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Gothic Literary Aesthetic II (from Gothic MOOC) Thumbnail

Gothic Literary Aesthetic II (from Gothic MOOC)

Posted by Peter Lindfield on July 16, 2016 in Peter Lindfield tagged with , , , , ,

Hello, and welcome to the videos from the third week of our MOOC, The Gothic Revival, 1700–1850: Interdisciplinary Perspectives. We’ve got plenty of material in store for you, in a session devoted to an exploration of the Gothic literary aesthetic beyond the example of The Castle of Otranto.  In these videos we will take you through some of the aesthetic foundations of early Gothic writing, including an account of the distinctions between horror and terror, the importance of Shakespeare to the Gothic aesthetic, and the culmination of the so-called ‘first wave’ of Gothic writing (r

The Gothic Literary Aesthetic I (from Gothic MOOC) Thumbnail

The Gothic Literary Aesthetic I (from Gothic MOOC)

Posted by Peter Lindfield on July 05, 2016 in Peter Lindfield tagged with , , , ,

Hello, and welcome to the archive of our videos from the second week of our AHRC-funded MOOC, The Gothic Revival, 1700-1850: Interdisciplinary Perspectives. In the first session we started to make inroads into the manifold meanings of the term ‘Gothic’ in the eighteenth century, including the term’s associations with the ancient Gothic tribe, its perceived associations with British history, the architecture of the middle ages, literature, fashion and modern sub-culture, and more. In this session we are going to be paying sustained attention to a short text that is often held to be the f

What is Gothic? (from Gothic MOOC) Thumbnail

What is Gothic? (from Gothic MOOC)

Posted by Peter Lindfield on June 28, 2016 in Peter Lindfield tagged with , ,

Welcome to The Gothic Revival, 1700-1850: Interdisciplinary Perspectives. The videos included here, and those in my subsequent five posts, are drawn from a Massive Open Online Course (MOOC) designed and delivered by me and Dale Townshend at the University of Stirling, and funded by the Arts and Humanities Research Council as part of the larger project entitled Writing Britain’s Ruins, 1700-1850: The Architectural Imagination. The MOOC ran for six weeks from 29 February 2016. These videos offer exciting and intensive explorations of the Gothic aesthetic in British culture of the

What’s in a name? The Problem with Strawberry Hill Gothic as a Label, and Braziers, Oxfordshire Thumbnail

What’s in a name? The Problem with Strawberry Hill Gothic as a Label, and Braziers, Oxfordshire

Posted by Peter Lindfield on June 21, 2016 in Peter Lindfield tagged with , , , , , , , , , ,

‘Strawberry Hill Gothic’ is a label often banded about when discussing eighteenth-century domestic Gothic architecture and design. Frankly, it not an overwhelmingly positive label: the important Victorian architects, designers and writers Charles Locke Eastlake (1833–1906) and A.W.N. Pugin (1812–52) made sure that Strawberry Hill was ingrained in our minds and imagination as a whimsical and, effectively, bad piece of eighteenth-century Gothic. Eastlake, in his monumental study, A History of the Gothic Revival (1872) condemns Walpole and his villa, Strawberry Hill: The interior, or

CFP: Fantastika Journal Thumbnail

CFP: Fantastika Journal

Posted by Donna Mitchell on May 30, 2016 in Donna Mitchell tagged with ,

Fantastika Journal Call for Papers for First Special Edition Issue  “Fantastika” – a term appropriated from a range of Slavonic languages by John Clute – embraces the genres of fantasy, science fiction, and horror, but can also include alternative histories, gothic, steampunk, young adult dystopian fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal is to bring together academics and researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invi

Review: Women’s Ghost Literature in Nineteenth-century Britain Thumbnail

Review: Women’s Ghost Literature in Nineteenth-century Britain

Posted by Donna Mitchell on May 20, 2016 in Donna Mitchell, Reviews tagged with , , , , , , , , , , , , , , , , ,

Women’s Ghost Literature in Nineteenth-century Britain Melissa Edmundson Makala Cardiff: University of Wales Press, 2013. ISBN: 978-0-70832-564-3 Reviewed by Donna Mitchell Melissa Edmundson Makala begins her study of women’s ghost writing in nineteenth-century Britain by considering the various reasons for its increasing popularity, most notably its ability to function as a subversive means of discussing political and social issues. She notes that the nature of this genre allowed writers to explore the social tensions and inequalities which existed for certain groups without alienati

Review: Frankenstein at the Royal Opera House Thumbnail

Review: Frankenstein at the Royal Opera House

Posted by Evan Hayles Gledhill on May 19, 2016 in Evan Hayles Gledhill, Reviews tagged with , , ,

First, a preface. The last time I voluntarily watched a full dance production, it was Edward Scissorhands, and I hated the hedges. I generally plonk myself on the sofa for The Nutcracker at Christmas just for the Cossacks, which is my favourite bit. I am not a traditional dance fan; I tend to only watch a story I have a narrative interest in, otherwise I cherry pick sequences to be enthralled by the marvellous grace and athleticism of the dance. So, this is not a ballet review, it’s a Frankenstein review. I saw the new Liam Scarlett production in the cinema, as I missed out on affordable

Review: Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon Thumbnail

Review: Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon

Posted by Benjamin E. Noad on May 09, 2016 in Ben Noad, Reviews, Uncategorized tagged with , , , ,

Review: Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon edited by Linnie Blake and Xavier Aldana Reyes (New York and London: I. B. Tauris & Co., 2016) This recent edited collection channels a political urgency that beckons further attention to the stylistics, nuances and cultural significance of global horror cinema. The essays it contains are inspired, richly detailed and are, in a word that may do justice to the entirety of the collection as a whole, haunting. The most immediate effect of this inquiry is realised in Blake and Reyes’s introduction

Writing Britain’s Ruins: Word and Image Thumbnail

Writing Britain’s Ruins: Word and Image

Posted by Peter Lindfield on May 09, 2016 in Blog, Peter Lindfield tagged with , , , , , ,

Ruins were important in the Georgian period — one would, for example, encounter them whilst traversing the British countryside, as is still the case today. Ruins were also a central facet of that great Georgian cultural experience — the Grand Tour of the Continent. As we can see from John Richard’s The Colosseum from 1779, the architectural ruins from antiquity were both of academic and picturesque interest to the spectators in the fore- and middle-ground. This image celebrates the still monumental, though mouldering, colosseum and triumphal arch.     Aristocrats,

Where the Camera can not Take Us: Sounding the Unseeable in Game of Thrones. Thumbnail

Where the Camera can not Take Us: Sounding the Unseeable in Game of Thrones.

Posted by Danielle Hancock on May 06, 2016 in Danielle Hancock, Uncategorized tagged with , , , , , , , ,

  Warning: This blog-post contains spoilers for Game of Thrones, Season 6.   Daenerys Targaryen’s dragons are rough to the touch. The plains of Winterfell are swept with fast, sharp winds. A human skull smashes with the same wet burst as a watermelon. I learnt these things, and many more, from listening to Game of Thrones. Mostly, we tend to watch Game of Thrones, and with good reason. The show seldom shies away from graphic detail. Gouged eyes, decapitation, burning children, full frontal nudity  - in the face of all these and more the camera’s gaze never wavers. I