To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure email@example.com
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This Introduction seeks to map the history of Gothic scholarship in the twentieth and twenty-first centuries as the academic discipline we might now call Gothic Studies came into being. It draws lines of connection between works through four significant, overlapping stages: the first wave of Gothic criticism between the 1920s and the 1960s; the emergence of Gothic Studies as an academic discipline from the late 1970s to the early 2000s; the increasing understanding of Gothic as a ‘contemporary’ mode in the 1980s and beyond; and finally, what can be seen as the institutionalisation of Gothic in the twenty-first century. In doing so, it argues that Gothic Studies in the twenty-first century is simultaneously at its most fertile and at an impasse, a complex deadlock that Gothic scholars of the future must resolve.
In September 1968, regular British Vogue columnist Polly Devlin returned from a year working for the magazine’s sister publication in New York, and published a long article commenting on how, in her absence, the mood had changed.
The third volume of The Cambridge History of the Gothic is the first book to provide an in-depth history of Gothic literature, film, television and culture in the twentieth and twenty-first centuries (c. 1896-present). Identifying key historical shifts from the birth of film to the threat of apocalypse, leading international scholars offer comprehensive coverage of the ideas, events, movements and contexts that shaped the Gothic as it entered a dynamic period of diversification across all forms of media. Twenty-three chapters plus an extended introduction provide in-depth accounts of topics including Modernism, war, postcolonialism, psychoanalysis, counterculture, feminism, AIDS, neo-liberalism, globalisation, multiculturalism, the war on terror and environmental crisis. Provocative and cutting edge, this will be an essential reference volume for anyone studying modern and contemporary Gothic culture.
Written by the editors, this essay provides an Introduction to all three volumes of The Cambridge History of the Gothic. It proceeds by casting a self-reflexive glance at the notion of ‘history’ as it is represented in Gothic writing itself, arguing that, since its inception in the eighteenth century, Gothic has always occupied a fraught and complex position in relation to the practice of formal and official historiography. Second, it provides an overview of the volumes to follow, foregrounding the ways in which the essays brought together here, more than simply offering a rigorous ‘history’ of the Gothic, are preoccupied with the ways in which the Gothic has responded to, and been inscribed within, some of the determining historical events of Western civilisation, from the Sacking of Rome in AD 410 to the twenty-first century.
This second volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in British, American and Continental European culture, from the Romantic period through to the Victorian fin de siècle. Here, leading scholars in the fields of literature, theatre, architecture and the history of science and popular entertainment explore the Gothic in its numerous interdisciplinary forms and guises, as well as across a range of different international contexts. As much a cultural history of the Gothic in this period as an account of the ways in which the Gothic mode has participated in the formative historical events of modernity, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From Romanticism, to Penny Bloods, Dickens and even the railway system, the volume provides a compelling and comprehensive study of nineteenth-century Gothic culture.