50+ Shades of Gothic: The Gothic Across Genre and Media

Introduction to the special dossier.

Monstrous Interiors: Quasi-Domestic Space As the Ontological Terrorist of Toxic Masculinity

Resonating with these pandemic times, Catherine Spooner has described the Gothic as a ‘malevolent virus’. In my paper, I will propose that the haunted house narrative, so central to American Gothic, has itself mutated in response to a backdrop of post-millenial social, political and financial collapse in a manner quite different to developments in the rest of the Gothic literary world. The narrative strand which has emerged, presents the reader with a new form of the Gothic male protagonist, whom the British psychologist R.D Laing in The Divided Self (1960), would describe as a ‘schizoid’ subject. Fragile, failing and fragmenting, he escapes a failing career, marriage and parenthood by removing his family to a quasi-domestic space which promises repair. House or hotel, these ‘haunted houses’ are different from the earlier ‘hungry houses’ identified by Gothic writer Stephen Graham Jones in his introduction to Robert Marasco’s classic haunted house novel, Burnt Offerings. This new quasi-domestic space, often combining work and home, rises up to meet the male schizoid, not merely as the traditional Gothic setting, but as a sentient being; a monster in its own right. His entrapment in this new Gothic labyrinth that is constantly shifting, expanding and shrinking, provides a performative stage on which the schizoid male is forced into an existential crisis beyond that of the trauma of spousal and parental failure, ultimately forcing him to confront what it is to exist in space and time. A reaction to the rise of neo-liberalism and toxic masculinity, this important strand to American Gothic embraces the multiplicity of the Gothic’s new forms and is evident in texts such as Steve Rasnic Tem’s, Deadfall Hotel, Mark Z. Danielewski’s House of Leaves, Thomas Liggotti’s, The Town Manager, Jac Jemc’s, The Grip of It and Shaun Hamill’s A Cosmology of Monsters. Developing from their deeper roots in the Calvinist Gothic tradition of Hawthorne, Brockden Brown and Poe via the mid-century works of Stephen King and Robert Marasco, these new post- millennial narratives provide a space in which notions of masculine subjectivity are fundamentally challenged.

Writing the Grotesque in Jesmyn Ward's "Salvage the Bones"

In her work, Jesmyn Ward has revitalized the Southern Gothic tradition and its tropes to better reflect the realities of Black American life in the 21st century. This essay explores the reconfiguration of the grotesque body in Ward's sophomore novel, Salvage the Bones, which follows an impoverished Black family in Mississippi in the days leading up to Hurricane Katrina. In contrast to her literary predecessors, Ward defines the grotesque as a state of debility imposed on Black bodies and then deemed uniquely problematic to them as a class and race, rather than the result of centuries of structural oppression. As such, she understands the trope as encompassing far more than bodily or intellectual difference, the way in which it was previously utilized by Southern writers like William Faulkner and Carson McCullers. Instead, Ward theorizes the grotesque as a biopolitical state, in which populations that do not conform to the status quo, and specifically the dominant capitalist mode of production and consumption, are driven to the margins and their lives deemed expendable.

The Story of Coraline(s): A Gothic Coming of Age

This study deals with Coraline (2002), the novel by Neil Gaiman, and Coraline (2009), the animated adaptation directed by Henry Selick based on Gaiman’s book. While Gothic stories often emphasize and question human morality, children’s literature usually holds a moralizing value. Neil Gaiman’s Coraline presents a story within the genre of children’s literature that seems to be deeply rooted in the Gothic tradition. Some of the fundamental gothic elements in Coraline’s story are the presence of ghosts, grotesque beings, and the existence of a parallel and dark universe that serves as the setting for the story. Coraline deals with anxieties related with personal development, growing up, and the environments that surround her. Gothic content within both the book and the film contribute to the undermining of the idealization of Coraline’s family, her own process of growing up, and her coping with moving to a completely different place. The creation of the gothic world is exploited in both works to represent Coraline’s coming-of-age experience and her conflict with her family. However, despite Selick’s film being a faithful and well-delivered adaptation of Gaiman’s novel, there are considerable differences that affect how the audience interprets Coraline as a character and her story, which this analysis will highlight.

American Influence and Representation in Japanese Manga and Anime—BNHA's All Might

When talking about manga, we are typically referring to Japanese comics. The term is often mistaken and used interchangeably with the word anime, which contrarily to the written comics refers to the animated adaptations of Manga or to original animation products. Since 1970, Japanese Manga and Anime have experienced an unprecedented popularity, introducing an innovative way of telling stories and portraying reality eventually absorbed into our Western culture. This article examines the animated series adaptation of Kohei Horikoshi's Boku No Hero Akademia, paying particular attention to one of the main characters: All Might.

Ghosts of Britain: a hauntological approach to the 21st century folk horror revival

This article aims at investigating the emergence of the American folk horror revival of the 2010s, focusing on texts such as Ari Aster’s Midsommar (2019) or Robert Eggers’s The VVitch (2015). This survey of the folk horror revival will inevitably lead us to the genre’s past, particularly to the so-called Unholy Trinity, comprised by three films released in Great Britain during the late 1960s and early 1970s. This temporal and geographical dislocation will be situated against a larger background of cultural production, arguing that the appearance of the folk horror revival sheds some light on the debate on nostalgia and pastiche as the predominant artistic modes under late capitalism. The notion of hauntology, as explored by Jacques Derrida, Mark Fisher, or Katy Shaw, will be used throughout the essay in order to provide a form theoretical ground on which this debate can take place.

Guillermo del Toro’s Political Fairy Tales

While critical attention has largely focused on Del Toro’s overt fairy tale Pan’s Labyrinth (2006), Del Toro’s Hollywood films similarly incorporate the mythic, moral and gothic qualities of classic fairy tales. His new fairy tales present vital contemporary lessons embedded in these archetypal journeys – and their audience’s memories. His free borrowings from fairy tales and popular culture deliberately connect the familiar to his uncanny worlds. This construction is most evident in his films Hellboy II: The Golden Army (2008) and The Shape of Water (2017). The contemporary politics of race, sexuality, gender and environmentalism are embedded within these original Hollywood fairy tales. This essay focuses on the intersecting political messages woven into Hellboy II: The Golden Army and The Shape of Water, messages amplified not obscured by their fairy tale delivery. Through rich textual references, intersections, and hidden subtexts, Del Toro creates new gothic fairy tales, with original protagonists, emerging from the margins. By resisting previous patriarchal and racial boundaries, these films challenge their audiences to embrace new paradigms.

Close-Up Eye-Asymmetry Visual Metaphor Communicates the Abject: Evidence from Batman and Superman Comics

A distinctive theme of Gothic narratives is the abject. A character that is abject threatens to disrupt boundaries, both personal and societal. As such, the abject character must be rejected or destroyed by society. In this study, I provide evidence that the visual metaphor of Close-Up Eye Asymmetry (CUE-A) communicates the concept of the abject. I compare how often CUE-A is used when depicting Batman compared to Superman in comic books. Overall, I provide evidence that: (1) Batman is Gothic, (2) Batman is more Gothic than Superman, (3) Batman is abject, and (4) Batman is depicted with CUE-A more often than Superman. Taken together, this supports the conclusion that the CUE-A visual metaphor does, in fact, communicate the abject.

Continuity through Renewal: John Dewey, the International Institute in Spain, and Resisting the Assault on the Humanities

This paper marks the relation between humanities education and democracy as one of mutual necessity, since the pragmatic value of each is dependent on the other to be recognizable and realizable. Such an understanding is drawn from the ideas of the American philosopher and educator John Dewey. Dewey’s system clearly reveals the nature of the stakes of the assault on the humanities; it also indicates the educational measures democratic societies should take in response. By instantiating the “conjoint communicated experience” of democracy in a public, shared space in which differences are respected, human meanings are explored, and the expansion of knowledge and experience is valued as an end in itself, the humanities classroom emerges as a site of social renewal, as well as one of resistance to illiberalism. In order to present such a site in a manner befitting Dewey’s pragmatism, a lesser-known, local example of the value of humanities education is examined in this paper: that of the International Institute in Spain, located in Madrid. Beginning with its founding as a school for girls by Boston missionaries in 1892, and through its role at the center of a network of institutions invested in progressive educational reform in Spain during the pre-civil war period, IIE stands as a testament to the continuity through renewal that defines both liberal democracy and humanities education.

Jan Karski: el testigo incómodo del Holocausto ante Roosevelt

Jan Karski, un joven polaco fue el testigo incómodo del Holocausto. Introducido por la Resistencia de forma clandestina en el gueto de Varsovia y más tarde en el campo de tránsito de Izbica, almacenó en su imaginario personal el verdadero horror de lo que era un plan calculado por el gobierno nazi para acabar con el pueblo judío en Europa.