Journal articles: 'American Gothic'

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Baelo Allué, Sonia. "American Psycho or Postmodern Gothic." Philologia Hispalensis 2, no. 13 (1999): 31–36. http://dx.doi.org/10.12795/ph.1999.v13.i02.03.

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Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film." Text Matters, no. 6 (November 23, 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.

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Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real (socio-)economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession.

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Montgomery, Abigail L. "American Gothic." Journal of Popular Culture 43, no. 3 (June 2010): 657–59. http://dx.doi.org/10.1111/j.1540-5931.2010.00762_8.x.

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McKanna, Rebecca. "Interpreting American Gothic." Colorado Review 45, no. 2 (2018): 3–14. http://dx.doi.org/10.1353/col.2018.0045.

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Sullivan, Brendan, and Annie Morse. "American Business Meets American Gothic." Journal of Museum Education 36, no. 1 (March 2011): 69–80. http://dx.doi.org/10.1080/10598650.2011.11510685.

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Skisova, Albina V. "Black and White Horrors: American Gothic. A Review. (Lennhardt, Corinna. Savage Horrors. The Intrinsic Raciality of the American Gothic. Bielefeld: Transcript, 2020. 286 p.)." Literature of the Americas, no. 13 (2022): 409–17. http://dx.doi.org/10.22455/2541-7894-2022-13-409-417.

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The monograph by Corinna Lenhardt (b. 1982) Savage Horrors: The Intrinsic Raciality of the American Gothic (2020) studies the problems of race, ethnicity, gender, genre and history of literature. The research is focused primarily on the American Gothic literature. Corinna Lenhardt argues that racialization is intrinsic and natural for all Gothic literature. The researcher also introduces the concept of gotheme and argues that literary Gothic is based on the unique binary opposition "savage villain / civil hero", proving this thesis on the material of the analyzed Gothic novels. The author highlights a long and destructive impact of Gothic racialization on cultural discourse in the United States, as well as Afro-American resistance to the status quo in the American Gothic literature. Corinna Lenhardt thoroughly studies early British Gothic novels, as well as WASP and African-American Gothic literature from the XVIII century to the present time.

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Băniceru, Ana-Cristina. "Gothic Discourse in Jeffrey Eugenides’s 'The Virgin Suicides' – Challenging Suburban Uniformity and (Re)Imagining “The Other”." Linguaculture 9, no. 2 (December 10, 2018): 25–40. http://dx.doi.org/10.47743/lincu-2018-2-0121.

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This paper argues that Jeffrey Eugenides, in his début novel, The Virgin Suicides, first questions and then challenges ‘the homeliness’ of the American suburbia by adopting an unsettling gothic discourse and by creating gothic subjects (the Lisbons). Gothic discourse includes the gothic tropes of confinement, persecution, alienation and contagion. My approach to the American Gothic tends to side with Siân Silyn Roberts who convincingly argues that this literary phenomenon questions the place of the individual in what he calls “a diasporic setting” (7). In eighteenth century Great Britain, Gothic fiction differentiates a literate middle class from “the other”, meaning other nationalities, ethnicities and cultures. The individual becomes a container of “cultivated sensibility” (Roberts 3). In America, this model was seriously challenged due to “a climate of ontological uncertainty and rapid demographic change” (Roberts 5). The cosmopolitan city, a place of invasion, of close proximity to the other, has become the perfect setting for gothic subjects, characterised by Roberts as mutable and adaptable. However, suburbia, with its apparent idyllic life, tries to uniformize the heterogeneous tendencies of the cosmopolitan city.

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Branson, Stephanie, and Darryl Hattenhauer. "Shirley Jackson's American Gothic." Tulsa Studies in Women's Literature 22, no. 2 (October 1, 2003): 416. http://dx.doi.org/10.2307/20059162.

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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (November 7, 2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.

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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.

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Marini, Anna Marta, and Jeffrey Andrew Weinstock. "American Gothic: An Interview with Jeffrey Andrew Weinstock." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 3–15. http://dx.doi.org/10.37536/reden.2022.3.1811.

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Jeffrey Andrew Weinstock is currently Professor of English at Central Michigan University, where he has been teaching a variety of courses on American literature and popular culture since 2001. He’s a scholar of the Gothic with a vast academic production, in particular on supernatural fiction, film and television. His research interests span topics related to, among many, monsters, ghosts, vampires, and the female Gothic. He is also an associate editor for the Journal of the Fantastic in the Arts and, besides a long list of published essays, he edited three collections of tales by H.P. Lovecraft and has published over 20 books, among which Spectral America: Phantoms and the National Imagination (2004), The Vampire Film: Undead (2012), and The Monster Theory Reader (2020). He was as well the editor of the Cambridge Companion to the American Gothic in 2018.

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Chapman, Mary. "Gothic Passages: Racial Ambiguity and the American Gothic (review)." ESC: English Studies in Canada 31, no. 2 (2005): 353–56. http://dx.doi.org/10.1353/esc.2007.0011.

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Marini, Anna Marta, and Enrique Ajuria Ibarra. "Gothic and the Ethnic Other: An Interview with Enrique Ajuria Ibarra." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 175–89. http://dx.doi.org/10.37536/reden.2022.3.1833.

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Enrique Ajuria Ibarra is a senior assistant professor and director of the PhD program in Creation and Culture Theory at the Universidad De Las Americas Puebla (Mexico) where he teaches courses on film, media, cultural studies, and literary theory. He specializes in visual culture, cinema studies, gothic and horror. He's the editor of the online journal Studies in Gothic Fiction published by the Cardiff University Press and he has published extensively on topics related to the Gothic, in particular focusing on transnational aspects and the Mexican context. Among his most recent publications there have been chapters in volumes such as 21st Century Gothic: An Edinburgh Companion (2019), Gothic Afterlives: Reincarnation of Horror in Film and Popular Media (2019), and Doubles and Hybrids in Latin American Gothic (2020).

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Elbert, Monika. "Haunting Transcendentalist Landscapes: EcoGothic Politics in Margaret Fuller’s Summer on the Lakes." Text Matters, no. 6 (November 23, 2016): 53–73. http://dx.doi.org/10.1515/texmat-2016-0004.

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In this essay, the reminiscences of Margaret Fuller, feminist activist and member of the American Transcendentalist movement, from her journey to the Great Lakes region, entitled Summer on the Lakes (1844), are considered in the light of EcoGothic considerations. The essay shows how Fuller’s journey disillusioned her about progress and led to abandoning the serene vision of nature and landscapes reflected in the works of Transcendentalists. The destruction of nature and landscape verging on an ecological catastrophe is presented by Fuller in the perspective of the Gothic, as a price for the technological development driven by the capitalist economy. The Gothic character of Summer on the Lakes derives from the mental condition of the writer and a pessimistic vision arising from the debunking of the myth of America as a virgin land. Fuller’s work constitutes an EcoGothic tribute to the indigenous inhabitants of America—but also a Gothic live burial of the Native Americans who do still live in the regions she visits—as well as to Mariana and Frederica, unusual and gothicized women excluded from society. By bringing together Fuller’s observations about nature, indigenous peoples and marginalized women, the essay shows how Fuller’s text prophetically announces the beginning of the end of the American environment.

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DeVirgilis, Megan. "Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction." Gothic Studies 23, no. 2 (July 2021): 201–16. http://dx.doi.org/10.3366/gothic.2021.0094.

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The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.

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Barba Guerrero, Paula, and Maisha Wester. "African American Gothic and Horror Fiction: An Interview with Maisha Wester." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 159–74. http://dx.doi.org/10.37536/reden.2022.3.1832.

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Maisha Wester is an Associate Professor in American Studies at Indiana University. She is also a British Academy Global Professor, hosted at the University of Sheffield. Her research focuses on racial discourses in Gothic fiction and Horror film, as well as appropriations of Gothic and Horror tropes in sociopolitical discourses of race. Her essays include “Gothic in and as Racial Discourse” (2014), “Et Tu Victor?: Interrogating the Master’s Responsibility to—and Betrayal of—the Slave in Frankenstein” (2020) and “Re-Scripting Blaxploitation Horror: Ganja and Hess’s Gothic Implications” (2018). She is author of African American Gothic: Screams from Shadowed Places (2012) and co-editor of Twenty-first Century Gothic(2019).

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Amfreville, Marc. "Alienation in American Gothic Fiction." Anglophonia/Caliban 15, no. 1 (2004): 39–48. http://dx.doi.org/10.3406/calib.2004.1503.

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Whitlock, Amber Bowden. "History of the Gothic: American Gothic by Charles L. Crow." Western American Literature 49, no. 1 (2014): 132–34. http://dx.doi.org/10.1353/wal.2014.0016.

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Al-Momani, Hassan Ali Abdullah. "The American and Irish Gothic Novels: From Gloom to Doom." English Language and Literature Studies 7, no. 1 (February 28, 2017): 106. http://dx.doi.org/10.5539/ells.v7n1p106.

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The main purpose of this paper is to highlight the gloomy atmosphere in the American and Irish gothic novels as a reaction to the introspection of the dark side of the human nature and the ideological conflict or clash with other human groups. In this paper, a comparative close reading analysis will be implemented on Brown's Edger Huntly and Melville's Moby Dick from the American gothic novels, and on Maturin's Melmoth the Wanderer from the Irish literature, in order to prove how the gloomy atmosphere is one of the basic elements in the American and Irish gothic novels.

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Hauke, Alexandra. "A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic." Humanities 9, no. 2 (May 26, 2020): 45. http://dx.doi.org/10.3390/h9020045.

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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist gothic through its focus on and subversion of the essentialist equation of women and nature as feminized others, by dipping into the archives of feminist literary criticism, and by raising ecocritical awareness of the dangers of climate change across socio-cultural and anthropocentric categories. Situating Aronofsky’s film within traditions of American gothic and ecofeminist literatures from colonial times to the present moment, I show how mother! moves beyond a maternalist fantasy rooted in the past and towards a critique of the androcentric ideologies at the core of the 21st-century Anthropocene.

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Kella, Elizabeth. "Indian Boarding School Gothic in Older than America and The Only Good Indian." American Studies in Scandinavia 47, no. 2 (September 1, 2015): 5–27. http://dx.doi.org/10.22439/asca.v47i2.5347.

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This article examines the appropriation and redirection of the Gothic in two contemporary, Native-centered feature films that concern a history that can be said to haunt many Native North American communities today: the history of Indian boarding schools. Georgina Lightning’s Older than America (2008) and Kevin Willmott’s The Only Good Indian (2009) make use of Gothic conventions and the figures of the ghost and the vampire to visually relate the history and horrors of Indian boarding schools. Each of these Native-centered films displays a cinematic desire to decenter Eurocentric histories and to counter mainstream American genres with histories and forms of importance to Native North American peoples. Willmott’s film critiques mythologies of the West and frontier heroism, and Lightning attempts to sensitize non-Native viewers to contemporary Native North American concerns while also asserting visual sovereignty and affirming spiritual values.

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Gentry, E. "The Biology of Horror: Gothic Literature and Film; Gothic Passages: Racial Ambiguity and the American Gothic." American Literature 78, no. 3 (September 1, 2006): 635–37. http://dx.doi.org/10.1215/00029831-2006-037.

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O’Sullivan, Keith M. C. "American Gothic Culture: An Edinburgh Companion." Reference Reviews 31, no. 2 (February 20, 2017): 23–24. http://dx.doi.org/10.1108/rr-09-2016-0227.

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O’Sullivan, Keith M. C. "The Cambridge Companion to American Gothic." Reference Reviews 32, no. 6 (August 20, 2018): 19–20. http://dx.doi.org/10.1108/rr-04-2018-0061.

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Vasil’yeva, El’mira V. "ON THE PECULIARITIES OF CHRONOTOPE IN NEW ENGLAND GOTHIC: THE HOUSE OF THE SEVEN GABLES BY NATHANIEL HAWTHORNE AND THE HAUNTING OF HILL HOUSE BY SHIRLEY HARDIE JACKSON." Vestnik of Kostroma State University, no. 1 (2020): 87–92. http://dx.doi.org/10.34216/1998-0817-2020-26-1-87-92.

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The article deals with Mikhail Bakhtin’s term «the chronotope of the castle» analysed on the material of two New England Gothic novels – «The House of the Seven Gables» by Nathaniel Hawthorne and «The Haunting of Hill House» by Shirley Hardie Jackson. The author assumes that chronotope is not just a spacetime characteristic, but a set of motifs – the motive of dark past, the motif of spatial and temporal isolation, and the motif of «sentient» house. All of these motifs were used by classic Gothic novel writers of the 1760s to 1830s, and were as well employed in later quasi-Gothic texts. At the turn of the 19th century, Gothic novel commenced its parallel development in American literature, where it subsequently became one of the national genres. American writers aspired to adapt Gothic poetics to the cultural context of the country. For instance, in New England Gothic fi ction, the chronotope of the castle was transformed into the chronotope of the «bad» house. However, the set of motifs has remained the same: both Hawthorne and Jackson consistently used the motifs, provided by British Gothic fi ction, yet they further explored them and came up with their own interpretations.

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McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio." Gothic Studies 24, no. 2 (July 2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.

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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.

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Stričević Gladić, Mila N. "SCREENING THE GOTHIC: PARODY OF THE GOTHIC GENRE IN TIM BURTON’S DARK SHADOWS." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 8, no. 8 (April 4, 2019): 131–43. http://dx.doi.org/10.19090/zjik.2018.8.131-143.

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Since the first Gothic work, Horace Walpole’s The Castle of Otranto, was published in 1764, the Gothic genre has constantly been changing and evolving. One of its main purposes has always been social criticism, and therefore Gothic literature had to change together with the society. In the 20th and especially in the 21st century with the arrival of new technologies, Gothic moved from the paper to the screen. Film and television offered a whole new range of possibilities for the postmodern authors of Gothic works to express themselves. One such artist is certainly the American director Tim Burton who is famous for his dark comedies that are almost exclusively crammed with Gothic elements. In this paper, the author shows how, in his movie Dark Shadows from 2012, Tim Burton used parody as a tool to make an on-screen pastiche of Gothic elements packed in a dark comedy for the true lovers of the Gothic genre, creating a genuine example of the postmodern Gothic.

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Hu, Sijie, and Jingdong Zhong. "On the Grotesque in American Southern Gothic Fiction: A Case Study of “A Rose for Emily”." Frontiers in Humanities and Social Sciences 2, no. 6 (June 20, 2022): 38–43. http://dx.doi.org/10.54691/fhss.v2i6.891.

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Taking Faulkner’s short story “A Rose for Emily” as an example, this paper aims to explore the grotesque in American Southern Gothic Fiction in general, Faulkner's works in particular. Compared with British and the 19th-century American [northern] Gothic literature, the southern Gothic by Faulkner and others reflects more reality and digs deeper into the humanity in the specific social environment. The grotesque in “A Rose for Emily” is fully illustrated from various aspects such as the arrangements of the setting atmosphere, characterization, the sublimation of the theme of death, the wording and the excellent writing techniques. This short story can serve as a mirror, through which people can learn about the historic changes during American Civil War. The study reconfirms that there are great impacts of the social changes and the external environment on the personal psychology and ideologies in American southern states.

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Saunders, Robert J. ""American Gothic" and the Division of Labor." Art Education 40, no. 3 (May 1987): 6. http://dx.doi.org/10.2307/3193051.

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BACH, ANN L. E. "GRANT WOOD'S STUDIO BIRTHPLACE OF AMERICAN GOTHIC." Art Book 13, no. 2 (May 2006): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2006.00674.x.

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Dietz, Ulysses Grant. "Grant Wood: American Gothic and Other Fables." Journal of Modern Craft 11, no. 2 (May 4, 2018): 165–67. http://dx.doi.org/10.1080/17496772.2018.1493789.

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Page, Brian. "Labor and the Landscape of American Gothic*." Labor History 44, no. 1 (February 2003): 95–110. http://dx.doi.org/10.1080/0023656032000057149.

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Joehl, Regan R. "American Gothic Revised: Positive Perceptions from a Young American Farmer." Journal of Natural Resources and Life Sciences Education 37, no. 1 (2008): 46–48. http://dx.doi.org/10.2134/jnrlse2008.37146x.

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Fernández Jiménez, Mónica, and Evert Jan Van Leeuwen. "Pernicious Properties: From Haunted to Horror Houses: An Interview with Evert Jan van Leeuwen." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 44–56. http://dx.doi.org/10.37536/reden.2022.3.1814.

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Evert Jan van Leeuwen is a lecturer in English-language literature at Leiden University, in the Netherlands. He researches fantastic fictions and counter cultures from the eighteenth century to the present. He is also interested in the international, intertextual dimensions of genres like Gothic, Horror and Science Fiction, and explores how they manifest in the British Isles, the Low Countries, and North America. He has recently co-edited the volume Haunted Europe: Continental Connections in English Language Gothic Writing, Film and New Media (2019) with Michael Newton and has written articles and chapters about American gothic authors Nathaniel Hawthorne and Edgar Allan Poe, amongst others. In relation to this, Evert has also published House of Usher (2019) a book analyzing Poe’s famous story “The Fall of the House of Usher” (1839), Richard Matheson’s related film script and the cinematic adaptation by Roger Corman in the context of the 1960s counter-culture.

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Beadling, Laura. "Native American Gothic On Screen: Revising Gothic Conventions in Two Recent Indigenous-Centered Films." Gothic Studies 20, no. 1-2 (November 2018): 111–23. http://dx.doi.org/10.7227/gs.0038.

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Pritzker, Robyn. "Something Wicked Westward Goes: Fanny Van de Grift Stevenson’s Californian Uncanny." Humanities 9, no. 2 (May 29, 2020): 47. http://dx.doi.org/10.3390/h9020047.

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This essay offers a first critical reading of American author Fanny Van de Grift Stevenson’s short story “The Warlock’s Shadow” (1886), asserting that the tale appropriates historical traumas in order to navigate, and transgress, boundaries of genre and gender. The strangeness of the text’s Central Californian setting, to the narrator, precipitates a series of Gothic metamorphoses, and “The Warlock’s Shadow” engages with this transformation via a concept that this essay defines as the “Californian Uncanny”. The latter framework is a result of the specific, layered indigenous and colonial identities of post-Gold Rush California coming into contact with the unstable subjectivities of the Gothic genre. “The Warlock’s Shadow” manifests the Californian Uncanny primarily through the relationship between the home, the environment, and the “unassimilable” inhabitant. Stevenson’s text illustrates, through these images, the ways in which late-nineteenth-century American Gothic fiction has allowed the white feminine subject to negotiate her own identity, complicating the binary distinctions between Self and Other which underpin American colonialism both internally and externally. The phenomenon of the Californian Uncanny in “The Warlock’s Shadow” reflects these gendered and geographical anxieties of American identity, confronting the ghosts of the nation’s westernmost region.

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Piñeiro, Aurora. "A Trail of Bread Crumbs to Follow, or Gothic Rewritings of ‘Hansel and Gretel’ by Lina Meruane, Jorge Volpi and Mariana Enríquez." Gothic Studies 22, no. 1 (March 2020): 49–63. http://dx.doi.org/10.3366/gothic.2020.0037.

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This article analyses postmodern Gothic rewritings of ‘Hansel and Gretel’ by three Latin American writers as works in which different degrees of appropriation of themes and strategies from the classic tale, and the use of the metaphor of the magic mirror, achieve ideologically subversive effects. Gothic rewritings of ‘Hansel and Gretel’ by Meruane, Volpi and Enríquez denounce intolerance and present an eminent link between literary works and troubled historical contexts.

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Serravalle de Sá, Daniel. "Gótico brasileño: el cine de Walter Hugo Khouri y José Mojica Marins." Catedral Tomada. Revista de crítica literaria latinoamericana 9, no. 17 (January 10, 2022): 177–96. http://dx.doi.org/10.5195/ct/2021.516.

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This paper seeks to connect the concepts of “terror” and “horror” proposed by Gothic novelist Ann Radcliffe to films by Brazilian directors Walter Hugo Khouri and José Mojica Marins. It will be discussed here how such concepts manifest themselves in the national context and in which senses, trapped somewhere between repetition and difference, Khouri and Mojica’s films can be deemed expressions of a Brazilian Gothic. Stemming from elements derived from Anglo-American criticism, but, highlighting the different meanings that these elements gain in Brazil. To interpret Brazilian films in the light of the Gothic means addressing the issue of “construction of meaning” in national history, as the Gothic has the potential to revive old traumas and generate discussions about specific social contexts.

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Gadpaille, Michelle. "Emigration Gothic: A Scotswoman’s Contribution to the New World." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (June 20, 2006): 169–82. http://dx.doi.org/10.4312/elope.3.1-2.169-182.

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Ellen Ross (1816?–1892) emigrated from Scotland to Montreal at mid-century and wrote two Gothic novels, in one of which – Violet Keith, An Autobiography (1868) – she used the Canadian setting as a fantastic Gothic locale in which to explore areas of social and sexual transgression. Drawing on earlier traditions of European Gothic, including Sir Walter Scott’s mythologized Scottish landscape, and on an emerging North American genre of convent exposes, Ross’s writing accommodates female protest, distances it from reality and allows its dissipation in conventional denouements. If female Gothic can be read as an analogue of realistic women’s problems, then perhaps this analogy can be extended to encompass emigration and immigrant life. The paper analyzes Ross’s motifs of loss, imprisonment, solitude, surveillance and deliverance and considers the possibility that Gothic motifs in her work both conceal and express features of the immigrant’s psychic battle with the transition to the New World.

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Evans, Rebecca. "Geomemory and Genre Friction: Infrastructural Violence and Plantation Afterlives in Contemporary African American Novels." American Literature 93, no. 3 (July 26, 2021): 445–72. http://dx.doi.org/10.1215/00029831-9361265.

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Abstract This essay argues that contemporary African American novels turn to the gothic in order to dramatize the uncanny infrastructural and spatial afterlives of the plantation through a literary strategy it identifies as geomemory: a genre friction between mimetic and gothic modes in which postplantation spaces in the US South are imbued with temporal slippages such that past and present meet through the built environment. Tracing the plantation’s environmental and infrastructural presence in the Gulf Coast and throughout the US South, this essay argues that the plantation’s presence is fundamentally gothic. Geomemory, a trope evident across the emerging canon of contemporary African American fiction, allows writers to address the representational challenge of infrastructural and spatial violence via a defamiliarizing chronotope in which past, present, and future come into uneasy contact. Further, geomemory’s particular enmeshment with spatial design and infrastructure means that it moves from identifying the modern afterlife of the plantation to situating the present in the long context of plantation modernity.

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DINES, MARTIN. "Suburban Gothic and the Ethnic Uncanny in Jeffrey Eugenides's The Virgin Suicides." Journal of American Studies 46, no. 4 (July 4, 2012): 959–75. http://dx.doi.org/10.1017/s0021875812000722.

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If uncertainty and anxiety are the troubling but potentially radical qualities of gothic narrative, suburban gothic has typically been understood in terms of a banal unhomeliness which merely confirms reassuring commonplaces about the postwar American suburbs. In such readings, the suburbs are supposed to embody a desire to stand outside history: either they are places in which people seek refuge from their own pasts, or they represent an idealized past removed from the challenges of the present. This article argues that Jeffrey Eugenides's 1993 novel The Virgin Suicides undermines easy assumptions about the suburbs' atemporality. The novel's various gothic motifs suggest the difficulty of abandoning European pasts in order to adopt the white American identities required for a life in the suburbs; repressed ethnic difference haunts the suburban landscape. Yet Eugenides's suburban gothic also complicates the process of remembering such acts of forgetting: the difficulty of explicating suburban pasts, the novel insists, is precisely a measure of their having become historical. The drive to present comforting, codified narratives of the suburbs is shown to be part of a move – which always fails – to disassociate the present from these sites of conflict and trauma.

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Schober, Adrian. "Roald Dahl’s Reception in America: The Tall Tale, Humour and the Gothic Connection." Papers: Explorations into Children's Literature 19, no. 1 (January 1, 2009): 30–39. http://dx.doi.org/10.21153/pecl2009vol19no1art1155.

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Dahl's hyperbolic children's fantasies appeal to the American love of overstatement, a hallmark of that most American of storytelling forms: the tall tale. Humour is an essential element of the tall tale; one of its most famous practitioners was Mark Twain. Dahl's brand of humour clearly profits from this national literary form. His employment of grotesque caricature also has links with the Gothic, a mode in which Dahl excels, as does America. However, as Petzold notes, the question of whether 'there are national differences in the use of the grotesque is... yet to be investigated' (2006, p.183). It may be that American culture is more willing to embrace a particular form of the grotesque.

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Keetley, Dawn. "Stillborn: The Entropic Gothic of American Horror Story." Gothic Studies 15, no. 2 (November 2013): 89–107. http://dx.doi.org/10.7227/gs.15.2.6.

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Goodchild, Lester F. "Oxbridge's Tudor Gothic Influences on American Academic Architecture." Paedagogica Historica 36, no. 1 (January 2000): 266–98. http://dx.doi.org/10.1080/0030923000360113.

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Vargas, Margarita. "Gothic Imagination in Latin American Fiction and Film." Symposium: A Quarterly Journal in Modern Literatures 76, no. 4 (October 2, 2022): 250–52. http://dx.doi.org/10.1080/00397709.2022.2149079.

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Nadal Blasco, María. ""The fall of the house of Usher" : a master text for (Poe's) American Gothic." Journal of English Studies 7 (May 29, 2009): 55. http://dx.doi.org/10.18172/jes.141.

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This paper analyses a selection of Poe’s fiction taking as a point of departure the contentions of critics such as Hillis Miller and Eric Savoy on the characteristics of American Gothic. The paper starts with a discussion of these features, which “The Fall of the House of Usher” epitomizes. After a revision of “Usher”, the paper explores other Poe works, showing that the elements that make this narrative a master text for the history of American Gothic are somehow anticipated in Poe’s previous tales, like “Berenice” and “Ligeia”, in The Narrative of Arthur Gordon Pym, and peculiarly reflected in the late tale of detection “The Purloined Letter”.

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McAleer, J. Philip. "St. Mary's (1820-1830), Halifax: An Early Example of the Use of Gothic Revival Forms in Canada." Journal of the Society of Architectural Historians 45, no. 2 (June 1, 1986): 134–47. http://dx.doi.org/10.2307/990092.

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Early Gothic Revival architecture in Canada, particularly from the period prior to the 1840s, when the influence of A. W. N. Pugin and the Ecclesiologists began to be felt, has been little studied. This paper reconstructs a lost monument-St. Mary's, in Halifax, Nova Scotia, as erected 1820-1830-which may have been the first ambitious essay in the Gothic Revival style, especially as it apparently precedes by a few years the single and most famous monument of this time, the parish church of Notre-Dame in Montréal, itself often considered the starting point of the style in Canada. Although the exterior of St. Mary's was modest-essentially it was an exemplar of the rectangular box with "west" tower, definitively formulated by James Gibbs, and ubiquitous since the 1720s-with Gothic detailing replacing Baroque, the interior, known only from one watercolor and partly surviving today, is of greater interest. Divided into nave and aisles by piers of clustered shafts, the piers' form, plus plaster vaults and pointed arches, helped create an aura reminiscent of the Gothic period. The interior was dominated by the design of the sanctuary (now destroyed), where an unusual congregation of architectural forms suggests both the appearance of illusionistic architecture, with a possible connection to New York, and a further transformation of Baroque forms into their Gothic equivalents, with a possible connection to Québec City. Tenuous, circumstantial evidence will be provided to substantiate the plausibility of such sources. This paper also attempts to place St. Mary's in the context of the Gothic Revival in North America c. 1820-1830. As a result, it will be seen that its exterior, although without precedents in Canada, is typical of Gothic Revival churches of the period in the United States. By contrast, the interior design, especially of the sanctuary, suggests it was one of the more imaginative creations in either context. It therefore emerges as a more significant monument in the history of Canadian and North American architecture than heretofore suspected.

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Round, Julia. "‘little gothics’: Misty and the ‘Strange Stories’ of British Girls’ Comics." Gothic Studies 23, no. 2 (July 2021): 163–80. http://dx.doi.org/10.3366/gothic.2021.0092.

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This article uses a critical framework that draws on the Gothic carnival, children’s Gothic, and Female Gothic to analyse the understudied spooky stories of British comics. It begins by surveying the emergence of short-form horror in American and British comics from the 1950s onwards, which evolved into a particular type of girls’ weekly tale: the ‘Strange Story.’ It then examines the way that the British mystery title Misty (IPC, 1978–80) developed this template in its single stories. This focuses on four key attributes: the directive role of a host character, an oral tone, content that includes two-dimensional characters and an ironic or unexpected plot reversal, and a narrative structure that drives exclusively towards this final point. The article argues that the repetition of this formula and the tales’ short format draw attention to their combination of subversion/conservatism and horror/humour: foregrounding a central paradox of Gothic.

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Risner, Jonathan. "Latin American Gothic in Literature and Culture, ed. Sandra Casanova-Vizcaíno and Inés Ordiz." Gothic Studies 21, no. 2 (November 2019): 239–42. http://dx.doi.org/10.3366/gothic.2019.0030.

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Cucarella-Ramon, Vicent. "The black female slave takes literary revenge: Female gothic motifs against slavery in Hannah Crafts’s "The Bondwoman’s Narrative"." Journal of English Studies 13 (December 15, 2015): 19. http://dx.doi.org/10.18172/jes.2786.

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The Bondwoman’s Narrative is a novel that functions as a story made up from Hannah Crafts’s experiences as a bondwoman and thus merges fact and fiction giving a thoroughly new account of slavery both committed to reality and fiction. Following and taking over the Gothic literary genre that spread in Europe as a reaction toward the Romantic spirit, Crafts uses it to denounce the degrading slavery system and, mainly, to scathingly attack the patriarchal roots that stigmatize black women as the ultimate victims. It is my contention that Hannah Crafts uses the female Gothic literary devices both to attack slavery and also to stand as a proper (African) American citizen capable of relating to the cultural outlets that American culture offered aiming to counteract the derogatory stereotypes that rendered African American women at the very bottom of the social ladder.

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Journal articles on the topic 'American Gothic'

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