Journal articles: 'Female Gothic'

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Millsap-Spears, Carey. "‘Does he know you like I know you?’: Barbara Kean’s bisexual appeal, the Male Gothic and Gotham’s woman problem." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 19–33. http://dx.doi.org/10.1386/qsmpc_00042_1.

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This article discusses how the FOX television series Gotham (2014–19) fits the overall definition of a traditional Male (Horror) Gothic text and how disruptive female characters, like Barbara Kean, push against these seemingly strict Gothic boundaries. Through the development of the bisexual character Barbara Kean, the conservative, Male Gothic foundation is ultimately questioned in the US television series. Gotham’s portrayal of Barbara not only propagates bisexual stereotypes, but it also speaks to the larger discussion of bisexual aversion and eventual erasure present in many media texts. Additionally, Gotham employs the depraved bisexual trope, in which bisexual characters, like Barbara, are shown to be duplicitous. Barbara Kean, however, transgresses the boundaries of the Male Gothic tradition and thrives within the narrative structure of Gotham.

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Fitzgerald, Lauren. "Female Gothic and the Institutionalization of Gothic Studies." Gothic Studies 6, no. 1 (May 2004): 8–18. http://dx.doi.org/10.7227/gs.6.1.2.

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Clery, E. J. "Varieties of Female Gothic (review)." Eighteenth Century Fiction 19, no. 4 (2007): 463–67. http://dx.doi.org/10.1353/ecf.2007.0018.

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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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Shapira, Yael. "Female Gothic Histories: Gender, History and the Gothic by Diana Wallace." Partial Answers: Journal of Literature and the History of Ideas 15, no. 1 (2017): 189–92. http://dx.doi.org/10.1353/pan.2017.0011.

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Williams, Anna. "Grad School Gothic: The Mysteries of Udolpho and the Academic #MeToo Movement." Gothic Studies 22, no. 2 (July 2020): 115–30. http://dx.doi.org/10.3366/gothic.2020.0044.

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In the age of #MeToo, the Female Gothic rises from the critical crypt once again. Examining the educational narrative of Emily St. Aubert in Ann Radcliffe's The Mysteries of Udolpho, I argue that the Female Gothic has always vividly portrayed emotional invalidation – a term borrowed from cognitive psychologist Marsha Linehan – as a tool to silence righteous, yet naïve, voices and perpetuate imbalances of social power. As the recent #MeToo movement in academic culture demonstrates, the fourth-wave feminist critique of workplace discrimination targets not only sexual misconduct, but also intellectual misconduct. I propose that, often, discrimination in academic spaces uses the very same tool portrayed in the Female Gothic. In this paper, I look to the Female Gothic as well as to feminist pedagogical theory to offer solutions to the problem of emotional invalidation in the Grad School Gothic.

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Smith, Andrew, and Diana Wallace. "The Female Gothic: Then and Now." Gothic Studies 6, no. 1 (May 2004): 1–7. http://dx.doi.org/10.7227/gs.6.1.1.

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Hoeveler, Diane Long. "The Construction of the Female Gothic Posture: Wollstonecraft's Mary and Gothic Feminism." Gothic Studies 6, no. 1 (May 2004): 30–44. http://dx.doi.org/10.7227/gs.6.1.4.

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López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.

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In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.

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Robert-Foley, Lily. "Haunted readings of female gothic short stories." Short Fiction in Theory & Practice 7, no. 2 (October 1, 2017): 177–92. http://dx.doi.org/10.1386/fict.7.2.177_1.

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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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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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Wallace, Diana. "Uncanny Stories: The Ghost Story As Female Gothic." Gothic Studies 6, no. 1 (May 2004): 57–68. http://dx.doi.org/10.7227/gs.6.1.6.

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Ju, Jaeha. "Rewriting Female Gothic: Margaret Atwood’s The Robber Bride." Society for International Cultural Institute 13, no. 2 (December 30, 2020): 173–96. http://dx.doi.org/10.34223/jic.2020.13.2.173.

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Gordon, Lynn D., and Helen L. Horowitz. "Female Gothic: Writing the History of Women's Colleges." American Quarterly 37, no. 2 (1985): 299. http://dx.doi.org/10.2307/2712904.

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Caldwell, Patrice, and Tamar Heller. "Dead Secrets: Wilkie Collins and the Female Gothic." Rocky Mountain Review of Language and Literature 46, no. 4 (1992): 232. http://dx.doi.org/10.2307/1347138.

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HAWORTH, CATHERINE. "“Something beneath the flesh”: Music, Gender, and Medical Discourse in the 1940s Female Gothic Film." Journal of the Society for American Music 8, no. 3 (August 2014): 338–70. http://dx.doi.org/10.1017/s1752196314000236.

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AbstractClosely related to both film noir and the woman's film, 1940s female gothic pictures combine suspense and mystery with a focus on the subjective experience of the female protagonist. This article discusses the use of music and sound in the cinematic female gothic tradition, focusing upon two historically located films that form part of its “gaslight” subgenre:Experiment Perilous(dir. Tourneur; comp. Webb, 1944) andThe Spiral Staircase(dir. Siodmak; comp. Webb, 1946). In both films, the positioning of the female lead is mediated by the presence of a medical discourse revolving around her professional and romantic relationship with a male doctor, whose knowledge and authority also allows him to function as an unofficial investigator into the woman's persecution at the hands of a serial murderer. The female gothic soundtrack is a crucial element in the creation and communication of this gendered discourse, articulating the shifting position of characters in relation to issues of crime, criminality, and romance. Musical and vocal control reinforce the doctor's dominance whilst allying his presentation with that of an emasculated killer, and create and contain agency within complex constructions of female victimhood.

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McVeigh, Margaret. "Telling Big Little Lies: Writing the Female Gothic as extended metaphor in Complex Television." Journal of Screenwriting 11, no. 1 (March 1, 2020): 63–80. http://dx.doi.org/10.1386/josc_00013_1.

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This article investigates the writing of the Female Gothic as extended metaphor in the Complex TV series Big Little Lies (2017). It builds on my earlier work, ‘Theme and complex narrative structure in HBO’s Big Little Lies 2017’ (2019), wherein I applied Porter et al.’s (2002) structuralist narrative tool, the ‘Scene Function Model’, to investigate the way narrative and theme is progressed in complex interweaving stories via the writing of core or ‘kernel’ narrative scenes. Herein, I further investigate storytelling in series TV by proposing the ‘satellite’ narrative scene as a means by which the screenwriter may conceptualize and deploy metaphor to create viewer engagement. First, I consider David E. Kelley’s series screenplay, Big Little Lies, as a blueprint for HBO’s televised series. Specifically, I apply theories of Complex TV, Gothic Television and Domestic Noir to consider how Kelley deploys the Female Gothic as extended metaphor to inform formal narrative elements including the pre-titles sequences and flashbacks repeated across episodes.

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Li, Zhang, and Qiu Siyue. "Female Education of Catherine in Northanger Abbey." Scholars International Journal of Linguistics and Literature 5, no. 9 (September 4, 2022): 253–56. http://dx.doi.org/10.36348/sijll.2022.v05i09.001.

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Northanger Abbey is one of Jane Austen's six novels which contains rich connotation and profound implication. Female education is the theme of the novel. With the help of Gothic novels, Austen interprets the theme of female education in the framework of Catherine and Henry's love and marriage story, and explores how young men and women find their own marriage partners under the pressure of society and the times. Jane Austen expressed her progressive view of female education. She thinks that only relying on parents' education at home can not cultivate mature and rational qualified women. They also need to step into the society and read novels to get personal growth in these activities of communicating with others. In Austen's time, a popular educational concept strongly advocates that women should receive family education to ensure their physical and mental purity, and believes that novels will corrupt their hearts and lead them astray. Austen's view is progressive and positive at that time. She points out the importance of rationality to emotion and imagination, and defends the art of fiction including Gothic novels.

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Esse, Melina. "Donizetti's Gothic Resurrections." 19th-Century Music 33, no. 2 (2009): 81–109. http://dx.doi.org/10.1525/ncm.2009.33.2.081.

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Abstract The preponderance of gothic themes in Italian operas of the early nineteenth century is often cited as one of the few ways essentially conservative Italian composers flirted with the Romantic revolution sweeping the rest of Europe. By 1838, the very ubiquity of these tropes led the Venetian reviewer of Donizetti's gory Maria de Rudenz to plead ““exhaustion”” with the ever-present ““daggers, poisons, and tombs”” of the contemporary stage. Based on the French melodrama La Nonne sanglante, Donizetti's sensational opera is almost a litany of gothic tropes. The most disturbing of these is the female body that refuses to die: Maria herself, who rises from the dead to murder her innocent rival. This fleshy specter is musically rendered as a body that is too receptive to emotion, particularly to (imaginary) cries of longing or grief. Significantly, Donizetti's foray into the gothic was also distinguished by a spate of self-borrowing; his 1838 revision of the earlier Gabriella di Vergy borrows material from Maria de Rudenz. Exploring the connections between the trope of gothic resurrection and Donizetti's borrowings highlights how the two works represent a characteristic approach to the gothic, one that mingles a corporeal orientation with more familiar themes of ghostly immateriality.

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Bailey, Peggy Dunn. "Female Gothic Fiction, Grotesque Realities, and Bastard Out of Carolina: Dorothy Allison Revises the Southern Gothic." Mississippi Quarterly 63, no. 1-2 (2010): 269–90. http://dx.doi.org/10.1353/mss.2010.0034.

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Martin, Adrian. "Mystery envelope: Kitchen Sink as Female Gothic." Short Film Studies 2, no. 1 (January 1, 2012): 75–78. http://dx.doi.org/10.1386/sfs.2.1.75_1.

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Moy, Olivia Loksing. "Radcliffe's Poetic Legacy: Female Confinement in the “Gothic Sonnet”." Women's Writing 22, no. 3 (July 3, 2015): 376–94. http://dx.doi.org/10.1080/09699082.2015.1037988.

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Fletcher, J. "Primal scenes and the female gothic: Rebecca and Gaslight." Screen 36, no. 4 (December 1, 1995): 341–70. http://dx.doi.org/10.1093/screen/36.4.341.

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Braček, Tadej. "Reaction to Crisis in Gothic Romance: Radcliffe’s The Castles of Athlin and Dunbayne." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 35–49. http://dx.doi.org/10.4312/elope.13.2.35-49.

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Gothic romances were primarily women’s domain. This is proven by the fact that from the end of the eighteenth century to the beginning of the nineteenth century more than fifty female authors wrote Gothic romances. In the first part the paper depicts the emergence of romances, clarifies the notion of the Gothic and explains the theory of Gothic romances. The second part focuses on Ann Radcliffe’s first novel, The Castles of Athlin and Dunbayne. This section analyses in what way men and women react to crises. It concludes that reactions are primarily based not on sex but on the benevolence and malevolence of literary characters. The former react with higher intensity on the physical level (passing out, becoming ill) and the latter react vehemently in emotional sense towards their rivals. The originality of the article lies in the systematic analysis of characters’ responses to crisis and in the study of atypical features of this Gothic novel.

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Mankhi, AZhar Hameed. "Rebellion against Patriarchy: The Employment of the Gothic tradition in Angela Carters' selected stories." لارك 1, no. 8 (May 28, 2019): 43–54. http://dx.doi.org/10.31185/lark.vol1.iss8.921.

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The purpose of this paper is to closely analyze Angela Carter's(1940-1992) representations of femininity in selected examples of her writings with the aim of demonstrating her very special approach to the portrayal of women . It reflects on Carter‟s use of the Gothic and her relation to this literary mode It focuses on the use of the Gothic characters and themes in Carter's works to explore one of the main issues of the century: the role of women in society and the relationship between the sexes. It deals with the literary mode of the Gothic which has not lost its fascination over the centuries .The use of Gothicism characterizes her as a sophisticated writer, capable of mixing different literary devices to create an original and powerful kind of writing. She uses Gothic as a foil to reflect upon depiction of feminity . In this paper , I will therefore bring one important aspect of Carter's writing which has fascinated me most about her works: the female Gothic mode of her writing Gothic literature has fascinated readers of all ages, men and women alike. Interestingly, the Gothic as a literary mode is as "shadowy and nebulous" as the atmospheres it describes. For Botting ,"Gothic literature depicts feelings and characters in their extremes, thus alluding strongly to the reader's imagination and his or her emotions"1

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D’Arcy, Jeanette. "‘We can believe he does not see her, nor know she’s there’: Erasure and The Woman in Black." Gothic Studies 24, no. 2 (July 2022): 137–50. http://dx.doi.org/10.3366/gothic.2022.0130.

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This article focuses on a 1980s theatrical adaptation of a 1980s novel from the vantage point of the twenty-first century; the production experienced by the author was a live performance in its twenty-fifth anniversary year. The Woman in Black, adapted from Susan Hill’s 1983 novel, has run virtually unchanged since its transfer to the West End in the late 1980s. While the Woman has been read as a feminist depiction of a female ghost who defies patriarchal control, this article argues that such readings are mitigated by the material performance and marketing strategies necessary for the creation of a commercially successful Gothic horror production. While the play mirrors the novel’s depictions of 1980s cultural horrors, its apparent depiction of a powerful female ghost elides the various strategies which contain and limit that power, and work to erase the actor. The production’s unusually long run serves to emphasise these Gothic erasures, elisions, and sleights of hand.

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Chronister, Kay. "‘On the Moon at Last’: We Have Always Lived in the Castle, Female Gothic, and the Lacanian Imaginary." Gothic Studies 22, no. 2 (July 2020): 131–47. http://dx.doi.org/10.3366/gothic.2020.0045.

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Recent work on Shirley Jackson has emphasized how Jackson masks the horror in her work to show violence and trauma embedded in ordinary domestic life. We Have Always Lived in the Castle seemingly departs from this pattern with a first-person narrator who is a murderer prone to delusive magical thinking. In this paper, I show that we can understand Castle's first-person narrative as a mask of a different kind by applying the Lacanian concepts of the Symbolic, Imaginary, and Real. Through the diegetic narrative, we see Merricat use the Imaginary to escape both the patriarchal Symbolic and traumatic Real. When we look at Castle in this light, we see how it develops and complicates the Gothic pattern of the missing mother and confined daughter, a pattern observable in Jackson's earlier fiction. By enclosing herself and her mother-figure in the Imaginary, Merricat victimizes Castle's real Gothic heroine: her sister Constance.

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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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Gardner, Eleanore. "Navigating the Antiheroine’s Internalised Misogyny: Transformative Female Friendship in Cat’s Eye and The Robber Bride." IAFOR Journal of Literature & Librarianship 11, no. 1 (October 28, 2022): 69–83. http://dx.doi.org/10.22492/ijl.11.1.05.

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This paper focuses on Margaret Atwood’s novels, Cat’s Eye and The Robber Bride, as well as her short story “I Dream of Zenia with the Bright Red Teeth” in order to examine her complex construction of the elusive antiheroine, a figure who ultimately challenges the archetypal femme fatale, despite initially masquerading as the femme, villain, and antagonist of the text. The conclusions of Cat’s Eye and The Robber Bride situate forgiveness as significantly important in the Gothic antiheroine’s redemption and suggest that there is power in ambiguity, for both Cordelia and Zenia remain unknowable in their motives and perceptions. Yet while the protagonists’ reconciliation with the dark Gothic double results in the relinquishment of internalised misogyny and subsequent realignment with the self, the very notion of forgiveness implies a (somewhat misplaced) wrongdoing. I argue that by framing Cordelia’s and Zenia’s acts as needing an explanation or absolution, their behaviour becomes unnatural, abject, and deviant, as opposed to being overtly read as consequences of a patriarchal system. The transgressions of Cordelia and Zenia in Cat’s Eye and The Robber Bride thus border the line between villainy and antiheroism in ambiguous ways, reinforcing the Gothic antiheroine’s liminal existence between denunciation and adherence to patriarchal norms.

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Rubenstein, Roberta. "House Mothers and Haunted Daughters: Shirley Jackson and Female Gothic." Tulsa Studies in Women's Literature 15, no. 2 (1996): 309. http://dx.doi.org/10.2307/464139.

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Irvine, Robert P. "Scott's "The Black Dwarf": The Gothic and the Female Author." Studies in Romanticism 38, no. 2 (1999): 223. http://dx.doi.org/10.2307/25601388.

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Proshanta Sarkar, Proshanta Sarkar. "Female Gothic: Sexual Politics and the Subversion of Gender Hierarchy." IOSR Journal of Humanities and Social Science 9, no. 1 (2013): 42–45. http://dx.doi.org/10.9790/0837-0914245.

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Žabicka, Agnieszka. "Female Gothic Motifs in Mona Caird's The Wing of Azrael." Victorian Review 31, no. 1 (2005): 5–20. http://dx.doi.org/10.1353/vcr.2005.0000.

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Hughes, Winifred. ": Dead Secrets: Wilkie Collins and the Female Gothic. . Tamar Heller." Nineteenth-Century Literature 48, no. 3 (December 1993): 393–96. http://dx.doi.org/10.1525/ncl.1993.48.3.99p0033a.

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Galiné, Marine. "The 1798 Rebellion: Gender Tensions and Femininity in the Irish Gothic." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 105–18. http://dx.doi.org/10.32803/rise.v2i2.1897.

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The year 2018 marks the 220th anniversary of the Irish rebellion of 1798. As Susan B. Egenolf points out, this short-lived but devastating conflict between Irish insurgents and Loyalist soldiers was felt as an attack on domesticity, as rebels and loyalists alike 'invade[d] private homes'. Several scholars have already discussed the (re)writing of such a traumatic event in Protestant women's narratives, shedding light on how these women filtered their emotions with the languages of chivalry, sensibility, and the gothic. Indeed, the gothic is generally seen as a polymorphous prism through which one can apprehend anxieties, tensions and violence. This paper seeks to confront the dynamics of genre and gender through the depiction of violence (be it domestic or national) in Irish Gothic texts using the 1798 rebellion as a contextual backdrop. In Maturin's The Milesian Chief (1812) and Mrs Kelly's The Matron of Erin (1816), the (Protestant) female gothic heroine exposes her body to private and public religious and political violence.

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López Ramírez, Manuela. "Gothic Noir Filmic Male Gaze: Gender Stereotyping in Margaret Atwood’s “The Freeze-Dried Groom”." Ambigua: Revista de Investigaciones sobre Género y Estudios Culturales, no. 8 (December 14, 2021): 119–36. http://dx.doi.org/10.46661/ambigua.5899.

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Stereotyping has been crucial in artistic representations, especially cinema, in the construction of gender paradigms. Males and females have been portrayed by means of simplified unrealistic clichés with the purpose of controlling and constraining them into patriarchal roles and conventions, promoting societal normative ideologies. Noir women are projections of male anxieties about female sexuality and female independence. In “The Freeze-Dried Groom,” Atwood unveils gender stereotyping through a typically film noir male gaze in three of its stock characters: the femme attrapée, the “detective” and the femme fatale. Hence, Atwood depicts a femme fatale to reflect not just on this character in film noir, but also on female identity, gender dynamics and feminism. She exposes and questions the marriage-family institution, and the patriarchal society as a whole.

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Chow, Jeremy. "Snaking into the Gothic: Serpentine Sensuousness in Lewis and Coleridge." Humanities 10, no. 1 (March 15, 2021): 52. http://dx.doi.org/10.3390/h10010052.

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This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects.

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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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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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Burger, Alissa. "Hollywood Heroines: Women in Film Noir and the Female Gothic Film." Quarterly Review of Film and Video 27, no. 1 (November 30, 2009): 83–86. http://dx.doi.org/10.1080/10509200903119999.

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McNally, Karen. "hollywood heroines: women in film Noir and the female Gothic film." Feminist Review 94, no. 1 (March 2010): 166–68. http://dx.doi.org/10.1057/fr.2009.50.

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DAVISON, CAROL MARGARET. "Haunted House/Haunted Heroine: Female Gothic Closets in “The Yellow Wallpaper”." Women's Studies 33, no. 1 (January 2004): 47–75. http://dx.doi.org/10.1080/00497870490267197.

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D’Cruz, Doreen. "Rewriting the Female Gothic in the Antipodes: Fiona Kidman’s Mandarin Summer." ariel: A Review of International English Literature 48, no. 1 (2017): 97–122. http://dx.doi.org/10.1353/ari.2017.0003.

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Marinovich, Sarolta. "The discourse of the other: Female gothic in contemporary women's writing." Neohelicon 21, no. 1 (March 1994): 189–205. http://dx.doi.org/10.1007/bf02093047.

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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.

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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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47

Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.

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Abstract:

The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.

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White, David Gordon. "Dracula's Family Tree: Demonology, Taxonomy, and Orientalist Influences in Bram Stoker's Iconic Novel." Gothic Studies 23, no. 3 (November 2021): 297–315. http://dx.doi.org/10.3366/gothic.2021.0106.

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Prior to Bram Stoker's Dracula, vampires were never represented in literature as reanimated or ‘undead’ humans capable of transforming into bats. The source of Stoker's innovation may be traced to his personal acquaintance Sir Richard Francis Burton, who in his adaptation of a South Asian anthology of ‘Gothic’ tales of horror and adventure had identified its hero's antagonist, called a vetāla in Sanskrit, as both a male vampire and a giant bat. This article surveys a number of ancient, medieval, and early modern Asian and European precursors of Stoker's vampire lore, noting that unlike Stoker's shape-shifting Transylvanian Count, predatory ‘vampires’ were most often female in gender in these traditions, and their victims male; and reviews the shifting interface between the taxonomical and cultural categories of ‘vampire’ and ‘bat’ in Europe, Asia, and the Americas.

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Chaplin, Sue. "‘Daddy, I'm falling for a monster’: Women, Sex, and Sacrifice in Contemporary Paranormal Romance." Gothic Studies 21, no. 1 (May 2019): 10–27. http://dx.doi.org/10.3366/gothic.2019.0004.

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This paper examines a key trope within much contemporary paranormal romance: the absence, or ineffectiveness, of the father. The first part of the essay develops an analysis of this aspect of the genre (in the Twilight Saga especially) through the work of René Girard, Luce Irigaray, and Juliet MacCannell. Of particular importance here is the extent to which Twilight and similar narratives stage female self-sacrifice as a pre-condition for the redemption of the hero and the restoration of patriarchal bonds initially compromised by some crisis in the effective functioning of paternal authority. The second section extends this analysis to consider ways in which paranormal romances featuring werewolves and vampires shift away from this conservative and reductivist romance paradigm so as to affirm and contest heteronormative, paternalistic models of masculinity and sexual desire.

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Ancuta, Katarzyna. "The Waiting Woman as the Most Enduring Asian Ghost Heroine." Gothic Studies 22, no. 1 (March 2020): 81–97. http://dx.doi.org/10.3366/gothic.2020.0039.

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The waiting woman is a ghost who appears to be endlessly waiting – for recognition, for her lover, for a chance to reincarnate, or to exact revenge. In Asia, her roots can be found in early medieval Chinese records of the strange, arguably the oldest written ghost stories in the region. The romanticized version of this ghost, introduced in Tang Xianzu's drama Peony Pavillion ( Mudan ting, 1598), influenced many writers of Japanese kaidan (strange) stories and merged with East and Southeast Asian ghostlore that continues to inspire contemporary local fiction and films. The article proposes to read the figure of the waiting woman as a representation of the enduring myth of the submissive Asian femininity and a warning against the threat of possible female emancipation brought about by the socio-economic changes caused by modernisation.

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Journal articles on the topic 'Female Gothic'

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