Newark’s Cathedral Basilica of the Sacred Heart is one of the United States’ greatest cathedrals and most exceptional Gothic Revival buildings. Rising from Newark’s highest ground and visible for miles, it spectacularly evokes its historic models. Gothic Pride sets Sacred Heart in the context of American cathedral building and, blending diverse fields, accounts for the complex circumstances that produced it. Calling upon a wealth of primary sources, Brian Regan describes in a compelling narrative the cathedral’s almost century-long history. He traces the project to its origins in the late 1850s and the great expectations held by the project’s prime movers—all passionate about Gothic architecture and immensely proud of Newark—that never wavered despite numerous setbacks and challenges. Construction did not begin until 1898 and, when completed in 1954, the cathedral became New Jersey’s largest church—and the most expensive Catholic church ever built in America. During Pope John Paul II’s visit to the United States in 1995, he celebrated evening prayer at the Cathedral. On that occasion, the Cathedral of the Sacred Heart was elevated to a basilica to become the Cathedral Basilica of the Sacred Heart. Meticulously researched, Gothic Pride brings to life the people who built, contributed to, and worshipped in Sacred Heart, recalling such remarkable personalities as George Hobart Doane, Jeremiah O’Rourke, Gonippo Raggi, and Archbishop Thomas Walsh. In many ways, the cathedral’s story is a lens that lets us look at the history of Newark itself—its rise as an industrial city and its urban culture in the nineteenth century; its transformation in the twentieth century; its immigrants and the profound effects of their cultures, especially their religion, on American life; and the power of architecture to serve as a symbol of community values and pride..

Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840 provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although the relationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study of the intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the most cursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literary Gothic mode. In both its 'survivalist' and 'revivalist' forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. Incarnating, for better or for worse, the memory of a vanished 'Gothic' age in the modern, enlightened present, Gothic architecture, be it ruined or complete, prompted imaginative reconstructions of the nation's past--a notable 'visionary' turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated. The volume establishes a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, and argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to one another.

Gothic style and contemporary architecture worldwide Although largely overlooked in studies of architectural history, church architecture in a Gothic idiom outlived its 19th century momentum to persist worldwide throughout the 20th century and into the new millennium. Global Gothic presents a first systematic worldwide understanding of "Gothic" in contemporary architecture, both as a distinct variation and as a competitor to recognized modern styles. The book’s chapters critically discuss Gothic’s various manifestations over the past century, describing and illustrating approaches from Gothic Revival living traditions in the former British Empire and original Gothic appropriation in Latin America to competitions of European builders in former Asian and African colonies. The focus is also on the special appropriations in North America, China and Japan, as well as contemporary solutions that tend to be transnational in style. With contributions from renowned architecture experts from around the world, Global Gothic provides an overview of this cultural phenomenon and presents a wealth of stunning material, much of it little known. Richly illustrated in full color, it offers an important contribution to colonial and postcolonial global art history and a seldom acknowledged perspective on art history in general. Contributors: Barbara Borngässer (Technische Universität Dresden), Martín M. Checa-Artasu (Metropolitan Autonomous University, Mexico City), Thomas Coomans (KU Leuven), Pedro Guedes (University of Queensland), Bruno Klein (Technische Universität Dresden), Bettina Marten (Technische Universität Dresden), Olimpia Niglio (Hosei University Tokyo), Peter Scriver (University of Adelaide), Amit Srivastava (University of Adelaide) This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

American Gothic Art and Architecture in the Age of Romantic Literature analyses the impact British Gothic novels and historical romances had on American art and architecture in the Romantic era. Key figures include Thomas Jefferson, Washington Allston, Alexander Jackson Davis, James Fenimore Cooper, Washington Irving, Thomas Cole, Edwin Forrest and Nathaniel Hawthorne. Hawthorne articulated the subject of this book when he wrote that he could understand Sir Walter Scott’s romances better after viewing Scott’s Gothic Revival house Abbotsford, and he understood the house better for having read the romances. This study investigates this symbiotic relationship between the arts and Gothic literature to reveal new interpretative possibilities. Contents Introduction Chapter One. Gothic Monticello: Thomas Jefferson’s Garden Narratives Chapter Two. ‘Banditti Mania’: The Gothic Haunting of Washington Allston Chapter Three. ‘Arranging the Trap Doors’: The Gothic Revival Castles of Alexander Jackson Davis Chapter Four. Old Dwellings Transmogrified: The Homes of James Fenimore Cooper and Washington Irving Chapter Five. Gothic Castles in the Landscape: Thomas Cole, Sir Walter Scott And the Hudson River School of Painting Chapter Six. The Theatrical Spectacle of Medieval Revival: Edwin Forrest’s Fonthill Castle Conclusion. ‘Clap It Into a Romance:’ Nathaniel Hawthorne’s Gothic Houses

Since it first emerged from Britain’s punk-rock scene in the late 1970s, goth subculture has haunted postmodern culture and society, reinventing itself inside and against the mainstream. Goth: Undead Subculture is the first collection of scholarly essays devoted to this enduring yet little examined cultural phenomenon. Twenty-three essays from various disciplines explore the music, cinema, television, fashion, literature, aesthetics, and fandoms associated with the subculture. They examine goth’s many dimensions—including its melancholy, androgyny, spirituality, and perversity—and take readers inside locations in Los Angeles, Austin, Leeds, London, Buffalo, New York City, and Sydney. A number of the contributors are or have been participants in the subculture, and several draw on their own experiences. The volume’s editors provide a rich history of goth, describing its play of resistance and consumerism; its impact on class, race, and gender; and its distinctive features as an “undead” subculture in light of post-subculture studies and other critical approaches. The essays include an interview with the distinguished fashion historian Valerie Steele; analyses of novels by Anne Rice, Poppy Z. Brite, and Nick Cave; discussions of goths on the Internet; and readings of iconic goth texts from Bram Stoker’s Dracula to James O’Barr’s graphic novel The Crow. Other essays focus on gothic music, including seminal precursors such as Joy Division and David Bowie, and goth-influenced performers such as the Cure, Nine Inch Nails, and Marilyn Manson. Gothic sexuality is explored in multiple ways, the subjects ranging from the San Francisco queercore scene of the 1980s to the increasing influence of fetishism and fetish play. Together these essays demonstrate that while its participants are often middle-class suburbanites, goth blurs normalizing boundaries even as it appears as an everlasting shadow of late capitalism. Contributors: Heather Arnet, Michael Bibby, Jessica Burstein, Angel M. Butts, Michael du Plessis, Jason Friedman, Nancy Gagnier, Ken Gelder, Lauren M. E. Goodlad, Joshua Gunn, Trevor Holmes, Paul Hodkinson, David Lenson, Robert Markley, Mark Nowak, Anna Powell, Kristen Schilt, Rebecca Schraffenberger, David Shumway, Carol Siegel, Catherine Spooner, Lauren Stasiak, Jeffrey Andrew Weinstock

The New York Times Best Seller now with 30% more zombies! “It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains.” So begins Pride and Prejudice and Zombies, an expanded version of the beloved Jane Austen novel featuring all-new scenes of bone-crunching zombie mayhem. This deluxe heirloom edition includes a new preface by coauthor Seth Grahame-Smith, thirteen oil painting illustrations by Roberto Parada, and a fascinating afterword by Dr. Allen Grove of Alfred University. Best of all, this limited special edition features an incredible 30 percent more zombies—via even more all-new scenes of carnage, corpse slaying, and cannibalism. Complete with a satin ribbon marker and a leatherette binding designed to endure for generations, this hardcover volume honors a masterpiece of classic zombie literature.

Master's Thesis from the year 2011 in the subject Didactics for the subject English - Literature, Works, grade: A, , course: M.Phil, language: English, abstract: Among novelists Jane Austen ranks as a supreme mistress of comedy. She brought with her task of social comedy a singular combination of rare gifts - a wit and satire of wonderful delicacy, a mind of great penetration, a style absolutely pellucid and effortless. No novelist has ever been more thoroughly an artist both in her attitude towards her own work and in her respect for her own limitations. She is so impersonal in her attitude that one may seek in vain for any trace of her own opinions or thoughts in her writings. Within her own limits she comes as near perfection as any human genius can. One of the world's most popular novels, Jane Austen's "Pride and Prejudice", has delighted readers since its publication with the story of the witty Elizabeth Bennet and her relationship with the aristocrat Fitzwilliam Darcy. Similar to Austen's other works, Pride and Prejudice is a humorous portrayal of the social atmosphere of late eighteenth- and early nineteenth-century England, and it is principally concerned with courtship rituals of the English gentry. The novel is much more than a comedic love story, however; through Austen's subtle and ironic style, it addresses economic, political, feminist, sociological, and philosophical themes, inspiring a great deal of diverse critical commentary on the meaning of the work.