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
Frankenstein meets H.P. Lovecraft’s ‘Herbert West – Reanimator’
Jeffrey Andrew Weinstock
, 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
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
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
Constructing death constructing death in the 1790s–1820s
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
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
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
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
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).
See Georg Wilhelm Hegel, for example, The
Phenomenology of Mind (1807), trans. J. B
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