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Exhibited by Candlelight
Sources and Developments in the Gothic Tradition
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Exhibited by Candlelight: Sources and Developments in the Gothic Tradition focuses on a number of strands in the Gothic. The first is Gothic as a way of looking. Paintings used as reference points, tableaux, or the Hammer Studios' visualizations of Dracula present ways of seeing which are suggestive and allow the interplay of primarily sexual passions. Continuity with the past is a further strand which enables us to explore how the sources of the Gothic are connected with the origin of existence and of history, both individual and general. Here, the Gothic offers a voice for writers whose perc...
Exhibited by Candlelight: Sources and Developments in the Gothic Tradition focuses on a number of strands in the Gothic. The first is Gothic as a way of looking. Paintings used as reference points, tableaux, or the Hammer Studios' visualizations of Dracula present ways of seeing which are suggestive and allow the interplay of primarily sexual passions. Continuity with the past is a further strand which enables us to explore how the sources of the Gothic are connected with the origin of existence and of history, both individual and general. Here, the Gothic offers a voice for writers whose perceptions do not fit into those of the dominant group, which makes them sensitive both to psychological and social gaps. This leads to an exploration of the very idea of sources and an attempt to bridge the gaps, as can be observed in the variety of epithets used to clarify the ways that Gothic works, ranging from "heroic gothic" to "porno-gothic". This takes the reader to the main core of Gothic: a genre which is always ready to admit new forms of the unreal to enter and change whatever has become mainstream literature, and a way of reading and a mode profoundly affecting the reading experience. The Gothic mode cultivates its wicked ways in literature, working through it as a leavening yeast.
Contents: Exhibited by Candlelight: Introduction. Anthony JOHNSON: Gaps and Gothic Sensibility: Walpole, Lewis, Mary Shelley, and Maturin. David PUNTER: Ossian, Blake and the Questionable Source. Michel BARIDON: The Gothic Revival and the Theory of Knowledge in the First Phase of the Enlightenment. Manuel AGUIRRE: The Roots of the Symbolic Role of Woman in Gothic Literature. E.J. CLERY: Laying the Ground for Gothic: The Passage of the Supernatural from Truth to Spectacle. Peter de VOOGD: Sentimental Horrors: Feeling in the Gothic Novel. Helga HUSHAHN: Sturm und Drang in Radcliffe and Lewis. Thomas KULLMANN: Nature and Psychology in Melmoth the Wanderer and Wuthering Heights. Claire LAMONT: Jane Austen's Gothic Architecture. Neil CORNWELL: Gothic and Its Origins in East and West: Vladimir Odoevsky and Fitz-James O'Brian. Douglas S. MACK: Aspects of the Supernatural in the Shorter Fiction of James Hogg. Alan SHELSTON: The Supernatural in the Stories of Elizabeth Gaskell. Chris BALDICK: The End of the Line: The Family Curse in Shorter British Fiction. C.C. BARFOOT: The Gist of the Gothic in English Fiction; or, Gothic and the Invasion of Boundaries. Marysa DEMOOR: Male Monsters or Monstrous Males in Victorian Women's Fiction. Gudrun KAUHL: Myths of Enclosure and Myths of the Open in The Monk and Wuthering Heights. Elizabeth TILLEY: Gender and Role-playing in Lady Audley's Secret. W.M. VERHOEVEN: Opening the Text: The Locked-Trunk Motif in Late Eighteenth-Century British and American Gothic Fiction. Robert DRUCE: Pulex Defixus, Or, The Spellbound Flea: An Excursion into Porno-Gothic. Wim TIGGES: The Split Personality and Other Gothic Elements in David Lindsay's A Voyage to Arcturus. Bart WESTERWEEL: "An Immense Snake Uncoiled": H. Rider Haggard's Heart of Darkness and Imperial Gothic. N.J. BREDEROO: Dracula in Film. Theo D'HAEN: Postmodern Gothic. Notes on Contributors.
Contents: Exhibited by Candlelight: Introduction. Anthony JOHNSON: Gaps and Gothic Sensibility: Walpole, Lewis, Mary Shelley, and Maturin. David PUNTER: Ossian, Blake and the Questionable Source. Michel BARIDON: The Gothic Revival and the Theory of Knowledge in the First Phase of the Enlightenment. Manuel AGUIRRE: The Roots of the Symbolic Role of Woman in Gothic Literature. E.J. CLERY: Laying the Ground for Gothic: The Passage of the Supernatural from Truth to Spectacle. Peter de VOOGD: Sentimental Horrors: Feeling in the Gothic Novel. Helga HUSHAHN: Sturm und Drang in Radcliffe and Lewis. Thomas KULLMANN: Nature and Psychology in Melmoth the Wanderer and Wuthering Heights. Claire LAMONT: Jane Austen's Gothic Architecture. Neil CORNWELL: Gothic and Its Origins in East and West: Vladimir Odoevsky and Fitz-James O'Brian. Douglas S. MACK: Aspects of the Supernatural in the Shorter Fiction of James Hogg. Alan SHELSTON: The Supernatural in the Stories of Elizabeth Gaskell. Chris BALDICK: The End of the Line: The Family Curse in Shorter British Fiction. C.C. BARFOOT: The Gist of the Gothic in English Fiction; or, Gothic and the Invasion of Boundaries. Marysa DEMOOR: Male Monsters or Monstrous Males in Victorian Women's Fiction. Gudrun KAUHL: Myths of Enclosure and Myths of the Open in The Monk and Wuthering Heights. Elizabeth TILLEY: Gender and Role-playing in Lady Audley's Secret. W.M. VERHOEVEN: Opening the Text: The Locked-Trunk Motif in Late Eighteenth-Century British and American Gothic Fiction. Robert DRUCE: Pulex Defixus, Or, The Spellbound Flea: An Excursion into Porno-Gothic. Wim TIGGES: The Split Personality and Other Gothic Elements in David Lindsay's A Voyage to Arcturus. Bart WESTERWEEL: "An Immense Snake Uncoiled": H. Rider Haggard's Heart of Darkness and Imperial Gothic. N.J. BREDEROO: Dracula in Film. Theo D'HAEN: Postmodern Gothic. Notes on Contributors.