Llyfr yn cyflwyno ffuglen Gothig yr ugeinfed ganrif, gan gynnwys gweithiau Henry James a Sarah Waters. Ymhlith y prif themâu ystyrir yr 'ysbryd' mewn plentyndod a galar diwylliannol; a pherthynas pensaernaeth Gothig â 'thirwedd' breuddwyd a hunllef.
A book introducing twentieth century Gothic fiction, from Henry James to Sarah Waters. Among its primary themes are the role of the ghost in relation to childhood and cultural mourning, the relationship between Gothic architecture and the 'landscapes' of dream and nightmare.
With the Gothic enjoying the status of a genre worthy of serious academic study, the University of Wales Press is producing two excellent parallel series: Gothic Authors: Critical Revisions, which includes Carol A. Senf’s illuminating and erudite study of Bram Stoker, and Gothic Literary Studies, which is ‘dedicated to publishing groundbreaking scholarship on Gothic in literature and film’. Lucie Armitt’s book is part of this second series.
As Armitt says, ‘Across the span of the twentieth century, our definitions of the Gothic, its films and its literatures have broadened tremendously, reaching ever outwards, perhaps almost beyond original recognition’, and she duly casts a very broad net: Architecture, film, television, fashion and literature are all embraced in a study that ranges from Horace Walpole and Strawberry Hill in the late eighteenth century to Michael Jackson and Neverland in the early twenty-first. The 2007 BBC television series Jekyll is studied in comparison with R. L. Stevenson’s 1886 classic, as is Hitchcock’s The Birds with the original short story by Daphne du Maurier, while there are several takes on the Cottingley Fairies. Freud’s 1919 essay on ‘The Uncanny’ is a constant, if not always clear, point of reference. Sarah Waters receives extensive coverage as a contemporary Gothic writer, though Susan Hill gets not so much as a mention.
What this study highlights, in particular, is what an extraordinary shape-shifter the Gothic is, not just in terms of the external media through which it is expressed but also in terms of its internal tropes and focuses – the gloomy, isolated castle becomes the blitzed streets of London; syphilis mutates into HIV/AIDS; the ghostly, controlling presence is transformed into the computer on your desk; the suicide bomber ‘enacts a living death’. This is a thought-provoking study of a genre which, like so many of its characters, is constantly renewing itself and feeding off our fears.
Suzy Ceulan Hughes
It is possible to use this review for promotional purposes, but the following acknowledgment should be included: A review from www.gwales.com, with the permission of the Welsh Books Council.
Gellir defnyddio'r adolygiad hwn at bwrpas hybu, ond gofynnir i chi gynnwys y gydnabyddiaeth ganlynol: Adolygiad oddi ar www.gwales.com, trwy ganiatâd Cyngor Llyfrau Cymru.
The Gothic Attraction and/of the Counterfeit
Gothic Culture and the Marketplace
Chapter One – Gothic Pathologies: Haunted Children
Child Murder and the Media Storm
Fairy Stories and ‘Burial Alive’: A.S. Byatt and Graham Joyce
Photographing Fairies: Framing the Dead
Death and the Dolls’ House: FairyTale: A True Story and M.R. James
Chapter Two – Building Suspense: Architectural Gothic
Haunted Geometries I: Kipling, ‘Swept and Garnished’
Haunted Geometries II: Eco, The Name of the Rose
Suburban and Rural Monstrosity: Clive Barker and Iain Banks
London Gothic: Elizabeth Bowen and Sarah Waters
Designer Bathtubs and Drowning in Air: What Lies Beneath
Chapter Three - Gothic Inhumanity
Bestiality and the Gothic: Sir Arthur Conan Doyle and Leonora Carrington
Vampires and Bloodfests: Leonora Carrington and Clive Barker
Monster Birds – Du Maurier and Hitchcock
‘Daddy’s Home!’: Jekyll
Chapter Four – Queering the Gothic
Jolly Queer – Henry James
The Apparitional Lesbian: Sarah Waters
AIDS/HIV and the Gothicising of Male Homosexuality: Patrick McGrath
Chapter Five – Survey of Criticism
Chapter Six – Conclusion: Thriller and Stranger
Dr Lucie Armitt is Head of the English Department, Bangor University. She has published widely in her field for Palgrave/Macmillan, Routledge and Continuum.
This book discussses Gothic literature and film from Henry James’s The Turn of the Screw (1898) to Sarah Waters's The Little Stranger (2009), and looks at its relationship to society and culture. One of the questions raised is why we are still fascinated by ghosts, demons and monsters, despite living in a culture in which belief in the supernatural can no longer be assumed.
Among its primary themes are the role of the ghost in relation to childhood and cultural mourning, the relationship between Gothic Architecture and the ‘landscapes’ of dream and nightmare, the interface between Gothic and Horror modes of writing, the function of the monster in a secular age, and the influence of Gothic writing on contemporary representations of sexual dissidence.