This is the first full length exploration of the relationship between Gothic fiction and Modernism in fiction and film. The Gothic's fascination with images of the fragmented self is echoed in the Modernist concern with the psyche and the paranoia of the everyday. The contributors explore how the Gothic influences a range of writers including James Joyce, D.H. Lawrence, Virginia Woolf, May Sinclair, Elizabeth Bowen and Djuna Barnes.

This volume situates Faulkner within a range of current and emerging critical fields, such as African American studies, visual culture studies, world literatures, modernist studies, gender studies, and the energy humanities. The essays are written with the Faulkner expert and general reader in mind, and covers the full range of Faulkner's opus.

The first volume to provide an interdisciplinary, comprehensive history of twentieth and twenty-first century Gothic culture.

Beyond the Victorian/ Modernist Divide contributes to a new phase in the Victorian-modern debate of traditional periodization through the perspective lens of literature and the visual arts. Breaking away from conventionally fixed discourses and dichotomies, this book utilizes an interdisciplinary approach to examine the existence of overlaps and unexplored continuities between the Victorians, the post-Victorians and the modernists, including the fields of music, architecture, design, science, and social life. Furthermore, the book remaps the cultural history of two critical meta-narratives and their interdependence – the myth of "high modernism" and the myth of "Victorianism" – by building on recent scholarly work and addressing the question of the "turn of the century break theory" with a new set of arguments and contributions. The essays presented within acknowledge the existence of a break-theory in modernism, but question this theory by re-contextualising it while uncovering long-masked continuities between artists, genres and forms across the divide. The collection offers a new approach to modernism, Edwardianism, and Victorianism; utilizing the cross-fertilisation of interdisciplinary approaches, and by combining contributions that look forward from the Victorians with other contributions that look backward from the modernists. While literary modernism and its vexed relationships with the nineteenth century is a central subject of the book, further analysis includes artistic discourses and theories stemming from history, the visual arts, science, music and design. Each chapter offers a fresh interpretation of individual artists, navigating away from characteristic classifications of works, authors and cultural phenomena. Ultimately, the volume argues that though periodization and genre categories play substantial roles in this divide, it is also essential to be critically aware of the way cultural history has been, and continues to be, constructed.

Spectrality in Modernist Fiction argues that key modernist writers, chiefly Conrad, Forster, Butts, and Bowen, use spectral rhetoric to tackle problems of sex and sexuality, revolution, imperialism, capitalism, and desire all through complicated ethical engagements. These engagements invariably come packaged in, and are shaped by, the language of spectrality. In its capacity to articulate a particular sort of relationship between the past, the present and the future, the spectral concerns the basic question of how to proceed, how to live with-maybe even address-ethical indeterminacy. Whether their spectral rhetoric traces the logics of capitalist possession (Conrad), queer "friendship" and paganized Christianity (Forster), regressive politics haunted by historical traumas (Butts), or the devious passages of perverse desire (Bowen), these writers locate something like hope in their ghosts. The ethical and political impasses they chart through their spectral rhetoric are not final, but temporary, and the drive to overcome them constitutes a tensile optimism.

By the early 1830s the old school of Gothic literature was exhausted. Late Romanticism, emphasising as it did the uncertainties of personality and imagination, gave it a new lease of life. Gothic—the literature of disturbance and uncertainty—now produced works that reflected domestic fears, sexual crimes, drug filled hallucinations, the terrible secrets of middle class marriage, imperial horror at alien invasion, occult demonism and the insanity of psychopaths. It was from the 1830s onwards that the old gothic castle gave way to the country house drawing room, the dungeon was displaced by the sewers of the city and the villains of early novels became the familiar figures of Dr Jekyll and Mr Hyde, Dracula, Dorian Grey and Jack the Ripper. After the death of Prince Albert (1861), the Gothic became darker, more morbid, obsessed with demonic lovers, blood sucking ghouls, blood stained murderers and deranged doctors. Whilst the gothic architecture of the Houses of Parliament and the new Puginesque churches upheld a Victorian ideal of sobriety, Christianity and imperial destiny, Gothic literature filed these new spaces with a dread that spread like a plague to America, France, Germany and even Russia. From 1830 to 1914, the period covered by this volume, we saw the emergence of the greats of Gothic literature and the supernatural from Edgar Allan Poe to Emily Bronte, from Sheridan Le Fanu to Bram Stoker and Robert Louis Stevenson. Contributors also examine the fin-de-siècle dreamers of decadence such as Arthur Machen, M P Shiel and Vernon Lee and their obsession with the occult, folklore, spiritualism, revenants, ghostly apparitions and cosmic annihilation. This volume explores the period through the prism of architectural history, urban studies, feminism, 'hauntology' and much more. 'Horror', as Poe teaches us, 'is the soul of the plot'.

The Encylopedia of the Gothic features a series of newly-commissioned essays from experts in Gothic studies that cover all aspects of the Gothic as it is currently taught and researched, along with the development of the genre and its impact on contemporary culture. Comprises over 200 newly commissioned entries written by a stellar cast of over 130 experts in the field Arranged in A-Z format across two fully cross-referenced volumes Represents the definitive reference guide to all aspects of the Gothic Provides comprehensive coverage of relevant authors, national traditions, critical developments, and notable texts that define, shape, and inform the genre Extends beyond a purely literary analysis to explore Gothic elements of film, music, drama, art, and architecture. Explores the development of the genre and its impact on contemporary culture

Current debates about birth control can be surprisingly volatile, especially given the near-universal use of contraception among American and British women. Conceived in Modernism: The Aesthetics and Politics of Birth Control offers a new perspective on these debates by demonstrating that the political positions surrounding birth control have roots in literary concerns, specifically those of modernist writers. Whereas most scholarship treats modernism and birth control activism as parallel, but ultimately separate, movements, Conceived in Modernism shows that they were deeply intertwined. This book argues not only that literary concerns exerted a lasting influence on the way activists framed the emerging politics of contraception, but that birth control activism helped shape some of modernism's most innovative concepts. By revealing the presence of literary aesthetics in the discourse surrounding birth control, Conceived in Modernism helps us see this discourse as a variable facet rather than a permanent bulwark of reproductive rights debates.

An exploration of Gothic literature from its origins in Horace Walpole’s 1764 classic The Castle of Otranto, through Romantic and Victorian Gothic to modernist and postmodernist takes on the form. The volume surveys key debates such as Female Gothic, the Gothic narrator and nation and empire, and focuses on a wide range of texts including The Mysteries of Udolpho, Frankenstein, Jane Eyre, Dracula, The Magic Toyshop and The Shining.