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‘The dead travel fast and, in our contemporary globalised world, so too does the gothic.’ Examining how gothic has been globalised and globalisation made gothic, this collection of essays explores an emerging globalgothic that is simultaneously a continuation of the western tradition and a wholesale transformation of that tradition which expands the horizons of the gothic in diverse new and exciting ways. Globalgothic contains essays from some of the leading scholars in gothic studies as well as offering insights from new scholars in the field. The contributors consider a wide range of different media, including literary texts, film, dance, music, cyberculture, computer games, and graphic novels. This book will be essential reading for all students and academics interested in the gothic, in international literature, cinema, and cyberspace.
Gothic style and contemporary architecture worldwide Although largely overlooked in studies of architectural history, church architecture in a Gothic idiom outlived its 19th century momentum to persist worldwide throughout the 20th century and into the new millennium. Global Gothic presents a first systematic worldwide understanding of "Gothic" in contemporary architecture, both as a distinct variation and as a competitor to recognized modern styles. The book’s chapters critically discuss Gothic’s various manifestations over the past century, describing and illustrating approaches from Gothic Revival living traditions in the former British Empire and original Gothic appropriation in Latin America to competitions of European builders in former Asian and African colonies. The focus is also on the special appropriations in North America, China and Japan, as well as contemporary solutions that tend to be transnational in style. With contributions from renowned architecture experts from around the world, Global Gothic provides an overview of this cultural phenomenon and presents a wealth of stunning material, much of it little known. Richly illustrated in full color, it offers an important contribution to colonial and postcolonial global art history and a seldom acknowledged perspective on art history in general. Contributors: Barbara Borngässer (Technische Universität Dresden), Martín M. Checa-Artasu (Metropolitan Autonomous University, Mexico City), Thomas Coomans (KU Leuven), Pedro Guedes (University of Queensland), Bruno Klein (Technische Universität Dresden), Bettina Marten (Technische Universität Dresden), Olimpia Niglio (Hosei University Tokyo), Peter Scriver (University of Adelaide), Amit Srivastava (University of Adelaide) This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
The Gothic World offers an overview of this popular field whilst also extending critical debate in exciting new directions such as film, politics, fashion, architecture, fine art and cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections look at: Gothic Histories Gothic Spaces Gothic Readers and Writers Gothic Spectacle Contemporary Impulses. The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries and creates, indeed, its own ‘World’.
This book will provide the first study of how the Gothic engages with ecocritical ideas. Ecocriticism has frequently explored images of environmental catastrophe, the wilderness, the idea of home, constructions of 'nature', and images of the post-apocalypse – images which are also central to a certain type of Gothic literature. By exploring the relationship between the ecocritical aspects of the Gothic and the Gothic elements of the ecocritical, this book provides a new way of looking at both the Gothic and ecocriticism. Writers discussed include Ann Radcliffe, Mary Shelley, Ambrose Bierce, Algernon Blackwood, Margaret Atwood, Cormac McCarthy, Dan Simmons and Rana Dasgupta. The volume thus explores writing and film across various national contexts including Britain, America and Canada, as well as giving due consideration to how such issues might be discussed within a global context.
"Crumbling ruins, undead fiends, dark alleys and forests teeming with horrors seen and unseen: the tendrils of the Gothic have crept out of the architecture of churches, mosques and grand houses and into suburban malls, overcrowded cities, the deserted corners of the world and beyond, taking the shape of monsters from Beowulf to Gojira, Cthulhu or the wendigo to our own terrifying, warped reflections. Across time, form and media, this book traces the weaving path of the Gothic from the shadows of history to the very heart of popular culture today"--
This is a comprehensive introduction to the study of older and present-day Scots language.
A study of the architectural style that dominated European buildings for more than four hundred years examines the constructional and aesthetic characteristics of the most magnificent creations.
This guide provides an overview of the most significant issues and debates in Gothic studies. The guide is divided into four parts: The opening section explains the origins and development of the term ‘Gothic’, considers the particular features of the Gothic within specific periods, and explores its evolution in both literary and non-literary forms, such as art, architecture and film. The following section contains extended entries on major writers of the Gothic, pointing to the most significant features of their work. The third section features authoritative readings of key works, ranging from Horace Walpole’s The Castle of Otranto to Bret Easton Ellis’s American Psycho. Finally, the text considers recurrent concerns of the Gothic such as persecution and paranoia, key motifs such as the haunted castle, and figures such as the vampire and the monster. Supplementary material includes a chronology of key Gothic texts, listing literature and film from 1757 to 2000, and a comprehensive guide to further reading.
The explosion of interest in the gothic in recent years has coincided with a number of seismic political changes that have reshaped the world as we know it. Neoliberal Gothic explores that world, considering the ways in which the exponential increase in the cultural visibility of the gothic attests to the mode's engagement with the most significant dynamics of our age. These include the triumph of free market economics, the revolution in information and communication technologies, the emergence of global biotechnologies, the increasing power of transnational corporations, the US-led 'War on Terror' and the global financial crisis of 2008. Through analysis of texts drawn from literature, film, television, theatre and the visual arts (from the Europe to South East Asia, Africa to North and South America) the collection examines the ways in which the representational strategies of the gothic mode are ideally suited to an exploration of the dark side of neoliberal enterprise.
Offering a variety of critical approaches to late eighteenth- and nineteenth-century Gothic literature, this collection provides a transnational view of the emergence and flowering of the Gothic. The essays expand on now well-known approaches to the Gothic (such as those that concentrate exclusively on race, gender, or nation) by focusing on international issues: religious traditions, social reform, economic and financial pitfalls, manifest destiny and expansion, changing concepts of nationhood, and destabilizing moments of empire-building. By examining a wide array of Gothic texts, including novels, drama, and poetry, the contributors present the Gothic not as a peripheral, marginal genre, but as a central mode of literary exchange in an ever-expanding global context. Thus the traditional conventions of the Gothic, such as those associated with Ann Radcliffe and Monk Lewis, are read alongside unexpected Gothic formulations and lesser-known Gothic authors and texts. These include Mary Rowlandson and Bram Stoker, Frances and Anthony Trollope, Louisa May Alcott, Elizabeth Gaskell, Theodore Dreiser, Rudyard Kipling, and Lafcadio Hearn, as well as the actors Edmund Kean and George Frederick Cooke. Individually and collectively, the essays provide a much-needed perspective that eschews national borders in order to explore the central role that global (and particularly transatlantic) exchange played in the development of the Gothic. British, American, Continental, Caribbean, and Asian Gothic are represented in this collection, which seeks to deepen our understanding of the Gothic as not merely a national but a global aesthetic.