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The Gothic Other by Ruth Bienstock Anolik,Douglas L. Howard Pdf
Literary use of the Gothic is marked by an anxious encounter with otherness, with the dark and mysterious unknown. From its earliest manifestations in the turbulent eighteenth century, this seemingly escapist mode has provided for authors a useful ground upon which to safely confront very real fears and horrors. The essays here examine texts in which Gothic fear is relocated onto the figure of the racial and social Other, the Other who replaces the supernatural ghost or grotesque monster as the code for mystery and danger, ultimately becoming as horrifying, threatening and unknowable as the typical Gothic manifestation. The range of essays reveals that writers from many canons and cultures are attracted to the Gothic as a ready medium for expression of racial and social anxieties. The essays are grouped into sections that focus on such topics as race, religion, class, and centers of power.
This collection provides a thorough representation of the early and ongoing conversation between Gothic and theory - philosophical, aesthetic, psychological and cultural.
Schabraco and Other Gothic Tales from the Ladies' Monthly Museum, 1798-1828 by Jennie MacDonald Pdf
In 1798, a prospectus appeared for The Lady's Monthly Museum, a bold new project which - in contrast to the predominance of men's magazines at the time - would be edited by a "Society of Ladies" and would include wholesome entertainment exclusively intended for young women. But with the inclusion of the Gothic tale "Schabraco" in its second issue, the magazine attracted immediate controversy and letters questioning the publication's morality and suitability for young ladies. Despite - or perhaps because of - the outcry surrounding "Schabraco," the magazine went on to be an extremely popular and significant outlet of Gothic fiction for the next thirty years. Though the Gothic novels of Ann Radcliffe, Matthew Lewis, and their contemporaries have attracted considerable interest among readers and scholars in recent years, the vast output of Gothic fiction that appeared in popular magazines like The Lady's Monthly Museum has been almost entirely ignored, probably because of lack of access to these rare texts. Now for the first time, editor Dr. Jennie MacDonald has collected the best Gothic texts from this important periodical, including novelettes, stories, fragments, poems and drama, enabling readers to discover at last a wealth of lost Gothic material. Also included are a scholarly introduction and annotations, as well as reproductions of engravings that accompanied the original publication of these tales.
NEW YORK TIMES BESTSELLER • “It’s Lovecraft meets the Brontës in Latin America, and after a slow-burn start Mexican Gothic gets seriously weird.”—The Guardian IN DEVELOPMENT AS A HULU ORIGINAL LIMITED SERIES PRODUCED BY KELLY RIPA AND MARK CONSUELOS • ONE OF TIME’S 100 BEST MYSTERY AND THRILLER BOOKS OF ALL TIME • WINNER OF THE LOCUS AWARD • NOMINATED FOR THE BRAM STOKER AWARD ONE OF THE BEST BOOKS OF THE YEAR: The New Yorker, Vanity Fair, NPR, The Washington Post, Tordotcom, Marie Claire, Vox, Mashable, Men’s Health, Library Journal, Book Riot, LibraryReads An isolated mansion. A chillingly charismatic aristocrat. And a brave socialite drawn to expose their treacherous secrets. . . . From the author of Gods of Jade and Shadow comes “a terrifying twist on classic gothic horror” (Kirkus Reviews) set in glamorous 1950s Mexico. After receiving a frantic letter from her newly-wed cousin begging for someone to save her from a mysterious doom, Noemí Taboada heads to High Place, a distant house in the Mexican countryside. She’s not sure what she will find—her cousin’s husband, a handsome Englishman, is a stranger, and Noemí knows little about the region. Noemí is also an unlikely rescuer: She’s a glamorous debutante, and her chic gowns and perfect red lipstick are more suited for cocktail parties than amateur sleuthing. But she’s also tough and smart, with an indomitable will, and she is not afraid: Not of her cousin’s new husband, who is both menacing and alluring; not of his father, the ancient patriarch who seems to be fascinated by Noemí; and not even of the house itself, which begins to invade Noemi’s dreams with visions of blood and doom. Her only ally in this inhospitable abode is the family’s youngest son. Shy and gentle, he seems to want to help Noemí, but might also be hiding dark knowledge of his family’s past. For there are many secrets behind the walls of High Place. The family’s once colossal wealth and faded mining empire kept them from prying eyes, but as Noemí digs deeper she unearths stories of violence and madness. And Noemí, mesmerized by the terrifying yet seductive world of High Place, may soon find it impossible to ever leave this enigmatic house behind. “It’s as if a supernatural power compels us to turn the pages of the gripping Mexican Gothic.”—The Washington Post “Mexican Gothic is the perfect summer horror read, and marks Moreno-Garcia with her hypnotic and engaging prose as one of the genre’s most exciting talents.”—Nerdist “A period thriller as rich in suspense as it is in lush ’50s atmosphere.”—Entertainment Weekly
The Gothic, Postcolonialism and Otherness by T. Khair Pdf
Starting with a re-examination of the role of the colonial/racial Other in mainstream Gothic (colonial) fiction, this book goes on to engage with the problem of narrating the 'subaltern' in the post-colonial context. It engages with the problems of representing 'difference' in lucid conceptual terms, with much attention to primary texts, and highlights the strengths and weaknesses of colonial discourses as well as postcolonialist attempts to 'write back.' While providing rich readings of Conrad, Kipling, Melville, Emily Brontë, Erna Brodber, Jean Rhys and others, it offers new perspectives on Otherness, difference and identity, re-examines the role of emotions in literature, and suggests productive ways of engaging with contemporary global and postcolonial issues.
In The Witches of Kyiv and Other Gothic Tales by Orest Somov the supernatural is present throughout Ukraine, from a cemetery in Kyivan Rus, to an isolated forest cottage in the seventeenth century Kozak era, to the society ballrooms of Somov’s own world – the early nineteenth century. Gothic horror appears in many guises including witches, warlocks, demons and vengeful ‘rusalka’. Strange soothsayers and malevolent visitors represent the forces of good and evil. In her foreword Dr Svitlana Krys describes Somov “as an initiator of an indigenous literary tradition of the Gothic in the Ukrainian literary canon”. Native folk traditions, ghost stories and European Romanticism are twisted together in Somov’s imaginative tales, most of which are published here in English for the first time.
Stephen King is the world's best-selling horror writer. His work is ubiquitous on bookstore, supermarket, and personal library shelves and has been faithfully adapted into some of the most iconic horror films of the twentieth century. This study explores his writing through the lenses of contemporary literary and cultural theory. Through analyses of some of his best-known work, including "Carrie" and "Misery," the authors argue that King offers ways of encountering and understanding some of our deepest fears about life and death, the past and the future, technological change, other people, monsters, ghosts, and the supernatural.This is the first extended critical-theoretical engagement with King's writing, and will be of interest to students, academics, and fans of horror fiction.
The Rise of the Gothic Novel by Maggie Kilgour Pdf
One of the central images conjured up by the gothic novel is that of a shadowy spectre slowly rising from a mysterious abyss. In The Rise of the Gothic Novel, Maggie Kilgour argues that the ghost of the gothic is now resurrected in the critical methodologies which investigate it for the revelation of buried cultural secrets. In this cogent analysis of the rise and fall of the gothic as a popular form, Kilgour juxtaposes the writings of William Godwin with Mary Wollstonecraft, and Ann Radcliffe with Matthew Lewis. She concludes with a close reading of the quintessential gothic novel, Mary Shelley's Frankenstein. An impressive and highly original study, The Rise of the Gothic Novel is an invaluable contribution to the continuing literary debates which surround this influential genre.
Three Gothic Novels by Horace Walpole,Mary Shelley,William Beckford Pdf
The Gothic novel, which flourished from about 1765 until 1825, revels in the horrible and the supernatural, in suspense and exotic settings. This volume, with its erudite introduction by Mario Praz, presents three of the most celebrated Gothic novels: The Castle of Otranto, published pseudonymously in 1765, is one of the first of the genre and the most truly Gothic of the three. Vathek (1786), an oriental tale by an eccentric millionaire, exotically combines Gothic romanticism with the vivacity of The Arabian Nights and is a narrative tour de force. The story of Frankenstein (1818) and the monster he created is as spine-chilling today as it ever was; as in all Gothic novels, horror is the keynote.
Nothing ever happens on the Otter Lake reservation. But when 16-year-old Tiffany discovers her father is renting out her room, she's deeply upset. Sure, their guest is polite and keeps to himself, but he's also a little creepy. Little do Tiffany, her father, or even her astute Granny Ruth suspect the truth. The mysterious Pierre L'Errant is actually a vampire, returning to his tribal home after centuries spent in Europe. But Tiffany has other things on her mind: her new boyfriend is acting weird, disputes with her father are escalating, and her estranged mother is starting a new life with somebody else. Fed up and heartsick, Tiffany threatens drastic measures and flees into the bush. There, in the midnight woods, a chilling encounter with L'Errant changes everything ... for both of them. A mesmerizing blend of Gothic thriller and modern coming-of-age novel, The Night Wanderer is unlike any other vampire story.
The social and political climate in which Wood's art flourished bears certain striking similarities to America today, as national identity and the tension between urban and rural areas reemerge as polarizing issues in a country facing the consequences of globalization and the technological revolution. Wood portrayed the tension and alienation of contemporary experience. By fusing meticulously observed reality with fables of childhood, he crafted unsettling images of estrangement and apprehension that pictorially manifest the anxiety of modern life.
Monstrous Textualities by Anya Heise-von der Lippe Pdf
Monstrous textuality emerges when Gothic narratives like Frankenstein reflect the monstrous in their narrative structure to create narratives of resistance. It allows writers to meta-narratively reflect their own poetics and textual production, and reclaim authority over their work under circumstances of systemic cultural oppression and Othering. This book traces the representation of other Others through Black feminist hauntology in Toni Morrison’s Beloved (1987) and Love (2003); it explores fat freak embodiment as a feminist resistance strategy in Angela Carter’s Nights at the Circus (1984) and Margaret Atwood’s Lady Oracle (1976); and it reads Atwood’s MaddAddam trilogy (2003–13) and Shelley Jackson’s Patchwork Girl (1995) within a framework of critical posthumanist and cyborg theory. The result is a comprehensive argument about how these texts can be read within a framework of critical posthumanist questioning of knowledge production, and of epistemological exploration, beyond the exclusionary humanist paradigm.
Walking the Twilight Path by Michelle Belanger Pdf
Introduces a spiritual path of personal transformation and rebirth. This book draws on the wisdom of shamans, Tibetan Buddhists, and ancient Egyptians, Michelle Belanger and illuminates death as a beautiful gateway to change and regeneration.--Worldcat.
Technologies of the Gothic in Literature and Culture by Justin D. Edwards Pdf
This volume, a collection with contributions from some of the major scholars of the Gothic in literature and culture, reflects on how recent Gothic studies have foregrounded a plethora of technologies associated with Gothic literary and cultural production. The engaging essays look into the links between technologies and the proliferation of the Gothic seen in an excess of Gothic texts and tropes: Frankensteinesque experiments, the manufacture of synthetic (true?) blood, Moreauesque hybrids, the power of the Borg, Dr Jekyll’s chemical experimentations, the machinery of Steampunk, or the corporeal modifications of Edward Scissorhands. Further, they explore how techno-science has contributed to the proliferation of the Gothic: Gothic in social media, digital technologies, the on-line gaming and virtual Goth/ic communities, the special effects of Gothic-horror cinema. Contributors address how Gothic technologies have, in a general sense, produced and perpetuated ideologies and influenced the politics of cultural practice, asking significant questions: How has the technology of the Gothic contributed to the writing of self and other? How have Gothic technologies been gendered, sexualized, encrypted, coded or de-coded? How has the Gothic manifested itself in new technologies across diverse geographical locations? This volume explores how Gothic technologies textualize identities and construct communities within a complex network of power relations in local, national, transnational, and global contexts. It will be of interest to scholars of the literary Gothic, extending beyond to include fascinating interventions into the areas of cultural studies, popular culture, science fiction, film, and TV.
This book explores the Gothic tradition in Canadian literature by tracing a distinctive reworking of the British Gothic in Canada. It traces the ways the Gothic genre was reinvented for a specifically Canadian context. On the one hand, Canadian writers expressed anxiety about the applicability of the British Gothic tradition to the colonies; on the other, they turned to the Gothic for its vitalising rather than unsettling potential. After charting this history of Gothic infusion, Canadian Gothic turns its attention to the body of Aboriginal and diasporic writings that respond to this discourse of national self-invention from a post-colonial perspective. These counter-narratives unsettle the naturalising force of this invented history, rendering the sense of Gothic comfort newly strange. The Canadian Gothic tradition has thus been a conflicted one, which reimagines the Gothic as a form of cultural sustenance. This volume offers an important reconsideration of the Gothic legacy in Canada.