Gothic

Botting, Fred

doi:10.4324/9780203993767

Cited by 56 publications

(48 citation statements)

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“…To that end, Williams speaks of a 'poetic tradition' (AD, 1), while Fred Botting states that 'Gothic signifies a writing of excess.' 10 Neither of these I would deem satisfactory, however, as both limit the usage of the term: Botting's use of the phrase 'writing,' for example, although appropriate in the context of this paper, constricts the Gothic to the literary form, which hinders a possible understanding of the Gothic in other art forms. I find Buikema and Wesseling's term 'cultural mode' more fruitful.…”

Section: Reading What the Gothic Doesmentioning

confidence: 94%

Anxious about a Changing World: Twenty-First Century Low Countries Gothic Novels

Amelsvoort

2018

Dutch Crossing

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As the representation of Western modernity's dark undercurrent, the Gothic novel has since its inception in the 1760s developed and transformed alongside that modernity. This paper looks at two contemporary Gothic novels from the Low Countries, Herman Franke's Wolfstonen (2003) and Saskia de Coster's Wat alleen wij horen (2015), which are occupied with contemporary globalisation and immigration to the Netherlands and Belgium. Both novels cast the apartment buildings that are central to their plots as Gothic spaces fraught with images of modern, globalised society, as well as widespread anxiety over societal cohesion in ethnically and culturally diverse cities. An interdisciplinary reading constituted by gothic and postcolonial reading practices brings to the fore new elements of the Dutch and Flemish cultural imaginary. It reveals the continuous renewal of the gothic itself, but also into the changes brought to the Low Countries as a result of globalisation and immigration. These have their effect on the construction of community, a process that is articulated in both the form and the content of the novels' narratives. Ultimately, I argue, the gothic is put to work in these novels as a way of dealing with the anxieties about and uncertainties of a postcolonial world.

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Section: Reading What the Gothic Doesmentioning

confidence: 94%

Anxious about a Changing World: Twenty-First Century Low Countries Gothic Novels

Amelsvoort

2018

Dutch Crossing

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“…Quanto ao local em que Fausto realiza suas ações, já é perceptível a noção de espacialidade proposta pelo Gótico contemporâneo. Como definido por Botting (1996), o ambiente "estereotipado" das estórias góticas adaptaram-se a contextos mais realistas. Os encantamentos de Fausto, as aparições de Mefistófeles e as ações das personagens ocorrem em locais "comuns", como em um bosque ou em uma casa.…”

Section: O Medo Gótico Em Doutor Faustounclassified

Representações renascentistas e góticas na tragédia moderna

Paz

Gomes

2019

Pitágoras 500

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Christopher Marlowe escreveu A História Trágica do Doutor Fausto para o teatro renascentista inglês, utilizando-se de noções próprias da tragédia moderna, além de adicionar elementos sobrenaturais à sua obra. A presença de componentes fantásticos na peça de Marlowe representa aflições da sociedade renascentista, sendo algo capaz de suscitar o medo em seus apreciadores, um sentimento intrínseco ao Gótico.

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“…Botting's argument is that given the sheer diffusion of 'Gothic forms and figures over more than two centuries' it is difficult to define Gothic as 'a homogenous generic category'; as a 'mode' it exceeds 'genre and categories'. 116 There is certainly no rejection of the notion of a 'Gothic tradition' here since in the same paragraph he writes, 'While certain devices and plots, what might be called the staples of the Gothic, are clearly identifiable in early Gothic texts, the tradition draws on medieval romances, supernatural, Faustian and fairy tales, Renaissance drama, sentimental, picaresque and confessional narratives as well as the ruins, tombs and nocturnal speculations that fascinated Graveyard poets' (my italics). 117 A page and a half later, discussing American Gothic, Botting claims that in the United States 'the literary canon is composed of works in which the influence of romances and Gothic novels is far more overt', so that American literature seems 'virtually an effect of a Gothic tradition.…”

Section: IIImentioning

confidence: 99%

“…all coincide with the Seven Years' War in America and India, and the unprecedented expansion of the British Empire', and all can be seen as spaces and places for the remaking of British masculinity and power in the face of new global challenges. 116 Moreover, with the fetishisation of the 'primitive' in the nostalgic glow of an Ossianic longing, Celts and Celtic regions could look particularly attractive as rehabilitative vantage points for those vitiated by the pressures of modernity. The Ossian poems functioned to legitimise a sentimental reading of the Celtic past as a lost age of heroes and poets from which we moderns could draw some much needed power -though this had the knock-on effect of making the past itself appear attractive, even if that past had the garb of Catholic medievalism wrapped around it.…”

Section: The Money Bill Disputementioning

confidence: 99%

The Emergence of Irish Gothic Fiction

Killeen¹

2014

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know far more about the subject of this book than I do and would have written a much better one on the subject than I have. Bernice Murphy occupies the office opposite my own and has not only had to suffer my constant attention-seeking for the last few years, graciously guiding me towards not only ever-more horrific viewing material and invaluable critical reading, but has also cheered me up when the going got tough. Darryl Jones, as usual, was a friend, colleague and wise guide and spent far more time talking to me about the book than either it or I deserved. Students in my classes on Literary Monsters had to endure my first public airing of many of the ideas that found their way in here and often patiently explained to me how misguided I am about such things Acknowledgements vii-so I thank them too. I am grateful to the anonymous readers who made very good suggestions which I tried to address as best I could. Some material from the Introduction and Chapter 1 first appeared in two articles published in The Irish Journal of Gothic and Horror Studies (2006 and 2008) and is reprinted here with permission. To my wife, Mary Lawlor, and our daughter, Eilís, I owe the most gratitude. I offer them my love and dedicate the book to them both. The Emergence of Irish Gothic Fiction Gothic trope of the past violently erupting into the present connect this minor horror film to a much longer cultural tradition which figures Ireland as a zone of weirdness, the supernatural and the pathological. At the time of shooting, Coppola was working for the veteran horror maestro Roger Corman, who had just wrapped up The Young Racers (a charmingly terrible film about racing car drivers and the women who love them), which he filmed all around Europe, finishing up in Ireland, and Dementia 13 was basically made with the left-over budget from Corman's film, with some of its actors thrown in, supplemented by additional players brought in from the Abbey Theatre. The Irish setting was, then, purely happenstance, since, as Kim Newman points out, Coppola would have filmed in Texas had he been there at the time. 2 Coppola got the most out of the location, however, and while naming the dead daughter Kathleen was probably simply a matter of invoking something suitably 'Oirish' for an American audience, it (un)happily results in the personal history of the Halorans becoming (unintentionally) emblematic of a national history in which the Irish are haunted by the ghost of a different Kathleen (ni Houlihan) and young men are led into perpetuating murderous deeds on her behalf. Concerning a ritual commemoration of death, and released three years before the Irish state celebrated the fiftieth anniversary of the 1916 Rising with tremendous pomp and circumstance, the film implicates such commemorative events in a cycle of madness and murder and suggestively anticipates the blame that would later be heaped on the anniversary festivities for the renewed campaign of the Irish Republican Army in 1969. Moreover, the IRA's Border Campaign had just finished in 1962...

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Gothic

Cited by 56 publications

References 0 publications

Anxious about a Changing World: Twenty-First Century Low Countries Gothic Novels

Anxious about a Changing World: Twenty-First Century Low Countries Gothic Novels

Representações renascentistas e góticas na tragédia moderna

The Emergence of Irish Gothic Fiction

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