On the Dialectics of Vampirism, Capital, and Time

On the Dialectics of Vampirism, Capital, and Time

The vampire is at once an ancient figure and our perfect contemporary. A literary critic could demonstrate this by pointing out that the narrative structure of Bram Stoker’s (1897/1998) ‘Dracula’ plays out in an eternal present, in which everything takes place in the here, and now.

Lovecraftian Monstrosity, Cosmic Horror and the Gothic

Lovecraftian Monstrosity, Cosmic Horror and the Gothic

Throughout the twentieth- and twenty-first-centuries much of mediated western storytelling could be said to reflect the stages, archetypes and themes found within the hero’s journey — or monomyth — outlined in mythologist Joseph Campbell’s ‘The Hero with a Thousand Faces’ (2008).

Gothic and the Oriental Renaissance Transgressive Boundaries

Gothic and the Oriental Renaissance Transgressive Boundaries

The Gothic is frequently identified with two obsessions: a concern with otherness and alterity, and a compulsion to explore socially aberrant desires and transgress boundaries. It is also a mode that disdains generic purity and embraces hybridity, hence the dismay it inspired in many eighteenth-century neo-classicist critics scornful of its mixing of genres, its stylistic excesses, its troubling popularity and its resolute illegitimacy.

Introduction to the Pleasures of Horror and the Joy of Misery

Introduction to the Pleasures of Horror and the Joy of Misery

This article investigates the appeal of genres which characteristically elicit negative emotional responses, deciphering the “unaccountable pleasure[s]” (Hume, 2004 [1742]:25) afforded by horror, tragedy and other narrative media defined by their aversive content.

Ethereal Materialism and Spectres in Victorian Ghost Stories

Ethereal Materialism and Spectres in Victorian Ghost Stories

In ‘Maxwell Drewitt’, a pseudonymously-published 1865 novel by Irish author Charlotte Riddell, the eponymous and mercenary protagonist meditates on his failing health, regretting the cruel actions he has committed to obtaining his prosperity: “House to house, acre to acre, property to property! For this end — to be standing with the best part of his existence — health — taken away from him; thinking in solitude of that unknown world concerning which the clergy preached continually; the secrets of which not one of the departed had ever returned to reveal. The next world! There is something very terrible to a man like ‘Maxwell Drewitt’ in the idea of leaving all he has most enjoyed, most coveted, most valued, and going away to the cold and silent grave.”

‘She Played with Dolls and Killed’: Anne Rice’s Vampire Child

‘She Played with Dolls and Killed’: Anne Rice’s Vampire Child

Celebrating its fortieth anniversary this year, Anne Rice’s ‘Interview with the Vampire’ (1976) was the first Gothic novel to offer a revisionist portrayal of this figure. Rice presents the vampire as a guilt-ridden hero who moves from his peripheral position in earlier texts to a central role as the story’s narrator and protagonist.

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