All that Gothic

Description

Cover Contents Introduction Literary Gothic American Gothic Perversity in the Selected Works of Edgar Allan Poe Works Cited From Scratch Once More or, Sam Lawson Restarts the American Gothic Works Cited From Faustus to Azatoth: H. P. Lovecraft’s “Dreams in the Witch-House” (of Modernity) Works Cited Gothic Metalepsis and Ekphrastic Horror: Self-Conscious Reflection on the Ambivalent Cultural Status in Stephen King’s “The Road Virus Heads North” Works Cited (Post-) Colonial Gothic Loveless Legacies: Gothic Mothers and Haunted Daughters in Postcolonial Literature Works Cited Reading (Post-) Colonial Terror within Gothic Aesthetics: The Conceptual Limits of Postcolonial Gothic in Canadian Aboriginal Fiction Works Cited Gothic Topographies The Haunting of the House in Charlotte Perkins Gilman’s “The Yellow Wallpaper” Introduction Haunting as a discourse The Narrative of Melancholia The Yellow Wallpaper Conclusion Works Cited Hermann Hesse’s Steppenwolf as a Modern Gothic Tale: A Cognitive Poetic Perspective 1. Introduction 2. Cognitive Poetics 2.1. Cognitive Poetics and narratology 3. The classical, the romantic, and the gothic 4. The novel 4.1. The gothic cityscapes 4.2. Harry as an outsider and a gothic flâneur 4.3. Harry and the Doppelgänger 4.4. The Steppenwolf’s evolution 5. Conclusions Works cited “Nature is the Church of Satan.” The Gothic Topography in Contemporary Scandinavian Horror Novels and Films The topofocal tradition The hostile landscape Time and place The wilderness as “the other” Works Cited Gothic Bodies Antonia and the Male Gaze. Imaging Femininity in M. G. Lewis’s The Monk Works Cited Who's Afraid of Carmilla? Le Fanu's “Carmilla”: Gender and Power Introduction Carmilla – a gothic monstrous woman and her predecessors Who is afraid of Carmilla? And why? Works Cited Grotesque Revived: Monstrosity in Angela Carter’s Nights at the Circus Works Cited Body out of (Human) Bounds: Lesbian Transformations in Contemporary Horror Fiction Introduction: Gothic Transformations (Dis)locating Lesbian Bodies Pushing the Limits in Skin Conclusion: Alternatives and Restrictions Works Cited The Supernatural E. Nesbit and the Gothic Mode in Children’s Fiction Works Cited Gothic Subversions of Heterosexual Matrix in Sarah Waters’s Affinity Works Cited Floating Worlds, Splintered Narratives and Unstable Identities: The Spectral Return of the Gothic in Sarah Waters’s Fingersmith Works Cited Non-Literary Gothic Gothic Dispatches from War Zones Works Cited Gothic Elements in Vampire Films by Hammer Film Productions Introduction: Hammer Film Productions and the New Monster 1. Setting 2. Time 3. Costumes and Props 4. Supernatural Elements 5. Damsel in Distress 6. Horror and Terror 7. Kitsch Conclusion Works Cited Peter Bogdanovich’s Targets: The Old Gothic Monster vs. the New Villain Works Cited “I’ve seen bodies shining like stars”: Making a Case for Necrophilia in Lynne Stopkewich’s Kissed Works Cited As Gothic As It Gets? E. Elias Merhige’s Shadow of the Vampire – A Gothic Film on the Gothic Nature of Film I. Introduction II. Shadow of the Vampire – A Gothic Film III. Shadow of the Vampire on the Gothic Nature of Film IV. Conclusion Works Cited Gothic Convention and the Aesthetics of Failure Works Cited Contributors