complain?’ – Horace Walpole, The Castle
of Otranto. (150–1)
More often than Gothic sons and
much earlier in the Gothictradition 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
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 Gothictradition of problematising the
destabilisation of the unitary Self’ (p. 75), the
frequently as objects of horror, both in Europe and in the
gothictradition of the American South.
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
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 Gothictradition in
particular, has a long
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 Gothictradition in the United States is predicated on a
–66, pp. 146–7.
Quoted in David Stevens, The GothicTradition (Cambridge: Cambridge University Press, 2000), p.
Mary Colette Tennant, Reading the Gothic in
Margaret Atwood’s Novels (Lewiston, NY: Edwin Mellen
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 ‘Gothic’
traditions in Britain constituted an appeal to what is
‘natural’. 3 This
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 gothictradition 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
, elegant, suave, patrician, and almost
always dangerously attractive. The movie adaptations of Stephenie
Meyer’s Twilight series (2008–12) continue the gothictradition of
erudite, romantic, aristocratic vampires. The always 17-year-old vampire
Edward Cullen is anything but indiscriminate: he wants Bella Swan
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
Suicide and the Gothic in modern Japanese literature and
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 GothicTradition’, 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