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Modern and Postmodern Gothic
John Whatley

The Editor introduces and explains the theme of this issue. The articles explore the relation between Gothic cults and Gothic cultures from the perspectives of a number of discipline. This issue of Gothic Studies concentrates on the modern and postmodern Gothic. The next issue will concentrate on cults and cultures in the historical periods of the Gothic.

Gothic Studies
Gothic Parody in Gibbons, Atwood and Weldon
Avril Horne and Sue Zlosnik

This essay examines a particular kind of female Gothic. Seizing the moment at which features of Gothic form had become sufficiently established to become part of a cultural inheritance, some twentieth-century women writers, we argue, created comic Gothic fictions that extended the boundaries of potential feminine identity. Stella Gibbon‘s Cold Comfort Farm pits an Austen sensibility against a rural Radcliffean scenario and proceeds to parody both as literary ancestors of a contemporary narrative of femininity. Fay Weldon‘s The Life and Loves of a She-Devil (1983) also appropriates aspects of Gothic to spin a darkly comic tale of literary and literally constructed ‘woman’. The essay also looks at the Canadian novel published a year earlier, Lady Oracle by Margaret Atwood, which engages playfully with the relationship between Gothic writing and the feminine. Such texts constitute a challenge to the grand récit of gender difference, a challenge that has yet to be recognized fully by feminist critics many of whom have concentrated their energies on the feminist pursuit of life-writing. Female writers of comic Gothic, however, confront the stuff of patriarchy‘s nightmares and transform it into fictions of wry scepticism or celebratory anarchy. Through parody as ‘repetition with critical difference’, the boundaries of gender difference are destabilized in the service of creating different possibilities for female subjectivity. In their resistance both to tragic closure and their recasting of the fears of patriarchal society from a feminine perspective, such texts transform a literature of terror into a literature of liberation.

Gothic Studies
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‘of cult-like and occult undertaking’
John Whatley

This Introduction by John Whatley to ‘Gothic Cults and Gothic Cultures 2: Historical Gothic’, his second issue as guest editor of Gothic Studies, begins with a brief summary of some of the conclusions found in Gothic Studies 4/2, and goes on to explain how the seven new articles in 5/1 explore the relations between Gothic cults and cultures in their historical dimensions. The articles illustrate how threats posed by conspiratorial groups of the Gothic past were responsible for the infiltration of the spectral and uncanny into everyday life, so the fear of dangerous ideas and conspiracies figures in the apparitions and phantoms of Gothic culture. To help contextualise the articles, this Introduction outlines the shapes and origins of cults in the Gothic texts of the past, for example in religious sects and robber bands. A summary of each article then follows.

Gothic Studies
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Author: Helen Wheatley

The last decade has seen a diffusion of the Gothic across a wide range of cultural sites, a relative explosion of Gothic images and narratives prompting a renewed critical interest in the genre. However, very little sustained attention has been paid to what we might term 'Gothic television' until this point. This book fills this gap by offering an analysis of where and how the genre might be located on British and US television, from the start of television broadcasting to the present day. In this analysis, Gothic television is understood as a domestic form of a genre which is deeply concerned with the domestic, writing stories of unspeakable family secrets and homely trauma large across the television screen. The book begins with a discussion on two divergent strands of Gothic television that developed in the UK during the 1960s and 1970s, charting the emergence of the restrained, suggestive ghost story and the effects-laden, supernatural horror tale. It then focuses on the adaptation of what has been termed 'female Gothic' or 'women's Gothic' novels. The book moves on to discuss two hybrid forms of Gothic drama in the 1960s, the Gothic family sitcoms The Munsters and The Addams Family, and the Gothic soap opera Dark Shadows. Finally, it looks at some recent examples of Gothic television in the United States, starting with a discussion of the long-form serial drama, Twin Peaks, as the initiator of a trend for dark, uncanny drama on North American television.

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David Annwn Jones

-cutting faded in the 1860s and profilists were put out of business. Charles Burns has reintroduced this medium into Gothic culture and instated its importance as Goth expression by appearing as the ‘Roving Artist’ and hand-cutting silhouettes at Goth and Steampunk festivals throughout Britain. One fine, stately example is a pair of silhouettes of Kevin and Kerryanne Bates. Even after the recession of silhouette

in Gothic effigy
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Elisabeth Bronfen and Beate Neumeier

-hungry soldier, the death-driven prince, the sexually distraught daughter all find their predestined death, their challenge to the order of things is once more stabilized. Equally seminal for the line of connection between the Gothic culture that was to intervene in the Enlightenment project around 1800 and the cultural shift from the medieval to the early modern around 1530 is the fact that both draw attention to

in Gothic Renaissance
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Andrew Smith

, ramifications for future forms of Gothic writing. Eliot’s ‘The Lifted Veil’ (1859) illustrates this shift within the Gothic culture as we witness a would-be writer, the dying Latimer, becoming turned into a reader who knows how his story will end. Dickens to a significant degree both develops and complicates the narrative about death during the period. For Dickens, a death wish is

in Gothic death 1740–1914
Susanne Becker

Two hundred years after Radcliffe: the pull of the millennium, the sense of economic and ideological crisis, the advent of huge cultural shifts on a global basis. Gothic times again? Yes: I think that in the 1990s we do live within a neo-gothic culture that not only recalls a comparable political and philosophical situation from the 1790s but also begins

in Gothic Forms of Feminine Fictions
Jean-François Baillon

cinematograph. This pre-history implies an awareness of the use of magic lanterns in late Enlightenment and early Victorian society, especially by performers like Étienne-Gaspard Robertson, whose ‘phantasmagoria shows’ were a popular expression of the intermedial character of early gothic culture in Europe (Castle, 1995 ; Warner, 2008 ). Indeed, the

in Monstrous media/spectral subjects
Marie Mulvey-Roberts

Ranke-Heinemann, Eunuchs for the Kingdom of Heaven: Women, Sexuality, and the Catholic Church , trans. Peter Heinegg (New York: Doubleday, 1990 ), pp. 24–5. 122 Quoted in Patrick R. O’Malley, Catholicism, Sexual Deviance, and Victorian Gothic Culture (Cambridge: Cambridge University

in Dangerous bodies