{"title":"Property and Power in English Gothic Literature. By Ruth Bienstock Anolik. (Jefferson, NC: Mc Farland, 2016. 233 pages, $35.00). ISBN 978-0-7864-9850-5","authors":"Nellene Benhardus","doi":"10.18573/sgf.36","DOIUrl":"https://doi.org/10.18573/sgf.36","url":null,"abstract":"","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131461982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“A Pleasure of that Too Intense Kind”: Women’s Desires and Identity in Stella Gibbons’s Gothic London","authors":"Rebecca M. Mills","doi":"10.18573/sgf.32","DOIUrl":"https://doi.org/10.18573/sgf.32","url":null,"abstract":"Stella Gibbons (1902-1989) is best known for the rural novel Cold Comfort Farm (1932), which Avril Horner and Sue Zlosnik discuss as “comic Gothic.” In contrast, Gibbons’s little-studied Hampstead novels Westwood (1946) and Here Be Dragons (1956) map a melancholic Gothic fragmented city, marked by the Second World War, in which romantic attachment and marriage threaten young women’s comfort, self sufficiency, and subjectivity. Excessive emotion and eroticism imperil women’s independence and identity, while the men they desire embody the temptation and corruption of the city. Gibbons employs Gothic language of spells, illusion, and entrapment to heighten anxieties around stifling domesticity and sacrificing the self for love. The London Gothic geographies, atmosphere, and doubling of characters and spaces reinforce cautionary tales of the ill-effects of submission to love, while dedication to a career and community are offered as a means to resist Gothic desires and control Gothic spaces. This reading of space and female identity in Gibbons’s London novels is intended to extend and add nuance to scholarship of her works beyond Cold Comfort Farm, and contribute to the emerging study of the “middlebrow Gothic.”","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124124344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Who Owns the City? China Miéville’s The City and The City as an Urban Gothic Dystopia","authors":"Ljubica Matek","doi":"10.18573/sgf.9","DOIUrl":"https://doi.org/10.18573/sgf.9","url":null,"abstract":"The paper considers China Mieville’s novel The City and The City from the point of view of geography of space suggesting that the capital is the dominating force that shapes urban reality. The novel builds on the traditional Victorian Gothic ideas of the city as a place of dual existence and exploits the topoi of the noir, but instead of focusing on the individual and the issues of psychological doubling and existential plights of a detective, it is more concerned with the modes of production and the way that capitalism continuously re-invents itself by its use of space without making itself known. The plot elements and aesthetics of film noir add to the mystery of murder, of the twin cities’ identity, and highlight the false consciousness of the masses which enables the ideology’s effectiveness.","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"35 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126073322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Injustice in the Ruins and a Disordered Post-Apocalypse: Gothic Ideology in the Digital Game World of Fallout 3","authors":"Sari Piittinen","doi":"10.18573/sgf.34","DOIUrl":"https://doi.org/10.18573/sgf.34","url":null,"abstract":"The Gothic is an influential source for storytelling in a wide range of digital games. Thus far, interpreting it in games and how they are informed by Gothic ideology has been little studied. This study seeks to address this gap in research by investigating these issues in the narrative of the action role-playing game, Fallout 3. More specifically, through a close reading of the game narrative and by drawing on theories of the Gothic, ideological aspects of the Gothic are analyzed in detail with specific reference to non-player characters and their actions and dialogue along with elements of the mise-en-scene, style, and simulation. Results show how classic Gothic ideology is reproduced in games by multimodal means and how, as in Gothic novels, their production and interpretation is linked to real-life contexts. The involvement of the player in these games means that a Gothic hero is not of necessity helpless, but instead bears a responsibility to make decisions in ideologically complex and ambivalent situations.","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117255660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Blind Survival: Disability and Horror in Josh Malerman's Bird Box","authors":"Laura R. Kremmel","doi":"10.18573/SGF.18","DOIUrl":"https://doi.org/10.18573/SGF.18","url":null,"abstract":"Josh Malerman’s 2014 apocalyptic horror novel, Bird Box, reverses Gothic depictions of disability as monstrous or metaphor for ignorance or weakness by presenting disability as protection. Creatures roam the earth, the mere sight of which causes immediate insanity, violence, and suicide. This unexplained event introduces blindness as a necessary choice, complicating the dichotomy between blindness and sight by making sight a fatal disability. I argue that this novel pushes the boundaries of ocularcentric thought through both a version of horror independent of visual spectacle and a depiction of a community that thrives by revising attitudes towards visual impairment. Despite the significant exposure and punishment of ocularcentrism that the novel presents, its main character struggles to surpass her old, societal judgment of blindness when outside the community that helps her relearn new ways to navigate the world. The nonlinear narrative highlights a tension between blindness as life-saving and blindness as monstrous. The novel closes with the dread-filled reminder that true revision of ableist attitudes requires more than horror—even inclusive horror—to overcome fear-inspired stigma.","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127413658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Faking” Disability and Performing Gothic Narratives in Matthew Lewis’s The Monk","authors":"K. Hudson","doi":"10.18573/SGF.15","DOIUrl":"https://doi.org/10.18573/SGF.15","url":null,"abstract":"There are very few depictions of physical disability in the early Gothic novels of the late Eighteenth and early Nineteenth Centuries. However, there are several moments in such texts when a faked disability is used in a pseudo-drag performance by an able bodied actor, a kind of negotiation of disabled identity. Such depictions exploit patterns of eighteenth-century masquerade performance to prioritize and problematize physical identity as a space of profound socio-moral and personal destabilization. This phenomenon within the early Gothic in turn aligns the performance of identity with that of Gothic narrative, redefining self-fashioning practices in terms of “otherness.” This article will use Tobin Siebers’s work on disability performance to examine the use of “fake” disability as a means of negotiating Gothic narrative in Matthew Lewis’s 1796 novel The Monk. The Monk distinguished itself as a novel focused both thematically and strategically on the dialectic interpretation of physical performance, on “seeing” and reading identity within a fundamentally unstable universe. Disability masquerade in this text illuminates numerous ambiguities that defined personal, social, and literary identity at this time, and that also influenced later depictions of disability in the developing Gothic mode.","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133605575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Foreword: Disability, Metonymic Disruption, and the Gothic","authors":"S. Costa","doi":"10.18573/SGF.14","DOIUrl":"https://doi.org/10.18573/SGF.14","url":null,"abstract":"","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131972121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Feminist Disability Studies Goes Goth: The Hyperability of Female Monstrosity in Charlotte Dacre’s Zofloya","authors":"N. Aceves","doi":"10.18573/SGF.16","DOIUrl":"https://doi.org/10.18573/SGF.16","url":null,"abstract":"This paper discusses Charlotte Dacre’s 1806 text Zofloya, and I argue that the lead character’s monstrosity stems from being constructed as mentally ill and then physically inferior in the text. However, I argue that Victoria’s monstrosity is not a disability, but rather a hyperability in that her strength becomes a threat to patriarchal power. Using a bridge between Barbara Creed’s theory of the monstrous feminine and Rosemarie Garland-Thomson’s intersectional feminist disability theory, I argue that female monstrosity can also be understood as a hyperability. While the heroine, Victoria, may appear to be an able-bodied woman to the reader, the confinement of her body at her aunt’s, her openness about her own sexual desire, and the descriptions of her lover as “inferior” construct Victoria’s body as disabled and sexually deviant by her society. However, I read her later monstrosity—the murders of her lovers and of the servant, Lilla—as an empowering tale of a perceived disabled woman who shows the instability of British social mores and normalcy by subverting them using her perceived monstrosity. Her various acts of rebellion ultimately show that Victoria’s perceived disability is also the source of her empowerment. They show that her perceived disability is a strength she uses as a weapon for destruction.","PeriodicalId":263320,"journal":{"name":"Studies in Gothic Fiction","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114953366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}