The article surveys two centuries of Gothic Revivals in the architecture and popular culture of the United States, from the Carpenter Gothic of 1830-1860 through the castle-building of the Gilded Age and the Gothic Revival structures of the early twentieth century to todays Renaissance Faires. American Gothic is fantastic, ‘reviving’ a time and place that never existed on those shores. The earlier Gothic Revival castles represented an aristocratic and anti-democratic tradition, while in the twentieth century, Gothic revival styles are postmodern and ephemeral. These outward manifestations of the Gothic image in America show how fascination with the medieval was transformed from a pastime of the wealthy few to the masscult many, one way in which North America has appropriated and transformed the European Middle Ages through serious architectural practice and market-driven parody of the Gothic.
Mahawatte explores George Eliot‘s use of the Gothic in Middlemarch (1871–72) and in particular the literary connections between Dorothea Casaubon and the heroine of the Gothic novel. He argues that Eliot has a conflicting relationship with this figure, at once wanting to satirize her, and yet also deploying Gothic images and resonances to add an authenticity of affect to her social commentary. Using Jerold E. Hogle‘s idea that the Gothic re-fakes what is already read as a copy, Mahawatte presents Dorothea as a quasi-reproduction of Sophia Lee‘s heroines in The Recess; or, A Tale of Other Times (1783–85) and also as part of a Gothic process within a social realist novel.
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.
The Elephant Man, the Hysteric, the Indian and the Doctor
later considers that it is masculinity which is in some way to blame.
This idea of a ‘dangerous’ masculinity, which Treves had
seen in the case of Merrick, is here moved from the apparent margins of
biological anomaly to the centre of institutionalised masculine culture,
as represented both by the medical profession and the duties of the
wife. These Gothicimages of imprisonment are translated
– fear, desire, sex
[…] torture, bodily mutilation’ and ‘uses
conventional Gothicimages and strategies’ such as
‘darkness’ and ‘bodily fragmentation’
(Cranny-Francis, 2005 : 32). Anna Quéma concurs
that Giger’s pictures ‘rest on a tension between the
Gothic and the fantastic’ (Quéma, 2004 : 81).
Clovis Trouille (1889–1975) worked as a restorer and
crossing all barriers of time and space into an eternity of excruciating
pain, human degradation and suffering: these are images of fullness and
intensity so full and intense that they are unbearable. The black hole
artificially created in the future returns upon the holes of the present
and hollowly replays (religious and Gothic) images of the past. The
collapse of all distinctions between space and time, near and far
models of inspiration. However, by the end of the eighteenth century
there emerged an alternative perception of these apparently fanciful
Gothicimages, which led Nathan Drake to claim that they should be seen
as hitherto-overlooked elements of the natural world. These emerging
Gothicimages also demonstrated the range of the imagination by
indicating the breadth of our creative capacities. Death was also
earlier vampire fiction. Moreover, many of the metaphors of race and
sexuality in relation to vampirism are not as overt in True
Blood ’s novelistic sources.
Moretti, ‘The Dialectic of Fear’,
p. 73. On the vampire and anxieties about race, see Malchow,
GothicImages of Race in Nineteenth-Century Britain and
within Gothic Studies’ following the ‘ “pictorial
turn” in intellectual and cultural life at the end of the twentieth
century’, Blake's visual art constitutes a vital if generally overlooked
Gothic archive. 41
Some of Blake's most enigmatic bodies
resemble well-known eighteenth-century Gothic figures. For instance, Blake's
illustration of the hunched skeleton in