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Gothic, in a sense, has always been 'queer'. This book illustrates the rich critical complexity which is involved in reading texts through queer theories. It provides a queer reading of such early Gothic romances as William Beckford's Vathek, Matthew Gregory Lewis's The Monk, and Charles Maturin's Melmoth the Wanderer. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. Teleny's apparently medicalised representation of homosexual erotic love contains some strikingly Gothic elements. The book examines how the courtroom drama of the E. M. Forster's A Passage to India focuses on the monstrous possibility of miscegenation, an Indian accused of raping an Englishwoman. Antonia White's Frost in May can be contextualised to the concept of the 'lesbian Gothic', which helpfully illuminates the representation of adolescent female subjectivity and sexuality. Same-sex desire is represented indirectly through sensuous descriptions of the female body and intertextual allusions to other erotic texts. The book considers how the vampire has become an ambivalent emblem of gay sexuality in late twentieth-century Gothic fiction by examining Interview with the Vampire and Lost Souls. The understanding of the Gothic and queer theory in a pop video is achieved by considering how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.

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Lesbian Gothic horror
Gina Wisker

D esire and devouring feature as twin motifs in lesbian Gothic horror. They enable an enactment of the threat, danger, disgust, the celebration and potential for new relationships of equal exchange and pleasure. They are explored, in my discussion here, through the metaphors of were-wolf and vampire, each figure offering the opportunity of breaking out, expressing a hitherto hidden version of self

in Queering the Gothic
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Queering the Gothic
William Hughes and Andrew Smith

examined through the queer perspectives of Judith Butler and Eve Kosofsky Sedgwick. 13 In ‘Devouring desires: lesbian Gothic horror’ Gina Wisker (Chapter 8) explores how women writers have used werewolves and vampires in order to explore ‘transgressive’ sexualities such as lesbianism. She argues that these representations are imaginatively liberating and carnivalesque because such shape

in Queering the Gothic