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- Duncan, Rebecca
(författare)
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Decolonial Gothic : Beyond the Postcolonial in Gothic Studies
- 2022
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Ingår i: Gothic Studies. - : Edingburgh University Press. - 1362-7937 .- 2050-456X. ; 24:3, s. 304-322
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Tidskriftsartikel (refereegranskat)abstract
- This article theorises decolonial Gothic as a novel approach to Gothic fiction from formerly colonised regions and communities. It responds to an emerging body of Gothic production, which situates itself in a world shaped by persistently racialised distributions of social and environmental precarity, and where colonial power is thus an enduring material reality. To address such fiction, the article proposes, requires a reassessment of the hauntological frameworks through which Gothic and the (post)colonial have hitherto been brought into contact. Forged in the cultural climate of late-twentieth-century postmodernity, these hinge on the assumption of an epochal break, which renders colonial history a thing of the past; thus, they fall short of narratives that engage with active formations of colonial power. Accordingly, the article outlines an alternative approach, positioning Gothic fiction in the context of the capitalist world-system, which – into the present – is structured by colonial categories of race, heteropatriarchal categories of gender, and instrumentalising discourses of nature as plunderable resource.
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| 2. |
- Duncan, Rebecca
(författare)
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Introduction : Decolonising Gothic
- 2022
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Ingår i: Gothic Studies. - : Edingburgh University Press. - 1362-7937 .- 2050-456X. ; 24:3, s. 219-227
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This introduction to the special issue – ‘Decolonising Gothic’ – provides an overview of major existing approaches to gothic in the international context – namely postcolonial- and globalgothic – and highlights developments in contemporary Gothic production that demand a critical shift beyond these frameworks. The article outlines decolonial thinking as one productive response to this situation, and reflects both on what it might mean to ‘decolonise’ Gothic Studies, and on Gothic fiction’s own decolonising possibilities. The article concludes by introducing the essays collected in the special issue, foregrounding how each takes up the questions of decoloniality and decolonising in relation to gothic imaginaries from different regions of the world.
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| 3. |
- Höglund, Johan, 1967-
(författare)
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Cell, Stephen King and the Imperial Gothic
- 2015
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Ingår i: Gothic Studies. - : Manchester University Press. - 1362-7937 .- 2050-456X. ; 17:2, s. 69-87
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Tidskriftsartikel (refereegranskat)abstract
- This essay argues that Stephen King's 2006 novel Cell explores the age of terror with the aid of two concurrent Gothic discourses. The first such discourse belongs to the tradition that Patrick Brantlinger has termed Imperial Gothic. As such, it imagines with the War on Terror that the threat that the (Gothic) Other constitutes is most usefully managed with the help of massive, military violence. The other, and more traditional, Gothic discourse radically imagines such violence as instead a War of Terror. The essay then argues that Cell does not attempt to reconcile these opposed positions to terror. Instead, the novel employs the two Gothic discourses to describe the epistemological rift that terror inevitably creates.
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| 4. |
- Wijkmark, Sofia, docent, 1974-
(författare)
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John Ajvide Lindqvist's little star : Gothic horror as remediation of video nasties
- 2018
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Ingår i: Gothic Studies. - : Manchester University Press. - 1362-7937 .- 2050-456X. ; 20:1, s. 77-94
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Tidskriftsartikel (refereegranskat)abstract
- In Swedish author John Ajvide Lindqvist's Gothic-horror novel Little Star (2010) graphic violence has a central function - thematically, but primarily as an aesthetic device. The plot contains motifs from classical video nasties, motifs that also have an effect on the text itself. This paper examines the novel's use of extremely violent scenes, influenced by violent horror films, defining them as a kind of remediation. One point being made is that the use of violent effects, often described as a kind of spectacle, can be interpreted as a formal play upon the conventions of violent fiction.
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