Relevant bibliographies by topics / Southern gothic

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Southern gothic'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Southern gothic"

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Harris, Joseph. "Southern Gothic." Appalachian Heritage 17, no. 3 (1989): 39. http://dx.doi.org/10.1353/aph.1989.0147.

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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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Laurentiis, Rickey. "Conditions for a Southern Gothic." Callaloo 36, no. 3 (2013): 522. http://dx.doi.org/10.1353/cal.2013.0133.

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Ragland, Jared, and Catherine Wilkins. "What Has Been Will Be Again." Southern Cultures 29, no. 4 (December 2023): 32–49. http://dx.doi.org/10.1353/scu.2023.a917561.

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Abstract: Photographer Jared Ragland uses a Southern Gothic sensibility to visually contend with Alabama's centuries-long past, its present-day issues, and the perpetuated use of segregation and sequestration in service of the white supremacist myths of American exceptionalism. While the black-and-white photographs demonstrate similarities in style and content to the works of journalistic, literary, and artistic predecessors in the Southern Gothic tradition, they also engage and reframe fraught narrative relationships between historical trauma and contemporary sociopolitical issues in the American South. In so doing, "What Has Been Will Be Again" both meets, then disrupts, audience expectations for the Southern Gothic in its representation of past and present problems of place.
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Hu, Sijie, and Jingdong Zhong. "On the Grotesque in American Southern Gothic Fiction: A Case Study of “A Rose for Emily”." Frontiers in Humanities and Social Sciences 2, no. 6 (June 20, 2022): 38–43. http://dx.doi.org/10.54691/fhss.v2i6.891.

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Taking Faulkner’s short story “A Rose for Emily” as an example, this paper aims to explore the grotesque in American Southern Gothic Fiction in general, Faulkner's works in particular. Compared with British and the 19th-century American [northern] Gothic literature, the southern Gothic by Faulkner and others reflects more reality and digs deeper into the humanity in the specific social environment. The grotesque in “A Rose for Emily” is fully illustrated from various aspects such as the arrangements of the setting atmosphere, characterization, the sublimation of the theme of death, the wording and the excellent writing techniques. This short story can serve as a mirror, through which people can learn about the historic changes during American Civil War. The study reconfirms that there are great impacts of the social changes and the external environment on the personal psychology and ideologies in American southern states.
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Alramadan, Ibtesam. "Exploring Necrophilia and Southern Gothic Elements in Faulkner's A Rose for Emily." International Journal of Science and Research (IJSR) 13, no. 1 (January 5, 2024): 134–36. http://dx.doi.org/10.21275/es231230172434.

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RANSDELL, ANN DAGHISTANY. "Southern Gothic and Spatial Form in Naslund'sFour Spirits." Women's Studies 39, no. 4 (April 26, 2010): 349–72. http://dx.doi.org/10.1080/00497871003661778.

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Shaw, Bradley. "Baptizing Boo: Religion in the Cinematic Southern Gothic." Mississippi Quarterly 63, no. 3-4 (2010): 445–76. http://dx.doi.org/10.1353/mss.2010.0005.

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Bush, Rebecca. "Woman, Southern, Bisexual." Public Historian 41, no. 2 (May 1, 2019): 94–115. http://dx.doi.org/10.1525/tph.2019.41.2.94.

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This report from the field examines the interpretation of two notable queer women from Columbus, Georgia: blues musician Gertrude “Ma” Rainey (1886–1939) and Southern Gothic author Carson McCullers (1917–1967). Although these women maintained complicated relationships with their hometown, the Columbus Museum is utilizing new ways to examine their sexuality in the context of their cultural contributions. Nuanced interpretation of Rainey’s and McCullers’s bisexuality offers opportunities to discuss connections between sexuality, gender, race, and economic realities. In presenting the museum’s efforts to interpret these fascinating personalities through exhibitions and permanent collection artifacts, this article offers ideas, strategies, and questions for public historians to consider in their own practice.
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Kempinska, Olga Donata Guerizoli. "CONVENÇÃO GÓTICA E A DESTERRITORIALIZAÇÃO." História e Cultura 11, no. 1 (August 3, 2022): 517–33. http://dx.doi.org/10.18223/hiscult.v11i1.3632.

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O artigo procura estabelecer uma relação entre a convenção gótica, discutida a partir dos anos 80 como uma importante interlocutora dos textos literários que buscam desafiar a tradição em seus aspectos opressores, e a desterritorialização. Tendo surgido no pensamento de Gilles Deleuze, a desterritorialização se opõe, de fato, às tendências unificadoras dos sistemas culturais, propondo uma experiência do dinamismo subjetivo descentralizado, que pode ser encontrado nos textos de Witold Gombrowicz. A ambiguidade estética da fotografia, que abre a reflexão deleuziana sobre a desterritorialização confirma sua eficácia na convenção Southern Gothic, na recente obra poética de Natasha Trethewey, que indaga a representação do fantasma e o impacto da poética do horror. Busca-se finalmente compreender o caráter desterritorializado de Southern Gothic em sua relação ao gótico europeu.
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Dissertations / Theses on the topic "Southern gothic"

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McNair, Michael Stephen. "Southern Gothic : antebellum ecclesiology in Alabama, Louisiana, and Mississippi." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/25861.

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The primary focus of the thesis is to examine and explain the architectural, religious, and anthropological occurrences that influenced the implementation of ecclesiology in Alabama, Mississippi, and Louisiana in the period prior to the American Civil War in 1861. Architectural, religious, and cultural developments in the region have been considered within the context of Romanticism, Cotton Capitalism, provincial architectural taste and climatic conditions, socioeconomic placement of the gentry planter class, and the liturgical developments within the Episcopal Church. The Episcopal Church was the only denomination interested in the development of the Gothic Revival and the High Church influences in the largely evangelical region creates a question of purpose. Aside from liturgical requirements, issues of taste and refinement are associated with the Gothic form and are therefore associated with the educated and wealthy Episcopal congregants. This thesis examines the information beyond any existing literature and explains how and why a variation of ecclesiology was implemented in certain Episcopal parishes in the Gulf South. The methodology for creating an argument for antebellum ecclesiology concentrates on primary sources and fieldwork. The first hand accounts of both natives and travellers in the region, the reports from the clergy, and the writings from the Episcopal planter class, all infuse to create a clear understanding of the development of the Gothic Revival and the purpose, both religiously and socially, of the style. The influence of the Oxford Movement and the English ecclesiologists is also considered when evaluating the transatlantic relationship between the American Church and Southern Anglophiles in relation to the Church of England. The theological and humanistic understanding of mankind within the confines of a slave-based economy also influenced the decision of the planter class to gravitate towards the Episcopal Church and establish an architectural presence unique to their social and economic level. Ecclesiology embodied the refinement and social position of the Episcopal Church, creating a visible and psychical manifestation of High Church principles suited for the gentry slaveholding class. By examining the architectural models of the early Episcopal Church in the Gulf South, this data establishes a pattern of the Church supporting the Gothic Revival and, in some circumstances, following the principles of ecclesiology.
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Compton, Mark Daniel. "Neo-Raconteur: Allocating Southern-Gothic Symbolism into Design Media." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1394.

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I created the term Neo-Raconteur to convey my interest in medium theory to support the artistic custom of revealing cultural conventions for allocation into artistic genres. The term evolved from the French word "Raconteur," meaning: somebody who tells stories or anecdotes in an interesting or entertaining way. In the past a Raconteur's anecdotes were verbally volleyed, ever voluble, yet quip. Neo-Raconteurs may decide not to speak at all choosing their anecdotal expression to manifest itself through singular or multiple means, manners, or methods of design and technology as well as or involving more traditional techniques of extraction to convey the narrative. I demonstrate how it applies to my work in time-based-media within the realms of Southern Gothic symbolism -- which rely on the supernatural, physical geographic settings, instances of the grotesque and irony along with visual and/or psychological shadow(s) of foreboding caused by tradition or hidden truths, occasionally both.
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Roberts, Shelby Caroline. "The only light shot out as usual: Defining an Appalachian Grotesque." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91423.

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With the success of podcasts like Serial and This American Life's S-Town, the calamity of J.D. Vance's Hillbilly Elegy, and the dawning of "Trump's America" as a regional branding, Appalachia has once again found itself laid bare on the national stage. As the romanticization of Appalachia as poor, packing, and white persists, the question becomes: how can Appalachian peoples access these negative images as tools of resistance, reformation, and community making? How does an American gothic find home in Appalachian narratives? This project explores clashes between national othering and local othering in Appalachian identity making as a tangible production of an Appalachian grotesque, a grotesque constructed through the subversion of the modern American gothic as a critical model for exploring Appalachian identity, particularly nationally othered and queered identities. The scope of this project ranges from contemporary, such as the popular memoir Hillbilly Elegy (2016) and the record breaking podcast S-Town (2016), as well as Robert Gipe's debut novel, Trampoline (2015), and their historical counterparts: the 1967 documentary Holy Ghost People and the 1976 documentary Harlan County, U.S.A. Through the lens of contemporary gothic readings of identity that come to form the grotesque, a framework for deconstructing notions of Appalachian fatalism begins to emerge. By specifically looking at ideas of violence, whether economic, cultural, or physical, and theories of erasure through the lens of land distribution and acquisition in Appalachia and its effect on self and community identity built up in the anchoring texts, defining and cultivating an Appalachian grotesque allows for a quantifying of Appalachian persistence within a history of critical thought, for better or for worse, as a way of both critiquing and fortifying the identity of Appalachia.
Master of Arts
The narrative of Appalachia, as white, poor, uneducated, barefoot, etc. that defines conceptions of the grotesque in contemporary media, such as more classic movies like 1972’s Deliverance, the tale of four ‘city boys’ from Atlanta during a bloody trip through the mountains, most famous for its “Dueling Banjos” scene, or more recent movies such as 2017’s Logan Lucky, a heist movie centered around two brothers’ plot to rob a NASCAR race in North Carolina, interacts with concepts of American masculinity and femininity through two prominent categories: hunger and disgust. Through the literary positioning of the body as a site in which hunger and disgust interact/react, as well as the subsequent relationship between sex and desire as defining features of a productive, and reproductive body, southern gothic tropes are encapsulated and reimagined through a grotesque Appalachian lens. It is through this cyclical process of hunger and disgust, and sex, desire, and production, in the social, political, and economic spheres that an Appalachian notion of the grotesque is formed.
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Hawley, Rachel S. "VILE HUMOR: GIVING VOICE TO THE VOICELESS THROUGH DARK COMEDY IN SOUTHERN GOTHIC LITERATURE." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/337.

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The American South is a rich source of literature that combines the humorous and the horrific in its attempts to explain and expose the region's deep-seated social turmoil. One of the most prolific genres to come out of the South is southern gothic literature that, though not always humorous is known for its use of grotesque imagery and reliance on highly charged melodramatic narratives. When these works are comic, they don't merely reflect the region's strife but attempt to transform it. This dissertation looks at how southern gothic writers Beth Henley, Fannie Flagg and Flannery O'Connor use dark comedy in their works as defiant acts designed to question the status quo and reform the southern landscape by creating ruptures where marginalized people can assert themselves into the norms of American culture. Drawing on several different definitions of comedy, including Barecca's works on female narratives and linguistic theories of jokes, this work defines dark comedy and identifies where humor and horror come together in the works of these southern gothic writers to form particularly dark comic moments. Then, it uses Butler's theory of sites of rupture to explain how dark comedy can be transformative. In Giving an Account of Oneself, Butler explains Foucault's regime of truth as a system that is always both self-reflexive and social - a system where the norms that govern recognition create boundaries where subjects are formed. She goes on to conclude that ruptures can occur within the "horizon of normativity" whereby those relegated to the margins can gain entry and be encompassed within the governing norms. Dark comedy, then, occurs at or even creates that site of rupture in the individual and in the society that experiences it, and allows for the individual, and by extension society, to change its understanding of what is normal and resides within the margins. Within the text, then, dark comedy changes the governing norms to include the once marginalized oddities.
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McCabe, Bryan Thomas. "Cars, collisions, and violence in Southern literature." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003133.

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Garrett, Elizabeth Ann. "The Ancient Art of Smile-Making." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1366.

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If I am anything, I am a Kentuckian, which means I appreciate a good storyteller. In my writing, I hope to bring back some dignity to the “lost cause” of the good values from a broken culture. While I am not quite “southern” enough to qualify as a writer of Southern Gothic fiction, I can relate to this brand of identity crisis in which someone wants to maintain an archaic mindset in a culture charging towards “progress.” As technology and corporate success take precedence over a genteel and pastoral soul, our collective competitiveness has crippled a quaint future of back porch comforts. Being well-read or holding open doors won’t pay for student loans, and there is no such thing as stars in our crowns anymore. For many regions of Kentucky, there is this conflict within the graying of small town communities. My region is one of these. As time marches on, the agrarian lifestyle itself becomes industrialized, and these old family farms, upon which small towns are built, are not self-sustaining. In my stories, I capture the perspectives of a rural community’s personalities. My Regionalism may be dated, but then so are the small town values. With these short stories, I hope to create a collection of characters whose backgrounds may be singular but whose messages are universal. My stories are about the universal fear of loneliness. Perry and White, the cameo characters, pop up throughout because they epitomize this with their irrational companionship. “The Ancient Art of Smile-Making,” “A Well Meaning Marionette,” “The Peacock Cloister,” and “In the Garden, Swallowing Pearls” are essentially about this innate need for company. “Murdered in a Good Dress” and “Myrtle Slog” illustrate the homesickness experienced by those who divorce themselves from closeness of the rural community. Sometimes we call “friendship” kitschy and cliché. And why is that? I made Perry and White’s bond a bit absurd because it is almost ridiculous that there could be a person in the wild world who would sacrifice themselves.
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Russell, Kara. "Bertha Harris' Confessions of Cherubino: From L'Ecriture Feminine to the Gothic South." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3401.

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Inspired by her obsession with the South and informed by the liberating socio-political changes born from the 1970s lesbian feminist movement, North Carolinian author Bertha Harris (1937-2005) provides a poetic exploration of Southern Gothic Sapphism in her complex and tormented novel Confessions of Cherubino (1972). Despite fleeting second-wave era recognition as “one of the most stylistically innovative American fiction writers to emerge since Stonewall,” Harris’s innovation remains largely neglected by readers and cultural theorists alike. Nearly all academic engagements with her work, of which there are few, address her 1976 novel Lover. Instead, this thesis focuses on Confessions of Cherubino and examines the novel’s relationship to poststructural feminist thought that led to a critical but undervalued position within contemporary literature of the queer South, particularly through the work of Dorothy Allison, who has noted Harris’s influence on her writing.
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Martin, Emanuel Henry. "Days of the Endless Corvette." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/16.

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Set in mythical Humble County, Georgia, Days of the Endless Corvette tells the story of Earl Mulvaney, a high-school dropout and auto mechanic. Earl loves Ellen, the brainy and beautiful girl next door, who unfortunately must marry Troy, the star of the high school football team. Throughout the book Earl labors on his “Endless Corvette,” a project as impossible as trying to build a perpetual motion machine. Earl has noticed that each time he takes something apart and rebuilds it, there are leftover parts. He reasons that by disassembling and reassembling his boss’s ’59 Corvette, and saving the leftover pieces each time, eventually he will have enough parts to build an entire car, leaving the original behind. The novel ends with the suggestion that perhaps Earl has succeeded at his project, which stands as a metaphor not only for Earl’s hopeless love, but other searches for answers to life’s perplexities.
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Joyner, John Edward III. "The architecture of orthodox Anglicanism in the Antebellum South : the principles of Neo-Gothic parish church design and their application in the southern parish church architecture of Frank Wills and his contemporaries." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/22975.

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Baker, Dallas John. "(Re)Scripting the Self: Subjectivity, Creative and Critical Practice and the Pedagogy of Writing." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/368123.

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This PhD research focuses on Queer Theory and its application to subjectivity in the contexts of creative practice, Practice-Led Research (PLR) and Creative Writing pedagogy. One of the principal concerns of the project is how a queered PLR might foreground subjectivity as a practice in itself and view both creative practice and critical research as components in an “ethics of the self” (Foucault 1978) or “selfbricolage” (Rabinow 1997). In this context, creative practice is conceived as an intervention into subjectivity and creative works are framed as artefacts that both document this interventional process and express or disseminate new subjectivities arising from that process. In a similar vein, research in the Creative Arts is seen as a performative act that includes affect (produced through engagement with both creative and critical texts) as a form of knowledge. As with creative practice, this kind of research informs the ongoing constitution of subjectivity. The research project also explores the notion of effeminacy as a liminal masculinity of considerable discursive potency that simultaneously disrupts both masculinity and femininity. This exploration is undertaken in relation to the Southern Gothic genre of literature, cinema and television.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Books on the topic "Southern gothic"

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Horsley, Karen. The American Southern Gothic on Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729444.

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The Southern Gothic on Screen explores a body of screen texts that conform to certain generic conventions and aesthetics that, since the early twentieth century, have led to the construction of the American South as a space of ruin, decay, melancholy, loss, and haunting. The book considers the cultural significance of the Southern Gothic on screen by examining southern otherness as the primary mechanism through which the South is rendered a space of darkness and danger. This opens up a critical space for the Southern Gothic to be discussed as a screen genre with its own complex visual, thematic and narrative codes. The book establishes a perspective that synthesizes a broad understanding of Southern Gothic genericity with pre-existing cultural and political discourses on the South, resulting in an analysis that is specific to film and television while remaining heedful of the intersecting discourses that inform both the Gothic and the South as historic and mediated constructs.
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Castillo Street, Susan, and Charles L. Crow, eds. The Palgrave Handbook of the Southern Gothic. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3.

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Leggitt, Joan. Walking the edge: A southern gothic anthology. Tallahassee, Florida: Twisted Road Publications, 2016.

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Caterine, Emma. The New Southern Gothic Poisoned Your Kids. [New York, NY]: the author, 2015.

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Gurley, Henry W. I looked out tilt: A southern gothic novel. Statesboro, Ga: Headlight Press, 2007.

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Doris, Betts, Steadman Mark 1930-, and Grau Shirley Ann, eds. 3 by 3: Masterworks of the southern Gothic. Atlanta, Ga: Peachtree Publishers, 1985.

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McQueen, Keven. Gothic and strange true tales of the south. Gretna: Pelican Publishing Company, 2015.

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Orlov, Igor', and Nikolay Solov'ev. South French Gothic. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1844169.

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The main purpose of the monograph is to reveal the deep and complex interrelation of the religious and mystical paradigm of the original "Occitan civilization" of the South of France and the Catholic Church, which won the bloody Albigensian wars, with the artistic practice of the builders of the cult Gothic structures of the South of France. In addition to the literary sources previously used in scientific circulation, materials of little-known foreign publications, archival documents (courtesy of the Augustin Museum, the University of Toulouse and the Catholic Institute of Toulouse, the Center for Qatari Studies in Carcassonne), as well as materials of the author's direct research of natural objects of the studied region were involved. The analysis of all these data made it possible to see and evaluate the cultural and historical background in a new way, which became fertile ground for the emergence and spread of Gothic art, the subsequent formation and spread of the peculiar Gothic architecture of the South of France. For the first time, a number of new hypotheses are introduced into scientific circulation, allowing a more objective look at the features of the cult Gothic of Southern France. Based on the above, for the first time in Russian medieval studies, it became possible to propose a reasonable, in the author's opinion, classification of cult Gothic structures in the South of France, which naturally correlates with the data of scientific publications. For a wide range of readers interested in Gothic art. It can be useful for students, postgraduates and teachers of art history universities and faculties.
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Kaliff, Anders. Gothic connections: Contacts between eastern Scandinavia and the southern Baltic coast, 1000 BC-500 AD. Uppsala: Department of Archaeology and Ancient History, Uppsala University, 2001.

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Goddu, Teresa A. Gothic America: Narrative, history, and nation. New York: Columbia University Press, 1997.

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Book chapters on the topic "Southern gothic"

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Anderson, Melanie. "Southern Gothic." In The Routledge Companion to Literature of the U.S. South, 121–24. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003009924-31.

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Davison, Carol Margaret. "Southern Gothic: Haunted Houses." In The Palgrave Handbook of the Southern Gothic, 55–67. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_5.

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Robertson, Sarah. "Gothic Appalachia." In The Palgrave Handbook of the Southern Gothic, 109–20. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_9.

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Marshall, Bill. "Francophone Gothic Melodramas." In The Palgrave Handbook of the Southern Gothic, 215–27. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_17.

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Beer, Janet, and Avril Horner. "Southern Hauntings: Kate Chopin’s Gothic." In The Palgrave Handbook of the Southern Gothic, 95–107. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_8.

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Wooley, Christine A. "Charles Chesnutt’s Reparative Gothic." In The Palgrave Handbook of the Southern Gothic, 285–96. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_22.

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Bibler, Michael P. "Truman Capote’s Gothic Politics." In The Palgrave Handbook of the Southern Gothic, 391–402. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_30.

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Weinauer, Ellen. "The Gothic and the “Southern Lady”: Catherine Warfield’s The Household of Bouverie." In Palgrave Gothic, 177–94. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55552-8_10.

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Del Guercio, Gerardo. "Southern Agrarianism and Exploitation." In The Palgrave Handbook of Contemporary Gothic, 181–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_11.

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Yousaf, Nahem. "New Immigrants and the Southern Gothic." In The Palgrave Handbook of the Southern Gothic, 121–33. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-47774-3_10.

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Conference papers on the topic "Southern gothic"

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Khan, Dabeer, and Mohammad Al-Ajmi. "Depositional architecture of the Gotnia basin during Oxfordian in southern part of Kuwait." In International Conference and Exhibition, Barcelona, Spain, 3-6 April 2016. Society of Exploration Geophysicists and American Association of Petroleum Geologists, 2016. http://dx.doi.org/10.1190/ice2016-6459957.1.

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Qin, Guosheng, and Youjing Wang. "Jurassic Hydrocarbon System Appraisal and Implications for Prospectively in Central and Southern Iraq, Middle East." In ADIPEC. SPE, 2023. http://dx.doi.org/10.2118/216182-ms.

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Abstract:
The Jurassic hydrocarbon system in Middle East is one of the world's most important systems with several giant oilfields are discovered in Abu Dhabi, Saudi Arabia, etc[1–3]. The oil and gas discoveries of Jurassic formation are located in the northern part (Fig. 1). Such as the Najmah, Atrush, and Miran West oilfield in north Iraq. Meanwhile, it also considered the main producing reservoirs big reserve in adjacent countries. However, central and southern Iraq is an underexplored area due to large burial depth and limited data. Several wells have confirmed its huge potential. The appraisal of stratigraphy sequence, sedimentation and hydrocarbon assemblages is of great significance to understand prospectively in this region. It also shed light on the exploration of Jurassic formation and deeper formations. The Jurassic contact with the lower Triassic (Kurra Chine) and upper Cretaceous (Sulaiy) in unconformity in southeastern Iraq. The contact surface often characterized by sharp lithological change[3]. For example, the Gotnia formation in top of Jurassic characterized by evaporate lithology (anhydrite and salt). However the Sulaiy formation in the bottom of Cretaceous characterized by mudstone. The Jurassic in Iraq can be further divided into lower Jurassic, middle Jurassic and upper Jurassic (Fig. 1). The lower Jurassic belongs to evaporate and carbonate ramp environment, the lithology dominated by anhydrite and dolomite. The middle Jurassic belongs to intra-shelf environment and the lithology dominated by mudstone and shale. The upper Jurassic belong to shelf and evaporate environment and the lithology dominated by mudstone and anhydrite[4–6].
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