terms of broad (and thus reductive) psychological processes would seem counterproductive in this context. There are, however, strong links between the visual aesthetics of horror and the preferred underlying textual features of the favourite films which have a gendered dimension. 10 Horror, and the Gothic tradition in particular, has a long

in Monstrous adaptations
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Defining the ecoGothic

and situates this in the context of the legacy of Puritanism as well as Emersonian transcendentalism. The first part of the chapter discusses the development of these ideas in relation to authors such as Charles Brockden Brown, Robert Montgomery Bird and Nathaniel Hawthorne, and offers an overview of critical perspectives, arguing that the Gothic tradition in the United States is predicated on a

in Ecogothic

–66, pp. 146–7. 19 Quoted in David Stevens, The Gothic Tradition (Cambridge: Cambridge University Press, 2000), p. 263. 20 Mary Colette Tennant, Reading the Gothic in Margaret Atwood’s Novels (Lewiston, NY: Edwin Mellen

in Ecogothic
Ambrose Bierce and wilderness Gothic at the end of the frontier

, beasts, sex’. 1 These terms are extremely evocative for the Gothic scholar, addressing the same concerns as those raised by the Gothic novel of the late eighteenth century and its subsequent permutations. 2 The literary Gothic was preceded by the use of the term in political debate, where an appeal to pre-Roman ‘Gothictraditions in Britain constituted an appeal to what is ‘natural’. 3 This

in Ecogothic
On the cultural afterlife of the war dead

the horror of seeing his friends dismembered in battle by offering visceral images of bodies that, in death, blend with the earth. ‘Strange Meeting’ explicitly invokes the gothic tradition of enemies re-encountering each other after death: ‘It seemed that out of battle I escaped/Down some profound dull tunnel, long since scooped/Through granites which titanic wars had groined

in Monstrous media/spectral subjects
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, elegant, suave, patrician, and almost always dangerously attractive. The movie adaptations of Stephenie Meyer’s Twilight series (2008–12) continue the gothic tradition of erudite, romantic, aristocratic vampires. The always 17-year-old vampire Edward Cullen is anything but indiscriminate: he wants Bella Swan 110 Security and only Bella. ‘You’re my personal brand of heroin’, he tells her.6 Vampires and zombies embody similar religious fears such that both are labelled a kind of scourge; both are associated with threats of conversion to evil, to darkness. However, in

in The cultural politics of contemporary Hollywood film
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Suicide and the Gothic in modern Japanese literature and culture

Aleksandr Fedorovich Prasol, Modern Japan: Origins of the Mind (Singapore: World Scientific Publishing, 2010), p. 209. 6 Henry J. Hughes, ‘Familiarity of the Strange: Japan’s Gothic Tradition’, Criticism , 42:1 (2000), 59–89, at 60. 7 Ibid ., 74. 8 Daniel Wright, ‘Spiritual Discernment in Soseki Natsume’s Kokoro ’, The International Fiction Review , 17:1 (1990), 14–19, at 14. 9 Natsume Soseki, Kokoro , trans. M. McKinney (London: Penguin, 2010), p. 217

in Suicide and the Gothic