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Relevant bibliographies by topics / Gothic drama

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Academic literature on the topic 'Gothic drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Gothic drama"

1

Cox, Jeffrey N. "Introduction: Reanimating Gothic Drama." Gothic Studies 3, no. 2 (August 2001): 107–16. http://dx.doi.org/10.7227/gs.3.2.1.

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Williams, Rebecca. "‘The past isn't dead … it's deadly’: Horror, History and Locale inWhitechapel." Journal of British Cinema and Television 11, no. 1 (January 2014): 68–85. http://dx.doi.org/10.3366/jbctv.2014.0192.

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This article analyses the ITV crime drama Whitechapel (2009 –), contributing to academic understandings of the horror and Gothic genres on television. It does so by examining the importance of place in TV horror, expanding on prior work that has concentrated on the rural by focusing on television horror within the urban London district of Whitechapel which has a specific history and legacy. Given the recent boom in history television programming and the ‘potential and variety of the popular history drama in engaging with the past’ (de Groot 2009: 207), it also contributes to work on televising the past by examining how history is ambiguously represented in the Gothic crime drama. The piece explores how the past can be used to create television horror, depicting events from history as potentially threatening and as a source of dread and unease which is indebted to the Gothic's emphasis upon the past. In portraying a more nuanced relationship between the present and past, the potential limits of partial knowledge and an over-reliance on historical precedent, Whitechapel offers an instructive convincing case study regarding the intersections of place, history and Gothic/horror tropes in contemporary television drama.

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Hoeveler, Diane Long. "Gothic Drama as Nationalistic Catharsis." Wordsworth Circle 31, no. 3 (June 2000): 169–72. http://dx.doi.org/10.1086/twc24044123.

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Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama." Theatre Survey 38, no. 2 (November 1997): 49–88. http://dx.doi.org/10.1017/s0040557400002076.

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As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue of Wordsworth Circle devoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction in Seven Gothic Dramas 1789—1825 (1992) to her work. Even more recently, she has been the subject of special sessions of recent Modern Language Association meetings, and an edition of her Selected Works is scheduled to be published by Pickering and Chatto Press in 1998.

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Ellery, Chris, and Mary Beth Inverso. "The Gothic Impulse in Contemporary Drama." Theatre Journal 42, no. 3 (October 1990): 403. http://dx.doi.org/10.2307/3208106.

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Haggerty, George E. "Psychodrama: Hypertheatricality and Sexual Excess on the Gothic Stage." Theatre Research International 28, no. 1 (February 17, 2003): 20–33. http://dx.doi.org/10.1017/s0307883303000129.

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Gothic drama deals obsessively with the spectacle of pale, broken and effectively castrated masculinity. The scopic epistemology of gothic drama insists that the emaciated male form be fetishized as the lost paternal origin of the dramatic action and the source of psychological dread. These plays embrace ‘unnatural absurdity’ as a way of breaking through the complacency of bourgeois ideology and challenging sexual normativity with the spectacle of sexual excess. The resulting ‘sensationalism’ begins to suggest a revolution in the coding and decoding of sexual identities, just at the moment when such identities are being produced for the purposes of wholesale cultural labelling, as well as to articulate theatricalized resistance to the normative dictates that those identities presuppose.

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Gamer, Michael. "Authors in Effect: Lewis, Scott, and the Gothic Drama." ELH 66, no. 4 (1999): 831–61. http://dx.doi.org/10.1353/elh.1999.0034.

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Stratford, Aoise. "Reopening Sarah Kane’s “Chamber of Horrors”:Blastedas Gothic Drama." Modern Drama 62, no. 1 (March 2019): 23–44. http://dx.doi.org/10.3138/md.0874r.

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Mousoutzanis, Aris. "Imperial Gothic for Global Britain: BBC's Taboo (2017–present)." Gothic Studies 22, no. 3 (November 2020): 313–29. http://dx.doi.org/10.3366/gothic.2020.0064.

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This article discusses the BBC drama Taboo (2017–present) as a contemporary example of imperial Gothic and places the series in the context of a current trend of ‘imperial nostalgia’ in British culture. It provides a close reading of the series with regard to its use of gothic traits like the exploration of morbid psychology, the function of the ghost as a metaphor for past trauma, the use of locale for gothic effect, and the evocation of body horror. By reading this contemporary narrative against this generic tradition, the paper highlights the ability of the Gothic to reflect on historical transformations and contemporary manifestations of discourses of Empire. The series, the discussion argues, seeks to critique Empire by portraying it as the agent of monstrosity and horror but eventually reproduces stereotypes of colonial otherness that were fundamental to imperialist ideologies. In this sense, Taboo is a text just as ambivalent as earlier imperial Gothic texts.

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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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Dissertations / Theses on the topic "Gothic drama"

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Wozniak, Heather Anne. "Brilliant gloom the contradictions of British gothic drama, 1768-1823 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692743101&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.

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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.

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Pearson, Rachel. "Politics and power in the Gothic drama of M.G. Lewis." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/350637/.

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Matthew Lewis's 1796 novel The Monk continues to attract critical attention, but the accusation that it was blasphemous has overshadowed the rest of his writing career. He was also a playwright, M.P. and slave-owner. This thesis considers the need to reassess the presentation of social power, primarily that of a conservative paternalism, in Lewis's dramas and the impact of biographical issues upon this. As Lewis's critical reputation is currently built upon knowledge of him as a writer of „Gothic' works, this thesis considers a range of his „Gothic' plays. The Introduction explores the current academic understanding of Lewis and provides a rationale for the plays chosen. Chapter One explores how The Monk prefigures Lewis's dramas through its theatrical elements and Lewis's reaction to violence on the continent in the 1790s. The remainder of the thesis examines Lewis's deployment of three conventions of Gothic drama in order to explore social power. Chapter Two discusses the presentation of the Gothic villain as one who usurps and abuses power through a focus on The Castle Spectre. Chapter Three considers Lewis's Gothic heroes in Adelmorn, the Outlaw; Rugantino, or, the Bravo of Venice and Venoni; or, the Novice of St. Mark's against his actions in Parliament and the trial by Court-Martial of his uncle General Whitelocke. Lewis uses these plays to advocate the qualities of mercy, benevolence and courage in those with jurisdiction over others. Chapter Four considers Lewis's use of Gothic spectacle in two 1811 plays, One O' Clock! or, the Knight and the Wood Daemon and Timour the Tartar, which return to a focus on usurpation. Factors considered include the use of Renaissance influences and Lewis's rift with his father. Finally, the Coda examines Lewis's attempts to put his theory of paternal power into practice when he inherited two Jamaican estates.

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Matsos, Christopher T. "“With Clotted Locks and Eyes Like Burning Stars”: Corporeality and the Supernatural on the Gothic Stage, 1786 - 1836." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274922246.

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Penich, Jacqueline. "Conservative Propaganda in the Shakespearean Gothic of James Boaden." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23334.

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The plays of James Boaden, an author all too often forgotten in the pages of theatre history, are usually dismissed by scholars as mercenary adaptations of popular Gothic novels for the stage. Boaden’s plays of the 1790s—Fontainville Forest (1794), The Secret Tribunal (1796), The Italian Monk (1797), Cambro-Britons (1798) and Aurelio and Miranda (1799)—were certainly popular successes in their own time, but this should not discount them from serious consideration as aesthetic and ideological objects. In fact, these plays are intelligently wrought, using popular Gothic conventions to further a conservative ideology that was not originally associated with this genre. This fact has gone unrecognized by scholars partly because these plays have not been previously analysed for their dramaturgical structure as adaptations: Boaden borrows conventions from the Gothic, to be sure, but he also borrows dramaturgical techniques from Shakespeare. In so doing, Boaden harnesses both popular appeal and theatrical legitimacy to write Tory propaganda at a time when the stage was a key tool in the ideological war against France and French sympathizers in Britain. Political threats, both domestic and foreign, were of ongoing concern in Britain in the years following the French Revolution. Immediately after 1789, the Gothic was ideologically charged in ways that promoted revolutionary thinking. Boaden’s adaptation of the Gothic form responds to the revolution and the Reign of Terror by replacing the genre’s iconoclasm with a strongly nationalist orientation, drawn, in part, from eighteenth-century Shakespeare reception, itself often strongly nationalist in tone. Boaden’s plays are reactionary in that they comment on the current political situation, using allegory to play on the audience’s emotions. In his first phase, Boaden depicts the demise of a villainous usurper, a scapegoat figure, but his second phase reintegrates the villain into domestic and social harmony. In so doing, Boaden serves as a case study in the shifting attitude towards Britain’s revolutionary sympathizers, the Jacobins, and illustrates the important use of the Gothic mode for conservative purposes. Boaden emerges, in this study, as a figure whose relevance to theatre history in this fraught period requires reassessment.

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Doyle, Dennis M. (Dennis Michael) 1958. "American Gothic: A Group Interpretation Script Depicting the Plight of the Iowa Farmer." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500827/.

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This thesis examines the possibilities of social-context issues in interpretation. A group interpretation script relating the current difficult conditions of rural Iowa was compiled. Three experts in the field of interpretation were asked to evaluate the potential of this social-context script. It was discovered that a compiled interpretation script of Iowa literature can successfully depict the social concerns facing the family farms of Iowa.

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Hoffmann, Yvonne. "Festtagsgeschehen und Formgenese in den Gewölben der Spätgotik." Mannheim Waldkirch, 2007. http://d-nb.info/98729590X/04.

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Boyd, J. Caleb Sandahl Carrie. "Southernness, not otherness the community of the American South in new southern gothic drama /." 2004. http://etd.lib.fsu.edu/theses/available/etd-04092004-120214.

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Thesis (Ph. D.)--Florida State University, 2004.
Advisor: Dr. Carrie Sandahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed June 15, 2004). Includes bibliographical references.

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Post, Andy. "Political Atheism vs. The Divine Right of Kings: Understanding 'The Fairy of the Lake' (1801)." 2014. http://hdl.handle.net/10222/50412.

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In 'Political Atheism vs. The Divine Right of Kings,' I build on Thompson and Scrivener’s work analysing John Thelwall’s play 'The Fairy of the Lake' as a political allegory, arguing all religious symbolism in 'FL' to advance the traditionally Revolutionary thesis that “the King is not a God.” My first chapter contextualises Thelwall’s revival of 17th century radicalism during the French Revolution and its failure. My second chapter examines how Thelwall’s use of fire as a symbol discrediting the Saxons’ pagan notion of divine monarchy, also emphasises the idolatrous apotheosis of King Arthur. My third chapter deconstructs the Fairy of the Lake’s water and characterisation, and concludes her sole purpose to be to justify a Revolution beyond moral reproach. My fourth chapter traces how beer satirises Communion wine, among both pagans and Christians, in order to undermine any religion that could reinforce either divinity or the Divine Right of Kings.
A close reading of an all-but-forgotten Arthurian play as an allegory against the Divine Right of Kings.

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Books on the topic "Gothic drama"

1

Jones, Kelly, Benjamin Poore, and Robert Dean, eds. Contemporary Gothic Drama. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2.

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Marnich, Melanie. Tallgrass gothic: A drama. New York: Playscripts, Inc., 2007.

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A, Colon Christine, ed. Six Gothic dramas. Chicago, Ill: Valancourt Books, 2007.

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The Gothic impulse in contemporary drama. Ann Arbor, Mich: U-M-I Research Press, 1990.

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Wet, Reza De. Plays two: African gothic, Good heavens, Breathing in. London: Oberon, 2005.

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Tennessee, Williams. A house not meant to stand: A gothic comedy. New York: New Directions, 2008.

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Gothic plays and American society, 1794-1830. Jefferson, N.C: McFarland & Co., Publishers, 2008.

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Ranger, Paul. 'Terror and pity reign in every breast': Gothic drama in the London patent theatres, 1750-1820. London: Society for Theatre Research, 1991.

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Michaels, Barbara. Be buried in the rain. New York: Atheneum, 1985.

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Michaels, Barbara. Be buried in the rain. London: Piatkus, 1986.

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Book chapters on the topic "Gothic drama"

1

Jones, Kelly, Benjamin Poore, and Robert Dean. "Introduction." In Contemporary Gothic Drama, 1–18. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_1.

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Nally, Claire. "The Forgotten Dead: Performance, Memory and Sites of Mourning at Cross Bones Graveyard." In Contemporary Gothic Drama, 181–200. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_10.

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Dean, Robert. "Playing in the Dark: Possession and Performance." In Contemporary Gothic Drama, 201–21. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_11.

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Poore, Benjamin. "Staging the Séance: The Spirit Medium and the Gothic in Modern Theatre." In Contemporary Gothic Drama, 223–42. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_12.

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Poore, Benjamin. "Writing the Ghost—An Interview with Playwright Michael Punter." In Contemporary Gothic Drama, 243–58. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_13.

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Rabey, David Ian. "The Call of the Chthonic: From Titus Andronicus to X." In Contemporary Gothic Drama, 21–42. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_2.

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Kipp, Lara Maleen. "Death, Decay and Domesticity: The Corpse as Pivotal Stage Presence in Howard Barker’s Dead Hands." In Contemporary Gothic Drama, 43–59. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_3.

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Rees, Catherine. "Martin McDonagh’s The Pillowman and the Postmodern Gothic." In Contemporary Gothic Drama, 61–73. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_4.

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Babbage, Frances. "Staging Angela Carter." In Contemporary Gothic Drama, 77–98. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_5.

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Jones, Kelly. "Little Monsters: Gothic Children and Contemporary Theatrical Performance." In Contemporary Gothic Drama, 99–123. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95359-2_6.

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