Journal articles: 'Gothic Fiction'

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Lasseter, Janice Milner, and George E. Haggerty. "Gothic Fiction/Gothic Form." South Atlantic Review 55, no. 4 (November 1990): 114. http://dx.doi.org/10.2307/3200455.

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Richter, David, George E. Haggerty, and Kenneth W. Graham. "Gothic Fiction/Gothic Form." Modern Language Review 86, no. 1 (January 1991): 174. http://dx.doi.org/10.2307/3732119.

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Beidler, Peter G., and George E. Haggerty. "Gothic Fiction/Gothic Form." American Literature 62, no. 1 (March 1990): 122. http://dx.doi.org/10.2307/2926798.

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Rocatelli, Vinicius Bril, and Cido Rossi. "Time oddity: paradoxes and the gothic." Literartes 1, no. 15 (December 21, 2021): 243–60. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.185898.

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From the Post-structuralist perspective of the hybridity of genre-modes, this article’s goal is to explore the connection between Science Fiction and the Gothic; more specifically, from Brian Aldiss and David Wingrove’s idea, in Trillion Year Spree (1986), that Science Fiction is created by the Gothic, we tried to argue that Science Fiction can also create the Gothic. Explicitly, we argued that, through the paradoxes of narratives that work with the concept of non-linear Time Travel, Science Fiction creates Gothic effects and leads to Gothic results, once the very idea of the paradox already is inherently reactionary to the Enlightenment’s scientism and rationalism and, therefore, Gothic in its very uncanny conception.

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Fox, Renée. "Gothic Realism, or Reading is Believing in Dracula." Irish University Review 53, no. 1 (May 2023): 9–26. http://dx.doi.org/10.3366/iur.2023.0587.

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This essay explores the ways Bram Stoker brings eighteenth-century affective gothic reading practices to bear on Victorian fiction’s investments in realism. By investigating modes of affective reading in Dracula, the essay develops a definition of ‘gothic realism’ to describe an affective experience of the real that gothic fiction offers in place of verisimilitude and representations of everyday life. Beginning by tracing the explicit and implicit histories of this term through both literary criticism and the gothic tradition, the essay turns to Dracula to discover an alternative definition of ‘gothic realism’ that bridges a longstanding divide between the colonial fractures intrinsic to nineteenth-century Irish literature and the claims to coherent representational reality usually aligned with the Victorian novel. ‘Gothic realism’ becomes a term, and a reading practice, for newly understanding how the gothic entwines with realism across both British and Irish nineteenth-century fiction, not as its critical antithesis, or as its hidden secret, but as an affective mode through which we can see nineteenth-century Irish novels representing the realities of the world around them.

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Grosevych, I. V. "GOTHIC FICTION: FIGURATIVE PLOT PARADIGM." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 275–87. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-275-287.

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The article deals with the theoretical generalization of the attributes of a poetic of gothic, in particular in the article is analyzed in details the figurative-motive and plot-compositional levels; is traced the evolution of the image of Devil; is identified the triune category − mystery / horror / suspense – as a genre constant of gothic fiction; is identified the road archetype; is analyzed the functionality of gothic, contrast as the dominant feature of the gothic paradigm; and also is grounded the philosophical doctrine of the theodicy as one of the fundamental basis of all gothic fiction.

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Napier, Elizabeth R. ": Gothic Fiction / Gothic Form. . George E. Haggerty." Nineteenth-Century Literature 45, no. 1 (June 1990): 91–94. http://dx.doi.org/10.1525/ncl.1990.45.1.99p0294n.

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Duncan, Rebecca. "Decolonial Gothic: Beyond the Postcolonial in Gothic Studies." Gothic Studies 24, no. 3 (November 2022): 304–22. http://dx.doi.org/10.3366/gothic.2022.0144.

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This article theorises decolonial Gothic as a novel approach to Gothic fiction from formerly colonised regions and communities. It responds to an emerging body of Gothic production, which situates itself in a world shaped by persistently racialised distributions of social and environmental precarity, and where colonial power is thus an enduring material reality. To address such fiction, the article proposes, requires a reassessment of the hauntological frameworks through which Gothic and the (post)colonial have hitherto been brought into contact. Forged in the cultural climate of late-twentieth-century postmodernity, these hinge on the assumption of an epochal break, which renders colonial history a thing of the past; thus, they fall short of narratives that engage with active formations of colonial power. Accordingly, the article outlines an alternative approach, positioning Gothic fiction in the context of the capitalist world-system, which – into the present – is structured by colonial categories of race, heteropatriarchal categories of gender, and instrumentalising discourses of nature as plunderable resource.

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Ollett, Robyn. "Miles away from Screwing?" Girlhood Studies 12, no. 1 (March 1, 2019): 1–16. http://dx.doi.org/10.3167/ghs.2019.120103.

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Literary fiction is a widely popular arena in which discourse on sexuality and queerness is produced and disseminated. The Gothic is an especially crucial mode in literary fiction that has a historically intimate relationship with queer subjectivity. Observing this relationship between Gothic fiction and queer subjectivity, in this article I analyze the representation of queer Gothic girlhood in contemporary fiction, taking as my focus John Harding’s 2010 reworking of the Henry James classic, The Turn of the Screw (1898). I show how Florence and Giles develops familiar tropes attached to the figure of the queer child and look specifically at how readings of the parent text implicate contemporary readings of this figure. With close readings that draw on the queer feminist ethics of Lynne Huffer, I consider what seems to be happening to the figure of the queer Gothic girl in contemporary fiction.

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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (January 29, 2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.

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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.

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LIU, Yi. "Gothic Architecture and Gothic Fiction: An Intertextual Approach." Comparative Literature: East & West 13, no. 1 (October 2010): 135–42. http://dx.doi.org/10.1080/25723618.2010.12015572.

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Zalomkina, Galina V. "GOTHIC COMPONENTS OF SCIENCE FICTION’S GENEALOGY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 2 (2023): 43–59. http://dx.doi.org/10.5922/pikbfu-2023-2-5.

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Science fiction can be defined as the literature about cognizable unusual phenomena which represents hypothetical scientific, technical and social products of their rational exploration. Before the genre emerged, the subject of exploring the unusual was developed mainly in the field of mythological fiction, which became the basic element of Gothic literature. In Gothic, the features of science fiction began to form: in M. Shelley’s novel “Frankenstein, or the Modern Prometheus”, the motives of the supernatural are rationalized through the use of scientific and technical issues. The goal of the presented research is detecting the nature, methods and specifics of the transformations of the Gothic plot that led to the formation of the science fiction genre. It is achieved by the use of comparative, historical-genetic, hermeneutic, mythopoetic methods. Gothic literature reacted to the growing interest in scientific and technological progress by attempting to rationalize the elements of the supernatural plot: demons, werewolves, the living dead could be presented either as a result of experimentation or as an object of scientific exploration. In Russian literature, V. F. Odoevsky made a move from Gothic poetics towards long-term social, scientific and technological forecasting in a fiction text. The role of Gothic in the genesis of science fiction is clearly visible in the artistic world of H. P. Lovecraft who elaborated supernatural horror in the form of nonhuman manifestations of the indifferent Universe. The protagonist scientist is involved into the knowledge of it and, therefore, is put in the situation of a mythological cultural hero, reinterpreted in the coordinates of the plot of scientific research.

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Chen, Ting-fu. "Illuminating Obscurity: The Youming Lu and the Optical Dynamic in Early Medieval Chinese Gothic." Gothic Studies 26, no. 1 (March 2024): 18–33. http://dx.doi.org/10.3366/gothic.2024.0183.

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This article reads the Youming lu ( Records of the Hidden and Visible Realms) as an epitome of the central tension in the tradition of ‘anomaly accounts’ ( zhiguai) between a desire for order and an openness to uncertainties. By conceptualizing the zhiguai as ‘early medieval Chinese Gothic’, this article attempts to disclose the contemporary significance of a premodern non-Anglo-European genre, as well as unbind the Gothic from cultural or socio-historical determinism. It attends to an ambivalent solicitude for the obscure embedded in the Youming lu’s iconic dynamic of light and darkness to theorize such epistemic hospitality into an alternative enlightenment also crucial to the Gothic. Shifting the focus of globalgothic from ontology to epistemology, from the clearly marvelous to the interplay of clarity and obscurity, this article seeks to open up an intermediate space between cultural colonialism and esotericism, where the zhiguai, as ‘strange non-fiction’, can be considered to have prefigured a gothic sensitivity that in turn illuminates its own fictional potential which predated classical Chinese fiction proper.

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Noad, Benjamin E. "Gothic Truths in the Asylum." Gothic Studies 21, no. 2 (November 2019): 176–90. http://dx.doi.org/10.3366/gothic.2019.0021.

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This article suggests that Victorian Gothic prose fictions privilege the voices of madness, where, operating in the historical lunatic asylum, truth is encrypted. It begins by expanding upon the relevant background contexts of the nineteenth century, with focus upon the medicalisation of madness, and goes on to offer fresh critical interpretations of false confinement in two pinnacles of nineteenth-century Gothic fiction: the penny dreadful, The String of Pearls (1846–7), and Bram Stoker's Dracula (1897). The article argues that Gothic writing simultaneously registers and articulates the silence of a madness that has been perceived to threaten rational speech; Gothic subverts the view of the mental asylum as guarantor of truth by demonstrating that this functional site is, by contrast, the generator of falsehoods.

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Vuohelainen, Minna. "Traveller's Tales: Rudyard Kipling's Gothic Short Fiction." Gothic Studies 23, no. 2 (July 2021): 181–200. http://dx.doi.org/10.3366/gothic.2021.0093.

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Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.

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Fuchs, Michael, and Christy Tidwell. "Anthropocene, Nature, and the Gothic: An Interview with Christy Tidwell." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 100–112. http://dx.doi.org/10.37536/reden.2022.3.1818.

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Christy Tidwell is an associate professor of English and humanities at the South Dakota School of Mines and Technology, and she is one of the leaders of the ecomedia interest group at the Association for the Study of Literature and Environment and the Digital Strategies Coordinator at ASLE as well. Christy is the co-editor of the volumes Gender and Environment in Science Fiction (Lexington Books, 2018) and Fear and Nature: Ecohorror Studies in the Anthropocene (Penn State UP, 2021) and a special issue of Science Fiction Film and Television on creature features. Her essays have appeared in journals such as Extrapolation, Interdisciplinary Studies in Literature and the Environment, and Gothic Nature. She has also contributed to volumes such as Posthuman Biopolitics: The Science Fiction of Joan Slonczewski (Palgrave, 2020), Fiction and the Sixth Mass Extinction: Narrative in an Era of Loss (Lexington Books, 2020), and Creatural Fictions: Human-Animal Relationships in Twentieth- and Twenty-First-Century Literature (Palgrave, 2016).

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TATAR, Yagmur. "“Reader, unbury him with a word”: The Revenant and/as Evil in Elizabeth Kostova’s ”The Historian”." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 167–76. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.10.

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This research addresses the universal question of evil through an intertextual focus between Bram Stoker’s Dracula as a traditional Gothic production and its neo-Gothic counterpart, The Historian by Elizabeth Kostova. Through investigating the relationship between two ensuing genres, it explores the understanding of human nature and its transformative capacity for evil in Gothic and neo-Gothic fiction, as well as protagonists’ need, temptation and failure to exorcise the Revenants of the past. With a theoretical framework supported by Jacques Derrida and his concept of hauntology, the present research further revolves around revealing how the monsters of the (neo-)Gothic fiction function as the manifestations of history itself by analysing the way the past haunts humanity’s present and future.

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Cliff, Brian. "‘Secrets and Lies’: Gothic Elements in Irish Crime Fiction." Irish University Review 53, no. 1 (May 2023): 159–72. http://dx.doi.org/10.3366/iur.2023.0595.

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Irish crime fiction has largely been a contemporary phenomenon, but it has already shown itself to have highly various preoccupations and influences, including Irish gothic modes as well as the work of international crime writers like Patricia Highsmith and Ross Macdonald. Macdonald’s Lew Archer novels, in particular, are marked by a thematic obsession with ruined and ruinous families, with children cast adrift on seas of generational corruption. Such deep connections between gothic modes, family secrets, and crime fiction offer a cultural foundation that has served Irish crime and mystery writers well. Their narratives weave together local elements with the kinds of genre writing that have, until recent decades, often been seen as importations, as mere pieces in the flotsam and jetsam of transatlantic culture, or as actively contributing to the destabilization of life on the island. Although this essay examines the sometimes spectacular gothic elements in novels by Tana French, John Connolly, and Stuart Neville, the focus is rather on versions of Irish family gothic that surface in the writing of Liz Nugent, Andrea Carter, Declan Hughes, and others. Nugent, for example, fuses a penchant for Highsmithian sociopathic narrator-protagonists with her own sharp eye for familial bloodletting, while Hughes traces generations of corruption through his narrator’s haunting sensations of dislocation and uncanny unease in a Dublin where he has become at once an insider and an outsider. Through their use of such elements, at once intimately specific and readily adaptable, Irish crime writers have both animated their genre and further affirmed the vitality of Irish gothic’s fluid legacy.

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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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Akhtar, Fadi, and Markman Ellis. "The History of Gothic Fiction." South Atlantic Review 66, no. 2 (2001): 171. http://dx.doi.org/10.2307/3201877.

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Novitz, Julian. "Disco Elysium as Gothic fiction." Baltic Screen Media Review 9, no. 1 (December 1, 2021): 32–42. http://dx.doi.org/10.2478/bsmr-2021-0004.

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Abstract Disco Elysium demonstrates many hallmarks of the Gothic through its storyline and representational elements, particularly its emphasis on the instability of its protagonist, the sense of decline and decay conveyed through its setting, and the interconnected secret histories that are revealed through exploration. Furthermore, many of the game’s stylistic and ludic features, such as its dense description and emotive language, and its overwhelming array of options, interactions, and responses, can be understood as engagements with the uncanny and disorienting excess of the Gothic tradition. These Gothic elements manifest most frequently through the game’s attempt to represent psychological complexity within its role playing system, its depictions of urban spaces, and its approach to questions of unresolved memory and history. The presence of these Gothic features in Disco Elysium work to contest the game’s categorisation as a ‘detective role playing game.’ While the genres are closely connected, detective fiction typically follows a trajectory in which the history of the central mystery becomes progressively clearer through the accumulation of information and detail, whereas the Gothic traditionally seeks to maintain and heighten a sense of disorientation. Exploring the tension between Disco Elysium’s Gothic elements and its status as a detective game allows for a richer appreciation of the political and social commentary that emerges from both its narrative and gameplay.

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Khairunnisa, Syifa Aulia. "COMPARISON OF GOTHIC SETTING IN TELEVISION SERIES WEDNESDAY (2022) AND THE CHILLING ADVENTURES OF SABRINA (2018)." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 9, no. 2 (December 31, 2023): 319. http://dx.doi.org/10.30872/calls.v9i2.12405.

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This research’s objective is to find the comparison of two television series, Wednesday (2022) and The Chilling Adventures of Sabrina (2018) of their setting in Gothic element using the theory of Fred Botting. Based on Botting’s theory, the setting in Gothic fiction was divided into two types, natural sublime and synthetic sublime. This research answered the question of what Gothic’s setting in the television series Wednesday (2022) and The Chilling Adventure of Sabrina (2018) and the comparison between the two television series regarding the Gothic’s setting. This research’s objective requires a deep understanding of the topic, so the qualitative descriptive method is applied in this research. Based on this reseach, it was found that there are nine Gothic setting in Wednesday (2022) and six in The Chilling Adventures of Sabrina (2018). On that note, four similarities and seven differences was also found regarding the Gothic setting between the two television series. Based on the analysis, Wednesday (2022) has more Gothic setting compared to The Chilling Adventures of Sabrina (2018) both in natural and synthetic sublime, with with one more data on natural sublime and four more data on synthetic sublime.

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Cook, Daniel. "Walter Scott's Late Gothic Stories." Gothic Studies 23, no. 1 (March 2021): 43–59. http://dx.doi.org/10.3366/gothic.2021.0077.

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While ‘Wandering Willie's Tale’, above all of Walter Scott's shorter fictions, has often been included in Gothic anthologies and period surveys, the apparently disposable pieces that appeared in The Keepsake for 1829, renegades from the novelist's failed Chronicles of the Canongate series, have received far less attention. Read in the unlikely context of a plush Christmas gift book, ‘My Aunt Margaret's Mirror’ and ‘The Tapestried Chamber’ repay an audience familiar with the conventions of a supernatural short story. But to keep readers interested, The Author of Waverley, writing at the end of a long and celebrated career in fiction, would need to employ some new gimmicks. As we shall see, the late stories are not literary cast-offs but recastings finely attuned to a bespoke word-and-image forum.

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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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Łowczanin, Agnieszka. "Convention, Repetition and Abjection: The Way of the Gothic." Text Matters, no. 4 (November 25, 2014): 184–93. http://dx.doi.org/10.2478/texmat-2014-0013.

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This paper employs Deleuze and Kristeva in an examination of certain Gothic conventions. It argues that repetition of these conventions- which endows Gothicism with formulaic coherence and consistence but might also lead to predictability and stylistic deadlock-is leavened by a novelty that Deleuze would categorize as literary “gift.” This particular kind of “gift” reveals itself in the fiction of successive Gothic writers on the level of plot and is applied to the repetition of the genre’s motifs and conventions. One convention, the supernatural, is affiliated with “the Other” in the early stages of the genre’s development and can often be seen as mapping the same territories as Kristeva’s abject. The lens of Kristeva’s abjection allows us to internalize the Other and thus to reexamine the Gothic self; it also allows us to broaden our understanding of the Gothic as a commentary on the political, the social and the domestic. Two early Gothic texts, Walpole’s The Castle of Otranto and Lewis’s The Monk, are presented as examples of repetition of the Gothic convention of the abjected supernatural, Walpole’s story revealing horrors of a political nature, Lewis’s reshaping Gothic’s dynamics into a commentary on the social and the domestic.

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Hervoche-Bertho, Brigitte. "SEMINAL GOTHIC DISSEMINATION IN HARDY’S WRITINGS." Victorian Literature and Culture 29, no. 2 (September 2001): 451–67. http://dx.doi.org/10.1017/s106015030100211x.

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I think I am one born out of due time, who has no calling here.* * *If way to the Better there be, it exacts a full look at the Worst.— Hardy, “In Tenebris II,” Poems of the Past and the PresentCRITICS HAVE TOO OFTEN dismissed the Gothic elements in Thomas Hardy’s writings as superficial trappings to be found mostly in his minor fiction.1 The aim of this article is to show that the diffusion of Gothic motifs in the whole of Hardy’s literary production is something both intentional and fruitful. The Gothic is indeed a vital part of Hardy’s artistic vision, and it adds to the aesthetic value of his works. His major novels and his poetry are as rife with Gothic lore as his early “minor” fiction.2 This propagation of Gothic elements is central to the dialectic between impregnation and dispersal contained in the etymology of the word “dissemination” (meaning both “sowing” and “scattering”).3

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E Kamil, Mah. "Unveiling the Uncanny: A Study of Gothic Elements in Jinnistan by Ayesha Muzaffar." Journal of Policy Research 10, no. 3 (September 1, 2024): 354–59. http://dx.doi.org/10.61506/02.00353.

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This research explores the gothic elements in Jinnistan by Ayesha Muzaffar. This study utilizes the theory of uncanny by Sigmund Freud as a theoretical framework. Freud explores the word play between the concept of "homely" and its opposite, leading some to associate the unheimlich with the notion of the "unfamiliar." The study also uses Catherine Belsey’s textual analysis as an analytical framework. Gothic literature is a worldwide recognized genre. Gothic stories included symbols that symbolically conveyed the inner suffering of their tortured protagonists, such as supernatural phenomenon, unsettling environments, and ruined architectural settings. In Pakistan, gothic fiction is in its emerging phase with only a few writers exploring this genre in their noteworthy writings. Ayesha Muzaffar is a notable author in realm of horror fiction. The analysis of this study focuses on how the cultural elements have influenced the elements of uncanny in Jinnistan. This study aims to get better understanding of the evolutionary progression of gothic elements within Pakistani literature.

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Richter, David, and Jacqueline Howard. "Reading Gothic Fiction: A Bakhtinian Approach." Modern Language Review 91, no. 2 (April 1996): 459. http://dx.doi.org/10.2307/3735039.

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Masmoudi, Ikram. "Gothic Poetics in Hassan Blasim’s Fiction." Al-Karmil: Studies in Arabic Language and Literature, no. 40-41 (December 2020): 63–92. http://dx.doi.org/10.12816/0057799.

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Berger, Anna. "Haunted Oppressors: The Deconstruction of Manliness in the Imperial Gothic Stories of Rudyard Kipling and Arthur Conan Doyle." Humanities 9, no. 4 (October 19, 2020): 122. http://dx.doi.org/10.3390/h9040122.

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Building on Patrick Brantlinger’s description of imperial Gothic fiction as “that blend of adventure story with Gothic elements”, this article compares the narrative formula of adventure fiction to two tales of haunting produced in a colonial context: Rudyard Kipling’s “The Mark of the Beast” (1890) and Arthur Conan Doyle’s “The Brown Hand” (1899). My central argument is that these stories form an antithesis to adventure fiction: while adventure stories reaffirm the belief in the imperial mission and the racial superiority of the British through the display of hypermasculine heroes, Kipling’s and Conan Doyle’s Gothic tales establish connections between imperial decline and masculine failure. In doing so, they destabilise the binary construction between civilised Western self and savage Eastern Other and thus anticipate one of the major concerns of postcolonial criticism. This article proposes, therefore, that it is useful to examine “The Mark of the Beast” and “The Brown Hand” through a postcolonial lens.

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Prado, Ignacio M. Sánchez. "Citational Gothic: Silvia Moreno-Garcia's Mexican Archive." College Literature 50, no. 2-3 (March 2023): 323–48. http://dx.doi.org/10.1353/lit.2023.a902221.

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Abstract: Mexican Canadian writer Silvia Moreno-Garcia's meteoric rise after the publication of Mexican Gothic (2020) has placed her at the center of contemporary genre fiction. This essay discusses the ways in which her approach to genre, and particularly to the Gothic, is informed by a citational dynamic in relation to what the article calls her "Mexican Archive"—that is, the rich network of references to the history and symbolic production of Mexico. The essay contends that this archive sets Moreno-Garcia apart from other Latinx fiction writers in her disengagement from US-centered ideas of race and Mexicanness. The article discusses in the first part the ways in which we could think about the role of Mexico and Mexican culture in Moreno-Garcia's work. In the second part, a reading of Mexican Gothic unfolds the ways in which this archive intersects with the citational practices and symbolic conventions of genre fiction.

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Tallone, Giovanna. "Beyond Folklore: Gothic Intersections in Éilís Ní Dhuibhne’s Fiction." Irish University Review 54, no. 1 (May 2024): 37–44. http://dx.doi.org/10.3366/iur.2024.0643.

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The purpose of this essay is to investigate the way in which gothic topoi intertwine with the background of folk and fairy tales in Ní Dhuibhne’s fiction, in terms of characters, setting, motifs, situations and atmosphere. Recognising the presence of gothic tropes can highlight the dynamic intersections of genres, and sharpen the reading of Ní Dhuibhne’s short stories. In her very personal and unique approach to fiction, Éilís Ní Dhuibhne intertextually reworks traditional stories and juxtaposes them to their modern counterparts, thus expanding a sort of ‘palimpsestic memory’ that Maria Tatar identifies in the continuous rewriting of fairy tales. And the fairy tale’s instability as a genre has its counterpart in the gothic, a restless form and an unstable genre, whose influence can be seen in many of Ní Dhuibhne’s narrative and stylistic strategies.

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Morin, Christina. "The Adventures of Miss Sophia Berkley: Piracy, Print Culture, and Irish Gothic Fiction." Irish University Review 49, no. 2 (November 2019): 229–44. http://dx.doi.org/10.3366/iur.2019.0403.

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Published in Dublin by the prominent Catholic printing firm of James Hoey, The Adventures of Miss Sophia Berkley (1760) has been identified in recent years as an earlier Irish gothic fiction than Horace Walpole's putatively pioneering gothic novel, The Castle of Otranto (1764). The discovery that Sophia Berkley is, in fact, a re-print of an earlier London publication, The History of Amanda (1758), casts significant doubt on the novel's contribution to the development of Irish gothic literature. This article argues that attention to the particulars of the novel's publication history as well as its later misidentification paints a revealing picture of popular publishing in Dublin in the latter half of the eighteenth century. It further contends that Sophia Berkley's identification as early Irish gothic – although mistaken – has proven instrumental in scholarly re-evaluations of late-eighteenth century Irish gothic literary production.

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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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Gamer, Michael. "Genres for the Prosecution: Pornography and the Gothic." PMLA/Publications of the Modern Language Association of America 114, no. 5 (October 1999): 1043–54. http://dx.doi.org/10.2307/463463.

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Recent accounts of genre have asserted that all texts participate in multiple genres and that genre works as a kind of contract between writers and readers. In the legal history of eighteenth-century British prosecutions for obscene libel and the reception history of gothic fiction at the turn of the nineteenth century, however, the model of genre as contract breaks down. At the end of the eighteenth century, several texts we now call gothic faced threatened prosecution under existing obscene libel laws. The reception histories of the fiction of Matthew Lewis, Charlotte Dacre, and Charles Robert Maturin demonstrate that public denouncements and threatened prosecution forced gothic texts, even as they theoretically participated in at least one genre, to belong to a legal category (obscenity) for which their writers never intended them.

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Dos Santos, Andrio J. R. "An introductory overview on representation of dissident sexualities, abjection, and subversion in queer Gothic fiction." Moderna Språk 116, no. 1 (June 30, 2022): 23–32. http://dx.doi.org/10.58221/mosp.v116i1.6736.

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Queer Gothic may be considered one of the most recent subgenres of Gothic literature, being understood as a type of fiction in which body, gender and sexuality assume a central role. I approach the representation of queer sexualities in queer Gothic works, basing my analysis on the theory of abjection, as well as on other authors who work with Gothic fiction and Queer Studies, such as Judith Butler (1990), William Hughes and Andrew L Smith (2009) and Paulina Palmer (2016). My analysis consists of drawing a critical panorama, then commenting on Gothic works such as The Monk (1796), by Matthew Gregory Lewis, and The Fall of the House of Usher (1839), by Edgar Allan Poe, culminating in contemporary works such as the novel The Lazarus Heart (1998), by the trans author Poppy Z. Brite. It is possible to consider that in the aforementioned works Queer desires are articulated with supernatural or psychological phantasmagorias, assuming a liminal aspect which denounces the fragmentation of the Queer subject in face of hegemonic society. On the other hand, the representation of Queer sexualities has subversive potentials, while the hegemonic discourse imposes on them the stigma of abjection.

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Terentowicz-Fotyga, Urszula. "The Dialogic Mode in Jane Austen’s ”Northanger Abbey”: The Manorial Gothic Meets a Subversive Novel of Manners." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 19. http://dx.doi.org/10.17951/lsmll.2019.43.2.19-30.

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The paper proposes to read the dialogue of two generic traditions: the novel of manners and gothic fiction in Jane Austen’s Northanger Abbey. The generic dialogue in Northanger Abbeyconstitutes a particularly interesting case, as it appears at the very inception of the manorial tradition in fiction and thus bears a strong modelling function. The paper argues that Northanger Abbeyrepresents a subversive version of the novel of manners, which contextualizes and substantiates the transgressive character of the gothic.

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Bulfin, Ailise. "“Fast lapsing back into barbarism”: Social Evolution, the Myth of Progress and the Gothic Past in Late-Victorian Invasion and Catastrophe Fiction." Victorian Popular Fictions Journal 5, no. 1 (July 3, 2023): 37–57. http://dx.doi.org/10.46911/hnuv4351.

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While neo-barbarian dystopian futures are typically associated with contemporary popular culture, they were not, in fact, uncommon in late-Victorian popular fiction, especially in the politically charged, future-oriented popular fiction subgenres of invasion fiction and catastrophe fiction. Focusing on a representative tale from each subgenre – George Griffith’s Olga Romanoff (1894) and Richard Jefferies’ After London (1885) – this article shows how they made innovative use of the gothic to show the future following a large-scale war or natural disaster as a decline back into an exaggerated version of the barbaric past. Reworking the familiar gothic trope of doomed inheritance, the tales showed nemesis occurring not on an individual or familial level, but on an extensive societal scale in keeping with their sweeping narratives of mass death and its aftermath. In presenting a post-catastrophe relapse to barbarism, the tales were extrapolating from the social evolution theories of Herbert Spencer and Walter Bagehot which, though delineating the forward tendency of western social progress, allowed the fearful corollary that in periods of crisis advanced societies might also regress. While popular fiction’s engagement with theories of biological degeneration has been well researched, engagements with these theories of societal reversion have received less attention. Applying them to invasion and catastrophe fiction elucidates how the tales used their regressive futures to warn hubristic nineteenth-century modernity about its potential comeuppance if it continued to either aggressively militarise or unthinkingly exploit the non-human world, two major negative social tendencies which were the source of considerable contemporary anxiety.

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Kral, Françoise. "Postcolonial Gothic as Gothic Sub-version?: A Study of Black Australian Fiction." Gothic Studies 10, no. 2 (November 2008): 110–20. http://dx.doi.org/10.7227/gs.10.2.9.

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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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Gentile, Kathy Justice. "Sublime Drag: Supernatural Masculinity in Gothic Fiction." Gothic Studies 11, no. 1 (May 2009): 16–31. http://dx.doi.org/10.7227/gs.11.1.4.

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Aaron, Jane. "Twentieth-Century and Contemporary Welsh Gothic Fiction." Literature Compass 7, no. 4 (April 2010): 281–89. http://dx.doi.org/10.1111/j.1741-4113.2010.00702.x.

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Chavez, Julia McCord. "The Gothic Heart of Victorian Serial Fiction." SEL Studies in English Literature 1500-1900 50, no. 4 (September 2010): 791–810. http://dx.doi.org/10.1353/sel.2010.a404720.

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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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Sum, Robert. "Aspects of Gothic Tradition in the Literary Imagination of Nnedi Okorafor." Journal of Law and Social Sciences 4, no. 3 (May 27, 2022): 21–30. http://dx.doi.org/10.53974/unza.jlss.4.3.759.

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The Gothic writing has often been perceived as a form of Western fiction- making. This apparently is based on the fact that Gothic genre originated in Europe in the late 18th century and has been widely exploited in the West (Europe and North America). Contrary to these assumptions, it can be confirmed that Gothic mode has indeed been appropriated by many non–Western fiction writers. An in- depth interrogation of Nnedi Okorafor’s, selected novels like ‘Who Fears death’, Akata Witch and The Book of Phoenix reveal that she does indeed appropriate Gothic elements. This article therefore critically examines aspects of Gothic tradition in Nnedi Okorafor’s selected novels. It seeks to portray how unique Gothic motifs like monstrosity, villainy and morality have been appropriated, transformed and complicated in Nnedi Okorafor’s selected novels ‘Who Fears death’, ‘Akata Witch’ and ‘The Book of Phoenix’. This study found out that that the three motifs indeed exist in Okorafor’s selected novels and are closely related. Gothic Monsters are generally implicated in subversion of social norms and nature. This often renders them villainous and their defeat, as portrayed in the analysed texts, leads to a restoration of moral order in a given society. Yet the findings affirm that physical or moral monstrosity of a character does not necessarily qualify her or him to be a villain. Villainy is tied to innate monstrosity which manifests itself through characters’ inhuman, unjust, and oppressive attitude towards the perceived other. This piece therefore concludes that Nnedi Okorafor does indeed appropriate the Gothic motifs of monstrosity, villainy and morality in a manner that offers radically fresh means of highlighting Africa’s complex reality.

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Yang, Mengjie. "The Female Anxiety Embodied in the Gothic Novel: Frankenstein." Journal of Education, Humanities and Social Sciences 15 (June 13, 2023): 187–89. http://dx.doi.org/10.54097/ehss.v15i.9248.

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Female Gothic Fiction - Frankenstein is a revealing tale of female anxiety and terror that not only has a distinctly Gothic sublime appeal, but also boldly reflects Shelley's female anxiety brought on by authorship and family ties through the absence of female discourse, the metaphor of the monster as a woman, and the appropriation of female fertility by men.

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Olive, Sarah. "Romeo and Juliet’s Gothic Space in YA Undead Fiction." Borrowers and Lenders The Journal of Shakespeare Appropriations 15, no. 1 (September 11, 2023): 23–39. http://dx.doi.org/10.18274/bl.v15i1.340.

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Many previous works have demonstrated that Shakespeare’s Romeo and Juliet offers gothic authors, directors, and other artists a hospitable topos. I extend this critical corpus to consider the way in which young adult (YA) undead novels—written by American women writers within a few years of each other in the early twenty-first century—understand the Capulet crypt as a gothic space. I use the term “undead” throughout since although the focus of this fiction is on vampires, some texts also include zombies and other revenants. The chosen novels belong to a moment of extreme popularity for Romeo and Juliet vampire fiction, the best-known example being Stephenie Meyer’s Twilight saga. The texts of Meyer, Claudia Gabel, Lori Handeland, and Stacey Jay include diverse elements from Romeo and Juliet, from fleeting quotations to sustained reworkings of characters and plot. I conclude that a shift away from the confining and distressing gothic space in Shakespeare’s Romeo and Juliet as the Capulet crypt to a more graphic containment in a variety of sarcophagi, or within Juliet’s body itself, is discernible in most of these retellings. This shift is explained with reference to the growth in populairt not just of female, but feminist, gothic and the turn to the body in literary criticism from the 1990s onwards. In this way, Romeo and Juliet can be understood as providing a hospitable topos for the twenty-first century feminisms of these authors and their young, predominantly female, readers.

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Voicu, Ana. "Reading Habits in Jane Austen’s Northanger Abbey." Studia Universitatis Babeș-Bolyai Philologia 66, no. 2 (March 30, 2021): 175–90. http://dx.doi.org/10.24193/subbphilo.2021.2.12.

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"Reading Habits in Jane Austen’s Northanger Abbey. This article focuses on the way Catherine Morland, Northanger Abbey’s heroine, is influenced and even guided by the literature she either chooses or is given to read. Her reading habits, as well as her changing typologies as a reader, influence both the development of her character and the narrative. This study also debunks the idea that Northanger Abbey is a parody of Gothic fiction, contextualizing book reading in an age when the novel was yet to be considered a respectable literary genre. Keywords: wise reader, the avid reader, the hypocritical reader, character development, narrative development, Gothic fiction, novel theory"

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Mishra, Sunil Kumar, Parul Mishra, and J. K. Sharma. "Elements of Horror, Grotesque Bodies, and the Fragmentation of Identity in Mark Shelley’s Frankenstein." International Journal of Language, Literature and Culture 3, no. 2 (2023): 10–17. http://dx.doi.org/10.22161/ijllc.3.2.3.

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Gothic books emphasise the occult and the strange. Old buildings (especially castles or apartments with secret passageways), dungeons, or towers serve as the backdrop for the enigmatic events in Gothic literature. Obviously, ghost stories are a well-known form of Gothic fiction. In addition, distant locales that appear strange to the reader serve as part of the setting of a Gothic tale. Even the idea of resurrecting the dead is horrifying. Mark Shelley makes full use of this literary trick to heighten the eerie sentiments generated by Frankenstein in the reader. The idea of resurrecting the dead would have caused the typical reader to recoil in horror and unbelief.

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Flynn, Deirdre. "‘Will it flood? Are you even listening to me?’ Eco-Gothic and the Climate Crisis in Kevin Barry’s ‘Fjord of Killary’." Irish University Review 53, no. 1 (May 2023): 143–58. http://dx.doi.org/10.3366/iur.2023.0594.

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Kevin Barry’s short story ‘Fjord of Killary’ combines contemporary dystopian and ecological concerns, through the gothic, in order to critique Irish neoliberal ideologies. Engaging the eco-gothic, Barry explores Irish cultural anxieties around climate change and the 2008 economic collapse. The ecological crisis at Killary, and the response to the flood, offer an insight into the fears and the possible futures of the looming climate crisis. This essay investigates why contemporary climate fiction is turning to speculative, gothic dystopias to investigate the eco consequences of global warming.

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Journal articles on the topic 'Gothic Fiction'

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