Download Free Gothic Hauntology Book in PDF and EPUB Free Download. You can read online Gothic Hauntology and write the review.

This book provides a theoretically informed account of Gothic Hauntology. It is distinctive foremost in two ways. It shows hauntology at work in modern as well as older gothic narratives and it has a unique focus on everyday gothic as well as everyday hauntology. The chapters perform a historical circle going from Munro to Poe and then back again, offering novel readings of works by well-known authors that are contextualized under the umbrella of the theme. Anchored in a well-known topic and genre, but with a specific phenomenological framework, this book will be of interest to both students and more advanced scholars.
Victorian Hauntings asks its reader to consider the following questions: What does it mean to read or write with ghosts, or to suggest that acts of reading or writing are haunted? In what ways can authors in the nineteenth century be read so as to acknowledge the various phantom effects which return within their texts? In what ways do the traces of such "ghost writing" surface in the works of Dickens, Tennyson, Eliot and Hardy? How does the work of spectrality, revenance and the uncanny transform materially both the forms of the literary in the Victorian era and our reception of it today? Beginning with an expoloration of matters of haunting, the uncanny, the gothic and the spectral, Julian Wolfreys traces the ghostly resonances at work in Victorian writing and how such persistence addresses isues of memory and responsibility which haunt the work of reading. 'Taking the familiar genre of the Gothic as a point of departure and revisiting it through Derridean theory, Wolfreys' book, the first application of "hauntology" to the domain of Victorian Studies is a remarkable achievement. Wolfreys never reduces reading to instrumentality but remains alert to all the potentialities of the texts he reads with a great attention to their idiosyncrasies. Victorian Hauntings should bring a new tone to Victorian Studies, this clever book is quite perfect.' - Jean Michel Rabate, Professor of English, University of Pennsylvania 'You'd have to be dead to know more about ghosts than Julian Wolfreys.' - Martin McQuillan, University of Leeds
This book is the first attempt to theorise South Asian Gothic production as a common cultural landscape, taking into account both the historical perspective and the variety of media texts. The volume consists of fifteen chapters by experts in film, literature and cultural studies of South Asia, representing the diversity of the region and a number of ways in which Gothic manifests in contemporary South Asian cultures. Gothic in South Asia can be read as a distinctive aesthetic, narrative practice, or a process of signification, where conventional Gothic tropes and imagery are assessed anew and global forms are consumed, appropriated, translated, transformed or resisted. The volume investigates South Asian Gothic as a local variety of international Gothic and part of the transnational category of globalgothic, contributing to the ongoing discussion on the need to de-westernise Gothic methodologies and ensure that Gothic scholarship remains relevant in the culturally-diverse modern world.
Gothic Music - The Sounds of the Uncanny traces sonic Gothic through history and genres from the eighteenth-century ghost story through the spooky soundtracks of cinema, television and video games to the dark music of the Goth subculture.
This book facilitates a critical investigation of gaps in theorizing and framing dark tourism by navigating through some onto-epistemological issues, theoretical entanglements, future possibilities, and the application of critical theoretical perspectives related to affect and emotions, human-animal studies, postcolonialism, feminism, trauma studies, posthumanism, power and identity. In doing so, it advances the need to connect critical theory, pragmatism and contemporary issues of social and global relevance. "Given the growing body of critical research within tourism studies, dark tourism has somewhat lagged behind. For example, critical tourism researchers have been examining postcolonialism for two decades, but dark tourism research has only sporadically engaged with this topic. Similarly, the issue of gender has been curiously neglected within dark tourism. In addition, dark tourism research has tended to shy away from the ‘big’ challenges facing contemporary societies. Through its engagement with a range of critical theories, this volume not only addresses gaps in the existing dark tourism literature but also moves the debate forward in exciting new directions. This volume is well-placed to demonstrate to other disciplines and fields that dark tourism research can be critical, theoretically grounded, and transformative." – Duncan Light
This volume is a study of human entanglements with Nature as seen through the mode of haunting. As an interruption of the present by the past, haunting can express contemporary anxieties concerning our involvement in the transformation of natural environments and their ecosystems, and our complicity in their collapse. It can also express a much-needed sense of continuity and relationality. The complexity of the question—who and what gets to be called human with respect to the nonhuman—is reflected in these collected chapters, which, in their analysis of cinematic and literary representations of sentient Nature within the traditional gothic trope of haunting, bring together history, race, postcolonialism, and feminism with ecocriticism and media studies. Given the growing demand for narratives expressing our troubled relationship with Nature, it is imperative to analyze this contested ground. “Chapter 6” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Some ghosts never leave us. SHORTLISTED FOR THE MCKITTERICK PRIZE 2021 'A wild rural gothic with some slick plotting . . . the perfect novel for our phantom present' Guardian 'Outstanding . . . ideal for fans of Andrew Michael Hurley' Metro _________________ Twins Tim and Abi have always been different from their peers, spending their evenings in the attic of their parents' suburban house, poring over reports of the unexplained. Obsessed with photographs of ghostly apparitions, they decide to fake their own, and use it to frighten a girl at school. But what was only supposed to be a harmless prank sets in motion a deadly and terrifying chain of events that neither of them could have predicted... _________________ 'Clear your diary, switch off your phone, and get lost in this atmospheric and madly gripping ghost story' Daily Mirror 'A nostalgic delight' Irish Independent 'Intriguing, atmospheric and utterly terrifying in parts' My Weekly
This study investigates the figure of haunting in the New Nature Writing. It begins with a historical survey of nature writing and traces how it came to represent an ideal of ‘natural’ space as empty of human history and social conflict. Building on a theoretical framework which combines insights from ecocriticism and spatial theory, the author explores the spatial dimensions of haunting and ‘hauntology’ and shows how 21st-century writers draw on a Gothic repertoire of seemingly supernatural occurrences and spectral imagery to portray ‘natural’ space as disturbed, uncanny and socially contested. Iain Sinclair and Robert Macfarlane are revealed to apply psychogeography’s interest in ‘hidden histories’ and haunted places to spaces associated with ‘wilderness’ and ‘the countryside’. Kathleen Jamie’s allusions to the Gothic are put in relation to her feminist re-writing of ‘the outdoors’, and John Burnside’s use of haunting is shown to dismantle fictions of ‘the far north’. This book provides not only a discussion of a wide range of factual and fictional narratives of the present but also an analysis of the intertextual dialogue with the Romantic tradition which enfolds in these texts.
Is "goth music" a genre, and if so, how does it relate to the goth subculture? The music played at goth club nights and festivals encompasses a broad range of musical substyles, from gloomy Batcave reverberations to neo-medieval bagpipe drones and from the lush vocals of goth metal to the harsh distortion of goth industrial. Goth Music: From Sound to Subculture argues that within this variegated musical landscape a number of key consistencies exist. Not only do all these goth substyles share a number of musical and textual characteristics, but more importantly these aspects of the music are constitutive of goth social reality. Drawing on their own experiences in the European and American goth scenes, the authors explore the ways in which the sounds of goth inform the scene’s listening practices, its fantasies of other worlds, and its re-enchantment of their own world. Goth music, this book asserts, engenders a musical timespace of its own, a musical chronotope that is driven by nostalgic yearning. Goth Music: From Sound to Subculture reorients goth subcultural studies onto music: goth music must be recognized not only as simultaneously diverse and consistent, but also as the glue that holds together goth scenes from all over the world. It all starts with the music.
It brings together a range of critical approaches (the Gothic, monster theory, critical posthumanism, post-structuralism, postcolonialism, feminist theory, fat studies, cyborg theory) including very recent forays into posthumanist / new materialist intersections It contributes new readings to the critical canon on a wide range of critically acclaimed texts (from Mary Shelley’s Frankenstein via Toni Morrison’s and Angela Carter’s work to Margaret Atwood’s MaddAddam trilogy) It explores narrative strategies of resistance against systemic cultural oppression and challenges a number of critical approaches in the process