Aftergothic

Botting, Fred

doi:10.1017/ccol0521791243.014

Cited by 28 publications

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“…The postmodern gothic has been discussed in terms of critical disturbances of categories of analysis, narrative style, and hyperreality (BOTTING, 1996, p. 168-176), the decline of faith in paternal metaphors or authoritative grand narratives (BOTTING, 2002), the spreading of the gothic through new media and its disruption of genre boundaries (ALLUÉ, 1999), the dynamics of popular culture's appropriation of high fiction (NASH, 2004), a counter-discourse to the Enlightenment (TRUFFIN, 2009), and a quintessential correspondence between postmodernism and the gothic (BEVILLE, 2009; PUNTER; BYRON, 2007, p. 50-53;SMITH, A. L., 1996). As concerns multiple intertextual strategies, studies have proven likely to communicate an understanding of parody as character performativity (HELYER, 2006), as a refashioning of gothic tropes (SMITH, A., 2013, p.…”

Section: Postmodern Gothicmentioning

confidence: 99%

“…For all of that, all three postmodern novels examined here qualify as postmodern gothic novels in the terms that comprise our hypothesis. This thesis will be defended with recourse to the studies of Allan Lloyd Smith (1996), Allué (1999), Andrew Smith (2013), Barthes (1977), Beville (2009), Botting (1996Botting ( , 2002Botting ( , 2008, Castle (1995), França (2017), Genette (1997), Helyer (2006), Hutcheon (2002Hutcheon ( , 2004Hutcheon ( , 2010Hutcheon ( , 2013, Huyssen (1986), Jameson (1991), Kristeva (1980), Lévy (2004), Nash (2004), Punter (1996aPunter ( , 1996b, Punter and Byron (2007), Sedgwick (1986), Stamenkovic (2016), and Truffin (2009). KEYWORDS: gothic; postmodernism; parody.…”

Section: Introductionmentioning

confidence: 99%

“…Por todas estas razones, las tres novelas en cuestión se califican como novelas góticas posmodernas en los términos que componen nuestra hipótesis. Esta tesis será defendida utilizando los estudios de Allan Lloyd Smith (1996), Allué (1999), Andrew Smith (2013), Barthes (1977), Beville (2009), Botting (1996Botting ( , 2002Botting ( , 2008, Castle (1995), França…”

Section: Introductionunclassified

“…If anything, it is as varied as the number of theoretical perspectives on postmodernism available -which are constellational, historically specific, and often incongruent with one another, to replicate Andreas Huyssen's argument (1986, p. 10). As a result, the postmodern gothic has been discussed -often under multiple aliases -in terms of critical disturbances of categories of analysis, narrative style, and hyperreality (BOTTING, 1996, p. 168-176), the spreading of the gothic through new media and its disruption of genre boundaries (ALLUÉ, 1999), the decline of faith in paternal metaphors or authoritative grand narratives (BOTTING, 2002), the dynamics of popular culture's appropriation of the canon (NASH, 2004), a counter-discourse to the Enlightenment (TRUFFIN, 2009), and a quintessential correspondence between postmodernism and the gothic (BEVILLE, 2009; PUNTER; BYRON, 2007, p. 50-53;SMITH, A. L., 1996). As far as parody, as well as other forms of textual appropriation, are concerned, studies have proven likely to communicate an understanding of parody as character performativity (HELYER, 2006), as a refashioning of gothic tropes (SMITH, A., 2013, p. 141-142), as a pastiche of the gothic style, in particular of the eighteenth-century gothic (TRUFFIN, 2009, p. 76), as an update (SPOONER, 2006, p 74) or else an upgrade (STAMENKOVIC, 2016, p. 400) to the genre, or as a form of mockery, free play or bricolage that denotes the umpteen ways the gothic has leaked from literature into other venues of cultural production, which is usually taken to denote a decline of the former powers of the genre (BOTTING, 2008, p. 12).…”

Section: Introductionmentioning

confidence: 99%

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Postmodern Gothic: Parodying Gothic Fiction in Adele Griffin's Tighter, Daniel Levine's Hyde, and Jeanette Winterson's Frankissstein: A Love Story

Copati¹

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Writing this thesis has been the most challenging endeavor I have experienced in my life thus far. As I toiled in enforced solitude to stitch my academic progeny together, several individuals have been instrumental in both rendering the writing process pleasurable and making it possible for me to complete my work with relative ease. My Brazilian supervisor, Dr. Fernanda Aquino Sylvestre, has provided me with both invaluable feedback on my writing at every stage of its course and the necessary support to fulfill my many academic and bureaucratic requirements. Dr. Ivan Marcos Ribeiro, Director of the Graduate Program in Estudos Literários at Universidade Federal de Uberlândia, has been a source of great support in the course of my stay at UFU. Ms. Maiza Maria Pereira, Lead Administrative Associate at our Program, has kindly offered her prompt assistance whenever necessary. My friend and namesake Guilherme Augusto da Silva Gomes, Administrative Associate at our Program, has both come to my assistance and offered his feedback countless times. My American supervisor, Dr. Dale Knickerbocker, who has kindly agreed to oversee my work for a semester spent at East Carolina University, has provided me with insight and academic support, which has greatly shaped the development of this thesis.

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Section: Postmodern Gothicmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionunclassified

Section: Introductionmentioning

confidence: 99%

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Postmodern Gothic: Parodying Gothic Fiction in Adele Griffin's Tighter, Daniel Levine's Hyde, and Jeanette Winterson's Frankissstein: A Love Story

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Materialism and The Monk

Cameron

2021

The Palgrave Handbook of Gothic Origins

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In 1796, Matthew G. Lewis capitalised on the turmoil of late eighteenth-century revolutionary violence, and upheaval, to unleash his scandalous novel The Monk. While the supernatural Gothic may appear to characterise his work, there are distinct materialist attributes that permeate his narrative undermining his gothic schema. This essay seeks to explore Lewis' gothic materialism and how he uses it to challenge dominant dualist ontology, whilst also demonstrating that dogmatic philosophical or religious positioning is ill equipped to deal with the realities of human experience. Matthew G Lewis: Materialism and The MonkErupting upon literary sensibilities in the 1790s, the eighteenth-century Gothic was a reaction to enlightened rationalism and the Enlightenment's tendency to present experience as purely explanatory. The Enlightenment's foregrounding of reason over superstition as opposed to the Gothic's focus on the irrational and supernatural, intimates that the Gothic can be viewed as a distinctly anti-Enlightenment mode of critique. Certainly, this inclination is implicit in Matthew Lewis's scandalous novel The Monk [1796]. Critic Andrew Smith (2007) suggests that the Gothic's explicit concentration on evil behaviour and deeds, and the demonising of individuals who perpetuate such acts, was a profound retort against the horror and violence witnessed in the Terror of revolutionary France. 1 He argues that this focus counters the legacy of enthusiasm for social, political, and religious reform championed by Enlightenment thinkers and advocates. 2 Gothic scholar Fred Botting (2001) observes, it is the very rise of enlightenment reason and its associated tenets, empiricism, scientism and objectivity, that necessitated an oppositional reaction. Thus, superstition, the supernatural, sublime natural force, darkness, and violent passions -where human fear and uncertainty materialise through transgressive taboos and prohibited behaviours, became intrinsic to the Gothic genre. 3 Hence, the principal focus of the gothic was to express anxieties about the status quo. By utilising an extreme oppositional stance to the hegemonic currency of Enlightenment ideas, the gothic exposed the inherent difficulties generated by Enlightenment thought. Matthew Lewis in The Monk employs this eighteenth-century gothic schema; the supernatural, unreason, desire and taboo are essential devices in his critique of a so-called Enlightened Europe. However, there are also instances where Lewis deconstructs this schema. At times, during the narrative, he utilises contradictory juxtaposition which draws attention to the logical extremes of Enlightenment materialism. In doing so he emphasises an absolute freedom of human action through which all moral order collapses. Indeed, during the eighteenth century, materialism was beginning to take a disquieting hold in philosophical quarters. Thus paradoxically, gothic horror in The Monk can be seen as a testimonial for an antidualist, monist materialism, but also synonymously as a distinct warning of...

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What the Green Grass Hides: Denial and Deception in Suburban Detroit

Vayo¹

2016

Gothic Landscapes

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Aftergothic

Cited by 28 publications

References 0 publications

Postmodern Gothic: Parodying Gothic Fiction in Adele Griffin's Tighter, Daniel Levine's Hyde, and Jeanette Winterson's Frankissstein: A Love Story

Postmodern Gothic: Parodying Gothic Fiction in Adele Griffin's Tighter, Daniel Levine's Hyde, and Jeanette Winterson's Frankissstein: A Love Story

Materialism and The Monk

What the Green Grass Hides: Denial and Deception in Suburban Detroit

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