Introduction: Gothic Studies Past, Present and Future

Hogle, Jerrold E.

doi:10.7227/gs.1.1.1

Cited by 7 publications

(6 citation statements)

References 3 publications

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“…Gothic texts feature marginalized characters with unique voices (Hogle, ). The texts turn attention to and reveal characters’ hidden inner psyches, which are often dark and fraught with turmoil (Hogle, ). Perhaps the most extreme example is the narrator of Poe's “The Tell‐Tale Heart.” Externally, he appears to be a rational individual.…”

Section: Data Discussionmentioning

confidence: 99%

“…Gothic texts feature marginalized characters with unique voices (Hogle, 1999). The texts turn attention to and reveal characters' hidden inner psyches, which are often dark and fraught with turmoil (Hogle, 1999).…”

Section: Liminal Gothic Characters and Personal Understandingsmentioning

confidence: 99%

“…The texts turn attention to and reveal characters' hidden inner psyches, which are often dark and fraught with turmoil (Hogle, 1999). Perhaps the most extreme example is the narrator of Poe's "The Tell-Tale Heart."…”

Section: Liminal Gothic Characters and Personal Understandingsmentioning

confidence: 99%

“…Hogle () described the Gothic as a fictional genre in which protagonists are “thrown into antiquated spaces with hidden depths that vomit forth haunting specters of class conflicts, ideological battles, family secrets, and psychological struggles” (p. 1). Essentially, the Gothic genre involves exploring the societal other or thing existing on the borderlands that both fascinates and horrifies; although this other is initially repressed, it ultimately manifests in some mode that alters the text's reality and truth (Farnell, ).…”

Section: The Gothic: Voice To Liminal Charactersmentioning

confidence: 99%

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Embracing the Other in Gothic Texts: Cultivating Understanding in the Reading Classroom

Nero¹

2017

J Adolescent & Adult Lit

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This case study explores the understandings that seventh graders constructed with Gothic texts in a reading unit designed by the researcher. Gothic is a fictional genre defined by horror and mystery. The stories’ protagonists are often marginalized individuals. The genre was selected due to its popularity with adolescents. Qualitative data were collected and reviewed using thematic analysis. The results of the study reveal that as a result of grappling with the societal other, participants gleaned meaningful knowledge that enriched them personally and socially.

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Section: Data Discussionmentioning

confidence: 99%

Section: Liminal Gothic Characters and Personal Understandingsmentioning

confidence: 99%

Section: Liminal Gothic Characters and Personal Understandingsmentioning

confidence: 99%

Section: The Gothic: Voice To Liminal Charactersmentioning

confidence: 99%

See 2 more Smart Citations

Embracing the Other in Gothic Texts: Cultivating Understanding in the Reading Classroom

Nero¹

2017

J Adolescent & Adult Lit

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“…These statements are intended to elucidate how gothic music functions, but the entanglements between gothic music's and gothic fiction's qualities are extensive. Although the genre is notoriously difficult to define, described in the first issue of Gothic Studies as “quite deliberately fraudulent and shifty” (Hogle, , p. 2), van Elferen's claims about the nature of music, like Passey's () claims about sound, intimate a connection between understanding the role of sound and understanding the contours of the gothic. Despite her acute focus on music, van Elferen also contemplates how sound is woven into the language of the texts, their intricate soundscapes, and their moments of silence (p. 19).…”

Section: Sound Effects: Gothic Music and Sonic Miscellanymentioning

confidence: 99%

Victorian gothic soundscapes

Schlauraff

2018

Literature Compass

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Resounding with wails, groans, creaks, thunders, bells, and a score of other unsettling and often unidentifiable sounds, the Victorian gothic emerges against the backdrop of what John M. Picker has called "a period of unprecedented amplification" that necessitated new modes of listening. While critics have increasingly acknowledged the significance of the audible world to Victorian literature, and sound studies has exposed new approaches to addressing the acoustic dimensions of texts, the gothic soundscape remains largely unexamined. This article identifies the shared qualities of the sonic world and Victorian gothic fiction, building on two key definitions of sound to expose how the genre absorbed, manipulated, and leveraged the soundscape to spark terror among characters and readers alike. It then offers an overview of scholarship on the gothic and sound, focusing primarily on the past twenty years. Although a number of critics investigate the role of music in gothic fiction by Ann Radcliffe, Charles Dickens, George Eliot, and Wilkie Collins, among others, few move beyond it to consider the soundscape in its entirety. The final section calls attention to some of the shared keynotes among Victorian gothic texts and suggests possible approaches to more sustained scholarly work on their dynamic soundscapes.

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Reforming Genres

Ledoux¹

2013

Social Reform in Gothic Writing

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Introduction: Gothic Studies Past, Present and Future

Cited by 7 publications

References 3 publications

Embracing the Other in Gothic Texts: Cultivating Understanding in the Reading Classroom

Embracing the Other in Gothic Texts: Cultivating Understanding in the Reading Classroom

Victorian gothic soundscapes

Reforming Genres

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