In The Arcades Project, Benjamin explores the different aspects of nineteenth-century culture, in search of a historical reality to which people can awake in a revelatory act of political consciousness. However, the uncanny effects of his archival approach impinge on this revelatory and sublime process. Rather than revealing the political, economic, and technological latent content of the past, representations of the material object confront consciousness with the unfamiliar and abject forms of the repressed collective unconscious. The Gothic tropes of Benjamin‘s text are the traces of the melancholy haunting his concept of a demystifying revelation of historical and material truth.
Del Principe argues that a compelling historical and political vision of post-unification Italy lies beneath the preternatural façade of Ugo Tarchettis Fantastic Tales, and that the authors transgressive approach to social realism is a reflection of the vast, cultural transformations of the period. Del Principe proposes correlations between sexual and political realms surfacing in Tarchettis narrative as indicators of mutating class structure and emerging capitalism. An examination of spatial allegories engages a discussion of psychic and physical modes of hysteria and xenophobic reactions that stem from the nationalistic fervor of post-unification Italy.
Conspiracy and Narrative Masquerade in Schiller, Zschokke, Lewis and Hoffmann
This essay brings together the popularity of Venice in the late eighteenth and early nineteenth century as a setting for horror, terror and fantasy, and the narrative conventions of the Gothic. Focusing on Schiller, Zschokke, Lewis and Hoffmann, the article studies the representation of Venice as a Gothic labyrinth, in the context of the city‘s changing reputation as a political structure. ‘Venice’ is treated as a common set of signs which overlap between the literary field and the field of cultural politics: ‘plots’ are both political conspiracies and (carnivalised: doubled and disguised) narrative forms. All is given over to the dynamics of masquerade. The topography of the Venetian Republic is itself a political text, which carnivalises the ‘separation of powers’, while the texts of the Gothic writers are narrative masquerades which choose popular hybrid forms of comedy, folktale and horror, rather than Tragedy or Realism, to respond to Venice‘s tension between law and anarchy and the conflicting pressures of Enlightenment, Republicanism and Empire.
James Baldwin, the Religious Right, and the Moral
In the 1980s, James Baldwin recognized that a major transformation had occurred in the
socio-political functions of religion. His critique adapted accordingly, focusing on the
ways in which religion—particularly white evangelical Christianity—had morphed into a
movement deeply enmeshed with mass media, conservativepolitics, and late capitalism.
Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen,
from charismatic televangelists, to Christian-themed amusement parks, to mega-churches.
The new movement was often characterized as the “religious right” or the “Moral Majority”
and was central to both Reagan’s political coalition as well as the broader culture wars.
For Baldwin, this development had wide-ranging ramifications for society and the
individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent”
(1987), to examine the author’s evolving thoughts on religion, salvation, and
transgression in the context of the Reagan era.
In his analysis of the evolution of sexuality in society in Making Sexual History, Jeffrey Weeks comments that, following a series of major challenges throughout the twentieth century (ranging from Freud‘s work to the challenges of feminism and queer politics), ‘sexuality becomes a source of meaning, of social and political placing, and of individual sense of self ’. This special issue of Gothic Studies intends to foster further research on the topic of queer sexuality. This is research which has already been underway for some time but it has not always been interdisciplinary in nature, as is the case for these five articles, in their discussion of theatre, cinema, and literature or literary conventions borrowed from Gothic novels.
This essay discusses the possibility of a new reading of Charles Maturins Bertram; or, The Castle of St. Aldobrandon the basis of a hitherto ignored manuscript, ‘Epilogue’ to the drama found in the archives of publisher John Murray. The essay adds a new chapter to the tormented publishing history of this work and sheds light on the ambiguous and shifting moral and political interpretations given by both Maturin and his audience to one of the most famous Gothic dramas.
Cruelty, Darkness and the Body in Janice Galloway, Alison Kennedy and Louise Welsh
This essay seeks to define a Gothic tendency in the ‘viscerality’ of some recent and prominent Scottish women writers: Janice Galloway, Alison Kennedy and Louise Welsh. The argument addresses an alienating tension in this ‘viscerality’ between a fabular form and the impression of a new realism of social surfaces. This is a Gothic of cruelty and violent representation of the body, which opens a Scottish urban culture, portrayed as a synecdoche for divided consciousness, to fables of sexual and political alienation.
This essay presents the idea of James Baldwin as a freedom writer, the organizing idea of
my biography in progress. As a freedom writer, Baldwin was a revolutionary intellectual,
an essayist and novelist committed unfailingly to the realization of racial justice,
interracial political equality, and economic democracy. While the book is still in
process, this short essay narrates autobiographically how I came to meet and know
Baldwin’s work, explains in critical fashion my work in relation to existing biographies,
and reflects interpretively my thoughts-in- progress on this fascinating and captivating
figure of immense historical and social consequence.
An Excerpt from Bill V. Mullen’s New Biography, James
Baldwin: Living in Fire, and an Interview with the
Bill V. Mullen
This excerpt from James Baldwin: Living in Fire details a key
juncture in Baldwin’s life, 1957–59, when he was transformed by a
visit to the South to write about the civil rights movement while grappling with
the meaning of the Algerian Revolution. The excerpt shows Baldwin understanding
black and Arab liberation struggles as simultaneous and parallel moments in the
rise of Third World, anti-colonial and anti-racist U.S. politics. It also shows
Baldwin’s emotional and psychological vulnerability to repressive state
violence experienced by black and Arab citizens in the U.S., France, and
In this article, I propose that the key to the underlying dissidence of M. G. Lewis‘s The
Monk lies in the novel s depiction of consent, a fundamental principle in late
eighteenth-century British discourse. For British thinkers of all stripes, a government
and populace that valued consent made Britain the greatest nation in the world; The Monk
disrupts this worldview by portraying consent, whether express or tacit, political or
sexual, as incoherent. By depicting consent as illegible and pervasively undermining the
distinction between consent and coercion, The Monk effectually threatens a value that
rested at the core of late eighteenth-century British identity.