The Cambridge Companion to the Modern Gothic

286 Pages·2015·1.809 MB·English

by  Jerrold E. Hogle (editor)

the cambridge companion to the
modern gothic
ThisCompanionexploresthemanywaysinwhichtheGothichasdispersedin
the twentieth and twenty-first centuries, and in particular how it has come
to offer a focus for the tensions inherent in modernity. Fourteen essays by
world-class experts show how the Gothic in numerous forms – including
literature, film, television, and cyberspace – helps audiences both to distance
themselves from and to deal with some of the key underlying problems
of modern life. Topics discussed include the norms and shifting boundaries of
sex and gender, the explosion of different forms of media and technology,
the mixture of cultures across the Western world, the problem of identity
for the modern individual, what people continue to see as evil, and the very
natureofmodernity.Alsoincludingachronologyandguidetofurtherreading,
thisvolumeoffersacomprehensiveaccountoftheimportanceoftheGothicto
modernlifeandthought.
Jerrold E. Hogle is University Distinguished Professor and Director of
Undergraduate Studies and Honors in English at the University of Arizona.
He is editor of The Cambridge Companion to Gothic Fiction (Cambridge,
2002) and author of The Undergrounds of The Phantom of the Opera:
Sublimation and the Gothic in Leroux’s Novel and Its Progeny (2002) and
Shelley’s Process: Radical Transference and the Development of His Major
Works(1988).
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THE CAMBRIDGE
COMPANION TO THE
MODERN GOTHIC
EDITED BY
JERROLD E. HOGLE
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Includesbibliographicalreferencesandindex.
ISBN978-1-107-02356-7(Hardback)–ISBN978-1-107-67838-5(Paperback) 1. Gothic
revival(Literature)–Historyandcriticism. 2. Literatureandsociety. 3. Modernism
(Literature)–Historyandcriticism. 4. Postmodernism. I. Hogle,JerroldE.,editor.
PN3435.C282014 809.308766–dc23
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CONTENTS
Listofcontributors pagevii
Preface ix
Chronology:important“Gothic”events xii
PartI TheGothicandmodernity
1 Introduction:modernityandtheproliferationoftheGothic 3
JERROLD E. HOGLE
2 ModernistGothic 20
JOHN PAUL RIQUELME
3 ContemporaryGothicandthelaw 37
SUSAN CHAPLIN
PartII TheGothicandthemodernbody
4 Gothicconfigurationsofgender 55
AVRIL HORNER AND SUE ZLOSNIK
5 The“queerlimits”inthemodernGothic 71
E. L. MCCALLUM
6 TeenGothic 87
GLENNIS BYRON AND SHARON DEANS
PartIII TheGothicandmodernmedia
7 CinemaoftheGothicextreme 107
ELISABETH BRONFEN
v
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contents
8 Americanfilmnoir 123
CHARLES SCRUGGS
9 Techno-Gothicsoftheearly-twenty-firstcentury 138
ISABELLAVAN ELFEREN
PartIV MulticulturalandglobalGothic
10 TheGothicandthepoliticsofrace 157
MAISHA L. WESTER
11 TheGothicinNorthAmerican“subcultures” 174
CARLOS GALLEGO
12 ThepostcolonialGothic 191
KEN GELDER
13 AsianGothic 208
KATARZYNA ANCUTA
14 TheGothicandmagicalrealism 224
LUCIE ARMITT
Guidetofurtherreading 240
Guidetofurtherviewing 252
Index 255
vi
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LIST OF CONTRIBUTORS
katarzyna ancuta, AssumptionUniversity,Thailand
lucie armitt, UniversityofLincoln,UK
elisabeth bronfen, UniversityofZurich,Switzerland
glennis byron, UniversityofStirling,UK
susan chaplin, LeedsMetropolitanUniversity,UK
sharon deans, UniversityofStirling,UK
carlos gallego, St.OlafCollege,Minnesota,USA
ken gelder, UniversityofMelbourne,Australia
jerrold e. hogle, UniversityofArizona,USA
avril horner, KingstonUniversityLondon,UK
e. l. mccallum, MichiganStateUniversity,USA
john paul riquelme, BostonUniversity,USA
charles scruggs, UniversityofArizona,USA
isabella van elferen, KingstonUniversityLondon,UK
maisha l. wester, IndianaUniversity,Bloomington,USA
sue zlosnik, ManchesterMetropolitanUniversity,UK
vii
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PREFACE
This Companion is designed to introduce college-level undergraduates, as
well as more advanced scholars and interested general readers, to many of
thenumerousfictionalformstakeninthetwentiethandtwenty-firstcentur-
ies by the “Gothic” mode. “The Gothic,” as it is often called because it
stretches across many different forms of expression, has greatly expanded
its reach from the “haunted” narratives and dramas of eighteenth-century
England,whereitbegan,toencompassawidearrayofconstructions,from
the printed and the filmed to the televised, the computer-graphic, and the
cybernetic, that have become pervasive in the modern-to-“postmodern”
world. Each of the fourteen brand-new essays here, all by world-class
experts in the areas they treat, focuses on a specific range of works and
subjects within the vast mixture that the Gothic encompasses by now,
though at times some of us have found it essential to trace the roots of
somemodernGothicbacktoearlierexamplesofthatmode inwhichmore
recent images and issues had their beginnings. As much as we have fash-
ionedthiscollectiontobeapproachedonitsown,itis,infact,somethingof
a sequel, or companion Companion, to The Cambridge Companion to
Gothic Fiction (2002), still widely available. Seeing as the modern Gothic
hasbecomesovariedandglobalthatnoonebookcanencompassitall,we
therefore referour readers, forbasic accountsofthe earlier Gothic, to that
collection, as well as to other introductions to this mode (see Chapter 1),
andwe havechosen nottotreatindetail the aspects ofthe modernGothic
that are emphasized already in Chapters 10–14 of that Gothic Fiction
volume.
That decision, however, still leaves a great many areas of the modern
Gothic to be defined and explained in these essays, often in the context of
theories of culture and interpretation (which we explain, since we do not
assume our readers already know them) that have proven revealing in
accounting for the features of the Gothic and its many variations. Overall,
theseessaysshowthattheGothicinallitsformsisnotjustahauntingand
ix
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