Last night, High Gothic returned to TV, as Penny Dreadful picked up its second season almost exactly where it left off and threw an even campier enemy at Vanessa Ives and company. Here’s the five best parts, and one problem.
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Goth culture emerged from the punk scene in the 1980s, developing its own music and fashion. The festival in Whitby, chosen because of its connections with Dracula, has been running for more than twenty years and attracts around 10,000 people
Fans of gothic literature, rejoice! The BBC is making a TV drama about the Brontë sisters, Charlotte, Emily, and Anne. AKA, the three ladies responsible for an impressive chunk of your high school and college reading lists. Plus, they were all pretty awesome — yes, even Ann, who never gets as much
The internet phenomenon known as Creepypasta, which encourages writers to conjure up the most horrifying short stories imaginable, has led to the creation of some serious pop culture icons, most notably the nightmarish Slender Man. Many of the stories have become viral urban legends, like the web’s own version of campfire tales. Variety reports todayRead More
The purpose of this website is to communicate and facilitate the fascinating elements about Gothic conventions and the Gothic Novel. The home page provides a background on the "Gothic' and it's conventions. The main novels discussed throughout this site are: Wuthering Heights, Dracula and The Castle of Otranto. Please join in the conversation by posting to The Castle of Otranto blog on the tab above.
While death is self-evidently a primary theme of Gothic in all its iterations, mourning is no less so. Ann Radcliffe’s The Mysteries of Udolpho, for instance, ends with the following curious formulation: ‘And, if the weak hand, that has recorded this tale, has, by its scenes, beguiled the mourner of one hour of sorrow, or, by its moral, taught him to sustain it – the effort, however humble, has not been vain, nor is the writer unrewarded’ (p. 672). Reading a Gothic novel may be useful diversion, but it may just as much provide a model for mourning. Gothic teaches us something about our own mourning: it has the potential to give us our deaths back to us. For Radcliffe the relation between text and reader, both within and without the given narrative, becomes primary. As I’ve tried to suggest in the previous posts on Michel Faber and John Burnside, this desire to investigate the nature of presentation remains central to contemporary Scottish Gothic; the question is not only how a text presents the world, but how in presenting itself it changes its own relation to the world.
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