The official journal of the International Gothic Association considers the field
of Gothic studies from the eighteenth century to the present day. The aim of
Gothic Studies is not merely to open a forum for dialogue and cultural
criticism, but to provide a specialist journal for scholars working in a field
which is today taught or researched in almost all academic establishments.
Gothic Studies invites contributions from scholars working within any period of
the Gothic; interdisciplinary scholarship is especially welcome, as are readings
in the media and beyond the written word.
This essay introduces this special issue on ‘Romanticism and the “New Gothic”’, which contains revisions of essays presented at a special seminar at the 1999 joint conferences of the International Gothic Association (IGA) and the North American Society for the Study of Romanticism (NASSR) held in Halifax, Nova Scotia. Hogle argues that the ‘Gothic’ as a highly counterfeit and generically mixed mode in the eighteenth century was a quite new, rather than revived old, aesthetic which allowed for the disguised projection - or really abjection - of current middle-class cultural fears into symbols that only seemed antiquated, supernatural, or monstrous on the surface. Romantic writers thus faced this mode as a symbolic location where feared anomalies of their own moment could be faced and displaced, and such writers reacted to this possibility using some similar and quite different techniques. Post-Romantic writers, in turn, ranging from Emily Dickinson all the way to the writers and directors of modern films with Gothic elements, have since proceeded to make the Gothic quite new again, in memory of and reaction to Romantic-era uses of the new Gothic. This recurrent remaking of the Gothic comes less from the survival of certain features and more from the cultural purposes of displacing new fears into symbols that recall both the eighteenth-century Gothic and Romantic redactions of it. The papers in this special issue cover different points in this history of a complex relationship among aesthetic modes.
Over the course of the past twenty-five years, as neoliberal economics has transformed the geopolitical landscape, monsters have overrun popular culture. This book explores literary, televisual, filmic and dramatic works from distant and diverse countries. It traces the vampire's evolution from the nineteenth-century past of industrial capitalism to the neoliberal present's accelerated violence and corrupt precarity, and discusses the NBC television mini-series Dracula, perfectly encapsulating our own post-recessionary subjectivity. The book addresses state capitalism but turns readers' attention away from the vampire and towards the ghost, focusing on the ways in which such spectral figures have come to dominate new German theatre. On the biotechnology sector, the book presents three examples: cinematic depictions of the international organ trade in Asia, the BAFTA award winning three-part series In the Flesh broadcast in BBC3, and literary representations of the dehumanised South African poor. The book moves from the global to the local, and charts the ways in which post-2006 house owners are trapped in the house by the current economic situation, becoming akin to its long-term resident ghosts. The ghost estates, reanimated and reimagined by the Irish artists and film-makers, are shown to embody the price paid locally for failures in global economic policy. The preoccupation with states of liminality is encapsulated by showing that the borders of the nation state have become a permeable membrane. Through this membrane, the toxic waste of first world technology seeps out alongside the murderous economic imperatives of the neoliberal agenda.
, as in internationalGothic, there are also a significant number of Nordic Gothic texts that are conscious of the discourse of Orientalism, and that seek to counter its influence by contributing to the decolonisation of literature, film and of actual colonial spaces. These texts can usefully be described as Nordic postcolonial Gothic as they seek to undo the very categories on which Imperial Gothic rests.
This chapter first reviews some of the emergent scholarship that exists on Nordic colonialism. The chapter then surveys a number of Gothic
from publishers when we proposed a series on the
topic of the Global Gothic. Such a series was simply not considered
feasible in financial terms. It is a sign of how much interest has
grown, therefore, that Manchester University Press is now launching
a series on the InternationalGothic.
Maria Holmgren Troy, Johan Höglund, Yvonne Leffler and Sofia Wijkmark
Nordic Gothic texts, with a focus on the fiction of Peter Høeg, Yrsa Sigurðardóttir and Anders Fager, and on the Swedish-French television series Idjabeaivváš ( Jour Polaire/Midnight Sun/Midnattssol , 2016). Höglund uses these texts to argue that Nordic Gothic, sometimes directly and sometimes furtively, addresses colonial concerns and that this tradition shows the same ambivalence towards the colonial past and present as does internationalGothic.
In Chapter 8 , ‘Lost (and gained) in translation: Nordic Gothic and transcultural adaptation
ways in which internationalgothic texts provide an effective and affective means for viewers and
readers to explore the often unspoken nature of their economic
condition. Ultimately, what emerges most forcibly from the collection is
a sense of economic, existential and humanitarian crisis – the
neoliberal experiment having led us to war, to environmental catastrophe
and to levels of inequality
The most Gothic of acts – suicide in generic context
William Hughes and Andrew Smith
the past actions of the protagonists by the reader, even where the character is less ready to participate in the text’s moral script. The act of suicide is thus fundamental to the Gothic.
The chapters in Suicide and the Gothic reflect both the complexity and the diversity of this recurrent theme in the Gothic. They are all specially commissioned for this collection and, acknowledging the tenor of the InternationalGothic series, embrace an international as well as historical consideration of the place suicide occupies within Gothic
content and significance: the audience are prevented from reading the
pictures themselves. The film follows the novel in using Ubertino’s
meditation on a statue of the Virgin and Child to dramatise monastic
misogyny. In the novel this artefact is clearly, appropriately for its
setting in 1327, envisaged as being in the InternationalGothic style,
‘carved in the modern fashion, with an ineffable smile and prominent
culture in complex ways. The contribution that animal studies can make
to both scholarship on the Gothic and to accounts of the nineteenth century provides us with
one way in which we, as critics, can radically revision the period.
Publishing developments include ‘Gothic Literary
Studies’ and ‘Gothic Authors: Critical Revisions’ published by the
University of Wales Press, the ‘InternationalGothic’ imprint published by
Manchester University Press and ‘The Edinburgh