Suchergebnisse
Suchergebnisse:
articles and book chapters on Gothic and fantasy horror Mexican cin-ema, most particularly on the films of Guillermo del Toro. He is currently working on the notion of the monstrous foreigner in travel horror cin-ema and exploring Gothic manifestations in Mexican literature and film. Maria Beville is Lecturer in English literature at Mary ...
- The Gothic and the Everyday
- Lorna Piatti-Farnell
- v Acknowledgements
- Lorna Piatti-Farnell and Maria Beville
- This volume has been compiled as a work that aims to regenerate interest in the Gothic in a broad, but equally, conventional, sense of the
- David Punter
- Kristy Butler
- Building an empire of Others
- Are you my Other? Nationalism and other rituals
- Maria Beville
- Hunger and Gothic commemorative practice
- Gothic Ireland: A colonial past and a troubled present
- The Gothic, genre, and cultural translation
- Conclusions
- Lorna Piatti-Farnell
- Susan Yi Sencindiver
- Unnatural supernatural Gothic
- The zombic hunch
- Enrique Ajuria Ibarra
- Origin, folklore, myth
- Woman, mother, monster
- Living legends
- The art of engagement
- Tabish Khair
- Misha Kavka
The Palgrave Gothic Series Series Editor: Clive Bloom Editorial Advisory Board: Dr Ian Conrich, University of South Australia, Barry Forshaw, author/journalist, UK, Professor Gregg Kucich, University of Notre Dame, USA, Professor Gina Wisker, University of Brighton, UK, Dr Catherine Wynne, University of Hull, UK. This series of gothic books is the ...
Auckland University of Technology, New Zealand and
This collection originated in a series of conversations between the editors about the reality of Gothic experience. Although it began as part of a trivial conversation about the nature of belief in the paranormal, super-stition, folklore, and the uncanny, it soon evolved into a tangible subject for our individual research projects, which focused on...
The Gothic has never been more alive than it is today. Like a contagion, of late, it has travelled across cultural and media landscapes to permeate even the most banal aspects of everyday living. While the Gothic has undoubtedly regained its popularity, it is also granted acknowledge-ment in ‘higher’ culture. From haute couture to haute cuisine, th...
1 term. We explore the Gothic in relation to our engagements with the living past, within the experiential contexts of lived practice, and the legacies that it leaves to the living narratives of folklore and tradition. Importantly, by using the term ‘living’ we recall a collective agglomerate of practices, both tangible and intangible, which constr...
If there is one thing I would like to demonstrate in this chapter, it is the force of the truism that nationalism – a sense of living, and lived, history – exists only insofar as it is defined by its other. Perhaps we can see this most obviously in the multitude of acts of othering that constitutes the history of place names, which are regularly co...
A woman stands alone in a kitchen, her delicate frame rounded and strained as she reaches into her cupboard for an unseen item. She stops suddenly, her fingers frozen as a cold breath passes over her bare neck. Her scream is lodged in her throat as she turns to see no one there. Her husband labours over his papers in the solace of his darkened stud...
To understand the evolution of European empires during the eighteenth and nineteenth centuries, one must first understand what its benefactors hoped to achieve in expanding their influence beyond the continent. Formal imperial projects of the 1700s cast European imperial agents as cruel, brutal, and heartless conquerors. However, their attempts to ...
In the face of uncertain futures, imperial powers refashioned identity so that it could root itself within current, collective consciousness while at the same time allow for its citizens to locate it within a unified narrative of the past. In doing so, culture, identity, memory, and history acted as uncanny constructions, corrupted narratives of th...
The most dominant feature of the Gothic as it manifests itself beyond literature and trans-modally is its capacity for managing the unspeak-able; in particular when that which is unspeakable is an inaccessible and repressed past trauma. This feature develops from a long history of writing the unspeakable through the Gothic mode. It is notable, for ...
For the purpose of discussing the wider issue of the role of the Gothic in the generation of collective memory, and to engage with the important issue of ‘Gothic memory’, a case study is required. Although the ration-ale behind this chapter is to present an argument about the Gothic outside of literary and filmic contexts, this cannot be fully acco...
The Irish context is particularly relevant to an understanding of the Gothic and of Gothic historiographic fiction primarily because the con-tested histories of Ireland and the difficulties of Irish national and social memory have, over time, been frequently challenged through Gothic literary forms. The Gothic can be seen as bearing a continued rel...
The Gothic frame that I have referred to in Hunger is appropriate the film’s engagement with the contested past for a number of reasons, but primarily because the Gothic is, in its own right, an inherently political mode. Horror, in particular, is inseparable from the political and is fre-quently politicised. Gothic horror consistently raises quest...
In Hunger, the Gothic is clearly evident in McQueen’s unique engage-ment with commemorative practice and in his efforts to estrange his audience from the ‘known’ past. In the film, versions and visions of a traumatic past are brought into a state of fissure with each other in and through Gothic visual forms, which extend from the aesthetic to the i...
Over the centuries, the pumpkin gourd has evolved from a simple foodstuff found in many homes and gardens around the world to a sym-bol of terror, magic, and haunted experiences. Hinging on inescapable notions of occasion, ritual, and the everyday – and being at once fami-liar and unfamiliar to those who encounter it – the carved pumpkin functions ...
Her little bisque face is scarred by fine cracks, a mottled patina, and flaking coats of pallid paint feebly delineate her feather eyebrows, dimpled cheeks, and reddish lips. She is clothed in a white linen dress, which, although yellow with age, frayed and threadbare from years of fondling and pum-melling, has preserved its delicate details. Laced...
An answer to the question of why the animate doll motif has been so readily appropriated by the Gothic firstly invites recourse to an understanding of their shared historically contingent features. Both the Gothic and the doll’s uncanniness, as argued below, pivot on the dislo-cation and subsequent resurfacing of quasi-religious and transcendental ...
Soul-belief, which survives in the form of a mind–body dualism, is one that dominates our self-concept today: although accustomed to the idea that the self not only inhabits but is the brain, we nonetheless intuitively experience our innermost being as elusively disembodied. Despite the efforts as old as Aristotle’s treatise, On the Soul, and recen...
On their way back home late in the evening, the little boy asks as they cross the bridge out into the suburbs: ‘Why is it called the Bridge of Souls?’ The father diligently responds: ‘Well, that is because this part of the river is filled with ghosts. There is a very particular one called La Llorona.’ ‘Who is La Llorona?’ the little boy asks curiou...
Carmen Toscano’s play, La Llorona (1959), enacts the struggle of a woman, Luisa, who is betrayed by her Spaniard lover in Mexican colo-nial times. She is further affronted by the fact that she shares both Aztec and Spanish bloods, eliciting her to choose between the culture of the land she was born in and the culture of the conquerors. Rejected by ...
Andrés Muschietti’s debut horror film Mama (2013) examines the anxi-eties that still pertain to the notion of motherhood in contemporary times. After spending years looking for his twin brother’s lost daughters, Lucas finds and decides to take care of two enfants sauvages who have miraculously survived on their own in an abandoned cabin in the fore...
Images and interpretations of the Gothic home in fine art and visual culture are therefore often seeded from folklore. The areas of folklore that relate to the home – the site of tales and the settings for legends – are preoccupied with the uncanny nature of the home. The home often appears in these legends as a site of danger, anxiety, and transfo...
Folklore is endemic in Irish lived practice, preserved through the practice of commemorative and bodily rites (Connerton, 1989). This folkloric legacy has resulted in a library of narrative, images, and rituals related to domestic strangeness. How is this legacy referenced in the production of contemporary Gothic work? How does fine art respond to ...
The concepts of ‘living gothic’ and ‘gothic remains’ are more useful as critical tools, from a regional or postcolonial perspective, than that of the Gothic as a genre. It is not just that the Gothic changes shape across time and space, but even vital figures associated with the Gothic – such as the vampire, as I will show later in this chapter – n...
The Gothic is no longer, if ever it has been, a singular vision. Of course, the Gothic has always been about the remainder, that remnant of being that Gothic culture beckons into the limelight (or perhaps the liminal light) as part of its modus operandi. But increasingly the Gothic has been multiplying into Gothics, suggesting not simply a reproduc...
15. Apr. 2015 · Here are five of my current favourite Goth bloggers, and Rebel’s Market has some different choices of their own too. The Everyday Goth. I can’t believe I missed this one off the list in my first collation of the best of the Goth web, but as I apparently did, The Everyday Goth is topping off my list here. I particularly like this ...
The Gothic and the Everyday aims to regenerate interest in the Gothic within the experiential contexts of history, folklore, and tradition. By using the term 'living', this book recalls a collection of experiences that constructs the everyday in its social, cultural, and imaginary incarnations.
15. Apr. 2022 · Casual goth is, as the name suggests, a more casual take on traditional gothic fashion. Despite the preconceptions you might have, it’s perfect for everyday wear, and it allows you to incorporate gothic style into your look without going full-on dark mode.
8. Okt. 2023 · Fear not, for this comprehensive guide will show you how to dress goth and embrace your macabre side with style and flair. Prepare to dive headfirst into the abyss of the goth aesthetic and take your wardrobe to the depths of darkness.
Enjoy and get inspired by this casual compilation of my favorite 10 gothic outfits for everyday life. They are simple, chic, and versatile, so everyone can find an ensemble for every type of goth fashion taste!
