Gothic: Critical Concepts in Literary and Cultural Studies

Overview

In the last two decades criticism of Gothic fiction has been transformed from a scholarly backwater, interesting itself in literary curiosities, to a wave of wide-ranging critical investigations collectively convinced of the significance, scope and centrality of the genre.
Embracing recent developments in critical theory and practice, work on Gothic has been able to engage systematically and penetratingly with issues of gender, history, race ...
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Overview

In the last two decades criticism of Gothic fiction has been transformed from a scholarly backwater, interesting itself in literary curiosities, to a wave of wide-ranging critical investigations collectively convinced of the significance, scope and centrality of the genre.
Embracing recent developments in critical theory and practice, work on Gothic has been able to engage systematically and penetratingly with issues of gender, history, race and politics, and so significantly extend the parameters of the field.
This collection brings together key works which convey the breadth of what is understood to be Gothic, and the ways in which it has produced, reinforced and undermined received ideas about literature and culture. In addition to its interests in the late eighteenth-century origins of the form, this collection aims to anthologise what it takes to be path-breaking essays on most aspects of Gothic production, including some of its nineteenth, twentieth and twenty-first century manifestations across a broad range of cultural media.
Titles already available in this series include Postcolonialism (2000, 5 volumes, £625) and Feminism (2000, 4 volumes, £525). Forthcoming titles include Urban Culture (September 2004, 4 volumes, £475) and Folklore (2005, 5 volumes, c.£475).
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Table of Contents

Volume I
1. Arthur L. Cooke, Some Side Lights on the Theory of Gothic Romance, Modern Language Quarterly 12, 4, 1951, pp. 429-436.
2. Mark Madoff, The Useful Myth of Gothic Ancestry, Studies in Eighteenth-Century Culture , 8, 1979, pp. 337-350.
3. Lowry Nelson, Jnr, Night Thoughts on the Gothic Novel, Yale Review, 52, 1962, pp. 236-257.
4. Jan B. Gordon, Narrative Enclosure as Textual Ruin: An Archaeology of Gothic Consciousness, Dickens Studies Annual, 11, 1983, pp. 209-238.
5. Margaret Doody, Deserts, Ruins, Troubled Waters: Female Dreams in Fiction and the Development of the Gothic Novel, Genre , 10, 1977, pp. 529-572.
6. Ellen Moers, Female Gothic, in Literary Women , (London: The Women's Press, 1978), pp. 90-110.
7. Jerrold E. Hogle, The Restless Labyrinth: Cryptonomy in the Gothic Novel, Arizona Quarterly, 36, 1980, pp. 330-358.
8. Marshall Brown, A Philosophical View of the Gothic Novel, Studies in Romanticism, 26, 1987, pp. 275-301.
9. Robert Miles, Abjection, Nationalism and the Gothic, in The Gothic, (Cambridge: The English Association Essays and Studies, D.S. Brewer, 2001), pp. 47-70.
10. George E. Haggerty, Fact and Fancy in the Gothic Novel, Nineteenth-Century Fiction , 39, 4, 1985, pp. 379-391.
11. Coral Ann Howells, The Gothic Way of Death in English Fiction 1790-1820, British Journal for Eighteenth-Century Studies, 5, 1982, pp. 207-215.
12. Patrick Brantlinger, Imperial Gothic: Atavism and the Occult in the British Adventure Novel, 1880-1914, Rule of Darkness: British Literature and Imperialism, 1830-1914 , (Ithaca: Cornell University Press, 1988), pp. 227-253.
13. Elaine Showalter, American female Gothic, in Sister's Choice,(Oxford: Oxford University Press, 1995). 127-144.
14. Claire Kahane, Gothic Mirrors and Feminine Identity, Centennial Review, 24, 1980, pp. 43-64.
15. Judie Newman, Postcolonial Gothic: Ruth Prawer Jhabvala and the Sobhraj Case, MFS: Modern Fiction Studies, 40, 1, Spring 1994, pp. 85-100.
16. Fred Botting, Signs of Evil: Bataille, Baudrillard and Postmodern Gothic, The Southern Review , 27, 4, December 1994, pp. 493-510.
17. Carol Clover, Opening Up, in Men, Women and Chainsaws: Gender in the Modern Horror Film , (London: British Film Institute, 1992), pp. 65-113.
Volume II: Eighteenth-Century Gothic: Radcliffe, Reader, Writer, Romancer
18. Harriet Guest, The Wanton Muse: Politics and Gender in Gothic Theory after 1760 in Stephen Copley and John Whale (eds.), Beyond Romanticism , (London: Routledge, 1992), pp. 118-139.
19. Andrea Henderson, 'An Embarrassing Subject': Use Value and Exchange Value in Early Gothic Characterization, in Mary A. Favret and Nicola J. Watson (eds.), At the Limits of Romanticism: Essays in Cultural, Feminist, and Materialist Criticism, (Bloomington and Indianapolis: Indiana University Press, 1994), pp. 225-245.
20. David B. Morris Gothic Sublimity, New Literary History, 16, 1985, p. 299-319.
21. Elisabeth Bronfen, Hysteria, Phantasy and the Family Romance in Ann Radcliffe's Romance of the Forest, Women's Writing, 1, 2, 1994, p. 171-180.
22. Terry Castle, The Spectralization of the Other in The Mysteries of Udolpho, in Laura Brown and Felicity Nussbaum (eds.), The New Eighteenth Century , (London: Methuen, 1987), pp. 231-253.
23. David Durant, Ann Radcliffe and the Conservative Gothic, Studies in English Literature 1500-1900 , 1982, pp. 519-530.
24. Mary Poovey, Ideology in The Mysteries of Udolpho, Criticism, 21, 1979, p. 307-330.
25. E.J. Clery, Like a Heroine, in The Rise of Supernatural Fiction , 1762-1800, (Cambridge: Cambridge University Press, 1995), pp. 115-130.
26. Eve Kosofsky Sedgwick, The Character in the Veil: Imagery of the Surface in the Gothic Novel, PMLA, 96, 2, 1981, pp. 255-270.
27. Natalie Schroeder, The Mysteries of Udolpho and Clermont: The Radcliffean Encroachment on the Art of Regina Maria Roche, Studies in the Novel, 12, 1980, pp. 131-143.
28. Peter Brooks, Virtue and Terror: The Monk, English Literary History , 40, 1973, pp. 249-263.
29. Daniel Watkins, Social Hierarchy in Matthew Lewis's The Monk, Studies in the Novel , 18, 1986, pp. 115-124.
30. Michael Gamer, Authors in Effect: Lewis, Scott, and the Gothic Drama, English Literary History, 66, 4, Winter 1999, pp. 831-861.
31. Fred Botting, Power in the Darkness: Heterotopias, Literature and Gothic Labyrinths, Genre , 26, Summer/ Fall 1993, pp. 253-282.
32. Ronald Paulson, Gothic Fiction and the French Revolution, English Literary History, 48, 1981, pp. 532-554.
33. Jerrold E. Hogle, Frankenstein as Neo-Gothic: From the Ghost of the Counterfeit to the Monster of Abjection in Tilottama Rajan and Julia M. Wright (eds.), Romanticism, History, and the Possibilities of Genre, (Cambridge: Cambridge University Press, 1998), pp. 176-210.
34. Tilottama Rajan, Promethean Narrative: Overdetermined Form in Shelley's Gothic Fiction in Betty Bennett and Stuart Curran (eds.), Shelley: Poet and Legislator of the World, (Baltimore: Johns Hopkins University Press, 1996), pp. 240-252 & pp. 308-309.

Volume III: Nineteenth-Century Gothic: At Home with the Vampire
35. Mladen Dolar, 'I Shall Be With You on Your Wedding Night': Lacan and the Uncanny", October, 58, Fall 1991, pp. 5-23.
36. David Eggenschwiler, Melmoth the Wanderer: Gothic on Gothic, Genre, 8, 1975, pp. 165-181.
37. Kathleen Fowler, Hieroglyphics in Fire: Melmoth the Wanderer, Studies in Romanticism, 25, 1986, pp. 521-539.
38. Christine Alexander, 'That Kingdom of Gloom': Charlotte Bronte, the Annuals and the Gothic, Nineteenth-Century Literature , 47, 1993, pp. 409-438.
39. James Twitchell, Heathcliff as Vampire, Southern Humanities Review, 11, 1977, pp. 355-362.
40. David Jarrett, The Fall of the House of Clennam: Gothic Conventions in Little Dorrit, Dickensian, 73, 1977, pp. 155-161.
41. Helen Stoddart, 'The Precautions of Nervous People are Infectious': Sheridan Le Fanu's Symptomatic Gothic, The Modern Language Review, 86, 1, January 1991, pp. 19-34.
42. William Veeder, Carmilla: The Arts of Repression, Texas Studies in Language and Literature , 22, 2, Summer 1980, pp. 197-223.
43. David Punter, Death, Femininity and Identification: A Recourse to Ligeia, Women's Writing, 1, 2, 1994, pp. 215-228.
44. Robert Miles, 'Tranced Griefs': Melville's Pierre and the Origins of the Gothic, English Literary History , 66, 1, Spring 1999, pp. 157-177.
45. John Fletcher, The Haunted Closet: Henry James's Queer Spectrality, Textual Practice, 14, 1, Spring 2000, pp. 53-80.
46. Jerrold E. Hogle, The Gothic and the 'Otherings' of Ascendant Culture: the Original Phantom of the Opera, South Atlantic Quarterly , 95, 3, Summer 1996, pp. 821-846.
47. Stephen Heath, Psychopathia Sexualis: Stevenson's Strange Case, Critical Quarterly, 28, 1 & 2, 1986, pp. 93-108.
48. Kelly Hurley, The Inner Chambers of all Nameless Sin: The Beetle, Gothic Female Sexuality, and Oriental Barbarism" in Lloyd Davis (ed.), Virginal Sexuality and Textuality in Victorian Literature , (Albany: State University of New York P, 1993), pp. 193-213.
49. Christopher Craft, 'Kiss Me with Those Red Lips': Gender and Inversion in Bram Stoker's Dracula, Representations, 8, Fall 1984, pp. 107-133.
50. Daniel Pick, 'Terrors of the Night': Dracula and 'Degeneration' in the Late Nineteenth Century, Critical Quarterly, 30, 1984, pp. 71-87.
51. Kathleen L. Spencer, Purity and Danger: Dracula, the Urban Gothic, and the Late Victorian Degeneracy Crisis, English Literary History, 59, 1992, pp. 197-225.
52. Carol A. Senf, Dracula: Stoker's Response to the New Woman, Victorian Studies: A Journal of the Humanities, Arts and Sciences, 26, 1, Autumn 1982, pp. 33-49.
Volume IV: Twentieth-Century Gothic: Our Monsters, Our Pets
53. Joan Copjec, Vampires, Breast-Feeding, and Anxiety, October, 58, Fall 1991, pp. 24-43.
54. Jennifer Wicke, Vampiric Typewriting: Dracula and Its Media, English Literary History, 59, 2, Summer 1992, pp. 467-493.
55. David Glover, Travels in Romania: Myths of Origins, Myths of Blood, Discourse, 16, 1, 1993, pp. 126-144.
56. Allan Lloyd Smith, The Phantoms of Drood and Rebecca: The Uncanny Reencountered through Abraham and Torok's 'Cryptonymy', Poetics Today, 13, 2, Summer 1992, pp. 285-308.
57. John Fletcher, Primal Scenes and the Female Gothic: Rebecca and Gaslight, Screen, 36, 4, Winter 1995, pp. 341-370.
58. Avril Horner and Sue Zlosnik , Agriculture, Body Sculpture, Gothic Culture: Gothic Parody in Gibbons, Atwood and Weldon, Gothic Studies , 4, 2, November 2002, pp. 167-177.
59. Judith Wilt, The Imperial Mouth: the Gothic and Science Fiction, Journal of Popular Culture, 14, 1981, pp. 618-628.
60. Slavoj Zizek, Grimaces of the Real, or When the Phallus Appears, October, 58, Fall 1991, pp. 44-68.
61. Stephen Bruhm, On Stephen King's Phallus: Or, The Postmodern Gothic, Narrative, 4, 1, January 1996, pp. 55-73.
62. Phillip Brophy, Horrality: The Textuality of Contemporary Horror Films, Screen , 27, 1987, pp. 11-25.
63. Carol J. Clover, Her Body, Himself: Gender in the Slasher Film, Representations, 20, Fall 1987, pp. 187-228.
64. Barbara Creed, Horror and Monstrous-Feminine: An Imaginary Abjection, Screen, 27, 1986, pp. 44-71.
65. Janice Doane and Devon Hodges, Undoing Feminism: From the Preoedipal to Postfeminism in Anne Rice's Vampire Chronicles, American Literary History, 2, 3, Fall 1990, pp. 422-442.
66. David Punter, Heart Lands: Contemporary Scottish Gothic, Gothic Studies, 1, 1, August 1999, pp. 101-118.
67. Victor Sage, The Politics of Petrifaction: culture, religion, history in the fiction of Iain Banks and John Banville, in Victor Sage and Allan Lloyd Smith, (eds.), Modern Gothic: A Reader, (Manchester: Manchester University Press, 1996), pp. 20-37.
68. Patricia Duncker, Queer Gothic: Angela Carter and the Lost Narratives of Sexual Subversion, in The Writing on the Wall, (London: Rivers Oram/ Pandora, 2003). As yet unpaginated.
69. Judith Halberstam, Skinflick: Posthuman Gender in Jonathan Demme's The Silence of the Lambs, Camera Obscura, 27, 1991, pp. 37-52.
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