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the Gothic’ because of their ability to exploit ‘the manipulation of real-time experience within a Gothicised space’ (McEvoy 215). If we expand upon this, then the immersive and experiential nature of site-specific performance, manipulating the phenomenology of time and space, can elicit, amongst its spectators, a sensual, primal, and thrilling biological response to the production, as Kathleen Irwin explains: where physical traces of a building’s past operate metaphorically to render absent present [ sic ] and

in Adapting Frankenstein
Frankenstein meets H.P. Lovecraft’s ‘Herbert West – Reanimator’

, and the Material Self . Bloomington: Indiana University Press, 2010. Baldick, Chris and Robert Mighall. ‘Gothic Criticism.’ A Companion to the Gothic . Ed. David Punter. Oxford: Blackwell, 2000. 209–228. Bennett, Jane. Vibrant Matter: A Political Ecology of Things . Durham, NC: Duke University Press, 2010. Bogost, Ian. Alien Phenomenology, or What It’s Like to Be a Thing . Minneapolis: University of Minnesota Press, 2012. Botting, Fred. ‘In Gothic Darkly

in Adapting Frankenstein
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Blake, Milton, and Lovecraft in Ridley Scott's Prometheus

theorists concerned with speculative realism, many of whom take up Houellebecq's challenge to reconceive our investigations of ‘concept horror’. 20 In ‘On the Horror of Phenomenology: Lovecraft and Husserl’, Harman uses Lovecraft to argue against a normative function of philosophy, suggesting instead that rather than being used ‘as a rubber stamp for common sense and archival sobriety … philosophy's sole mission is weird

in William Blake's Gothic imagination
Tom Waits’s Bone Machine

Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture , New York: Routledge. Ihde, D. (2007), Listening and Voice: Phenomenologies of Sound , 2nd edn, Albany: State University of New York Press. Jacobs, J. S. (2000), Wild

in Monstrous media/spectral subjects
Constructing death constructing death in the 1790s–1820s

mourning Terry Castle accords Radcliffe’s The Mysteries of Udolpho a special place in the development of a post-Romantic model of the self that underpins Freud’s idea of the subject. She claims that ‘ Udolpho was more than simply fashionable; it encapsulated new structures of feeling, a new model of human relations, a new phenomenology of self and other’ (p. 125). This was

in Gothic death 1740–1914
The gothic potential of technology

image of the whole self, but precisely the kind of non-identical mismatch between subject and object which would facilitate social and political rupture. Gilbert Ryle had been Adorno’s supervisor at Oxford University in 1935, while he worked on a dissertation which attempted a critique of the ‘resigned, late bourgeois character of phenomenology’. 120 Adorno respected Husserl’s thought as ‘the final serious effort on the part of the bourgeois spirit to break out of its own world, the immanence of consciousness, the sphere of constitutive subjectivity’, but only a

in Mid-century gothic

most important components of Goth subculture. Goth music expresses the melancholic not-belonging, the nostalgic glance and the evasive subjectivity that characterises the subcultural capital. While Goth lyrics speak of loneliness and faraway realms, the music accompanying them offers subtle glimpses of other times and places. Music’s ephemeral phenomenology, however, ensures that these fantasy realms

in Globalgothic
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Defining the ecoGothic

with the trees’, being subsumed into a different life which is only barely comprehensible to the fellow humans whom he has left behind. In the course of the discussion, Punter examines the relations between nature and spirit in relation to similar concerns found in Hegel, principally in The Phenomenology of Mind (1807) and Lectures on the Philosophy of Religion (1821–31). Punter draws

in Ecogothic
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Nature and spirit

), Thinking with Animals , pp. 121–36; and Anthony L. Podberscek, Elizabeth S. Paul and James A. Serpell, Companion Animals and Us: Exploring the Relationships between People and Pets (Cambridge: Cambridge University Press, 2005). 33 See Georg Wilhelm Hegel, for example, The Phenomenology of Mind (1807), trans. J. B

in Ecogothic
The development of the negative in Victorian gothic

Crary identifies between the geometrical understanding of optics in circulation throughout the eighteenth century and the physiological theories that dominated nineteenth-century research on the topic. As a technology of visualisation, the photograph embodies this new way of understanding the phenomenology of vision. The camera obscura had literally removed the body from the field of vision so that it could

in Monstrous media/spectral subjects