Archives par mot-clé : gothique

Parution : Human Evolution and Fantastic Victorian Fiction (Anna Neill)

Anna Neill, Human Evolution and Fantastic Victorian FictionRoutledge, 2021

Following the publication of Darwin’s On the Origin of Species, Victorian anthropology made two apparently contradictory claims: it distinguished “civilized man” from animals and “primitive” humans and it linked them though descent. Paradoxically, it was by placing human history in a deep past shaped by minute, incremental changes (rather than at the apex of Providential order) that evolutionary anthropology could assert a new form of human exceptionalism and define civilized humanity against both human and nonhuman savagery.

This book shows how fantastic Victorian and early Edwardian fictions—utopias, dystopias, nonsense literature, gothic horror, and children’s fables—untether human and nonhuman animal agency from this increasingly orthodox account of the deep past. As they imagine worlds that lift the evolutionary constraints on development and as they collapse evolution into lived time, these stories reveal (and even occupy) dynamic landscapes of cognitive descent that contest prevailing anthropological ideas about race, culture, and species difference.

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Parution : The Palgrave Handbook of Steam Age Gothic

Clive Bloom, The Palgrave Handbook of Steam Age Gothic, Palgrave Macmilan, 2021. 

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’.  

Clive Bloom is Emeritus Professor at Middlesex University, UK. He has written numerous books on popular literature, gothic fiction, history and politics. He is a broadcaster and occasional journalist who has been quoted in both the Washington Post and Pravda and has an entry in the Columbia Book of World Quotations.

Parution : Cahiers de littérature orale, n°89, “L’heure du conte”

Michel Porret, Olivia Testori,  Frankenstein, le démiurge des LumièresGenève, Georg éditions, “L’Equinoxe”, 2020.

Dans l’héritage naturaliste et expérimental des Lumières, à la croisée des romans philosophique, épistolaire, gothique, noir et d’épouvante, au carrefour du romantisme littéraire et de la « fiction scientifique », ce livre collectif évoque les thématiques et les questions religieuses, philosophiques, politiques, littéraires, esthétiques, épistémologiques et éthiques sur la connaissance, la science, le savant, le corps, l’identité, le genre, l’expérimentation, la loi, la création et la transmission de la vie, la post-humanité, le mal et la mort que pose en 1818 l’œuvre de Mary Shelley.

Autour du bricolage cadavérique de la créature, dont la bonté innée se brise sur le monde social qui la réprouve en sa difformité corporelle, comme incarnation du mal moral, l’ouvrage balise le périmètre culturel des sens, des usages et des représentations qu’induisent les lectures critiques, les déclinaisons et les réappropriations culturelles de Frankenstein.

Michel Porret est professeur d’histoire moderne à l’Université de Genève. Éminent spécialiste du droit de punir et de la médecine judiciaire, il est également co-directeur, avec F. Rosset et B. Baczko† du Dictionnaire critique de l’utopie (Georg, 2016).

Olinda Testori est doctorante en histoire moderne à l’Université de Genève.

Victorian Encounters and Environments

12th Annual VPFA Conference
‘Victorian Encounters and Environments’
15-17th July 2020
University of Greenwich, London


The Victorian Popular Fiction Association is dedicated to fostering interest in understudied popular writers, literary genres and other cultural forms, and to facilitating the production of publishable research and academic collaborations amongst scholars of the popular.

We invite a broad, imaginative and interdisciplinary interpretation on the topic of ‘Victorian Encounters and Environments’ and its relation to any aspect of Victorian popular literature and culture which addresses literal or metaphorical representations of the theme. Inter- and multidisciplinary approaches are welcome, as are papers which address poetry, drama, global literature, non-fiction, visual arts, historical and social contexts. Papers addressing works from the “long Victorian period” (i.e. before 1837 and after 1901) are also welcome.

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CFP: Edited Collection on Dark Fairy Tales in Children’s and Young Adult Literature (20 octobre)

CFP: Edited Collection on Dark Fairy Tales in Children’s and Young Adult Literature

Scholarly essays are sought for a collection on the “dark/gothic” fairy tale motif in children’s and young adult literature. One of the most popular and long standing traditions in literature for youth, fairy tales have always had elements of fantastical horror, dark motifs, and other Gothic themes built into them. Cannibalism, murders, despair, rape, kidnapping, reincarnations, broken families and many other horrific elements are to be found in these stories. Countless experts insist that their inclusion was, and still is, vital to the growth and maturation of the child reader. The melding of the traditional fairy tale and Gothic literature themes help the reader not only to see the positive aspects of life, but the darker side as well. Ghosts and ghouls, graveyards, ancient houses, and other such spooky elements allow the reader to transpose their fears into the fairy tale, analyze them, and grow past that obstacle.

Books such as The Graveyard Book (Gaiman), Coraline (Gaiman), Red Riding Hood (Blakely-Cartwright), The Book of Lost Things (Connolly), Cinder (Meyer), Beastly (Flinn), and Fablehaven (Mull), to name but a few, provide example of such modern stories which expose young readers to both the positive and negative sides of life, to love and hate, to victory and defeat, etc. Such dark/Gothic motifs helped foster the longevity of the traditional fairy tales for hundreds of years, as well as thematically drive their modern counterparts.

Focusing upon contemporary children’s and young adult literature, classic fairy tales, and modern retelling’s thereof, this collection is calling upon academics, scholars, researchers, students, and lovers of fairy tales to submit abstracts of 250 to 300 words for consideration. Topics may include, but are not limited to the following:

-Critical and theoretical approaches
-The child as fairy tale hero
-The role of the female hero
-The “monster” as fairy tale hero
-Retellings of classic fairy tales (Red Riding Hood, Beastly, Zel, etc.)
-Comic and graphic novel adaptations
-Fairy tale structure in non-traditional fairy tale texts (The Graveyard Book, Coraline, Someone Comes to Town/Someone Leaves Town, etc.)
-Societal/psychological/cultural implications of dark fairy tales in literature for children and young adults
-Dark fairy tales and popular culture
-Coming of age issues (sexuality, maturity, etc.) in young adult “fairy tales”

Please note that this is a collection that focuses on children’s and young adult literature with dark fairy tale elements. This is not a collection on fairy tales. As such, please focus your abstracts accordingly.

Please send abstracts of 250 to 300 words to Tanya Jones and Joe Abbruscato at by October 20, 2012. Please include contact information, CV, and a short bio. This collection has already been discussed with agents at McFarland, though other publishing companies are possible.

Le romantisme « frénétique » Histoire d’une appellation générique et d’un genre dans la critique de 1821 à 2010 (27 juin 2012)

Le romantisme « frénétique »

Histoire d’une appellation générique et d’un genre dans la critique de 1821 à 2010

Émilie Pezard soutient sa thèse de doctorat intitulée Le romantisme « frénétique » : histoire d’une appellation générique et d’un genre dans la critique de 1821 à 2010. La soutenance a lieu à l’Université Paris-IV, salle J636, le 27 juin 2012 à 14h. La thèse a été menée sous la direction de Bertrand Marchal, et le jury est composé de José-Luis Diaz (Université Paris-VII), Anthony Glinoer (Université de Sherbrooke), Françoise Mélonio (Université Paris-IV) et Daniel Sangsue (Université de Neuchâtel).


L’appellation « genre frénétique », créée par Charles Nodier en 1821, fait aujourd’hui partie intégrante du vocabulaire des études sur le romantisme. Le genre qu’elle désigne donne cependant lieu à des définitions divergentes, tant au niveau des auteurs qui l’exemplifient qu’au niveau des caractéristiques qui le décrivent. Cette thèse retrace l’histoire du genre frénétique tel qu’il a été défini par la critique, de 1821 à 2010, à partir d’une étude des emplois de l’appellation générique dans un corpus de près de 630 textes critiques.

Dans les années 1820 et 1830, la notion du frénétique revêt une visée polémique dans le cadre du débat sur le romantisme. Alors que Nodier inventait le genre frénétique pour le distinguer du romantisme, de nombreux critiques assimilent au contraire, totalement ou partiellement, les deux notions, l’appellation permettant de décrire le romantisme dans ses dimensions violente et excessive. Après plusieurs décennies où le genre disparaît des lectures du romantisme, le genre « frénétique » est à nouveau convoqué au début du xxe siècle et connaît un succès croissant, qui a pour corollaire une complexification des définitions. Manifestation d’une révolte métaphysique ou transposition littéraire d’un èthos, le « frénétique », qu’il soit jugé favorablement ou non, permet aussi généralement de rendre compte de la vogue, à l’époque romantique, d’un genre horrifique et outrancier, héritier du roman gothique anglais. Ce dernier genre, formé par les romans de Radcliffe, Lewis et Maturin, constitue cependant un corpus hétérogène déterminant deux lignées génériques qui méritent d’être distinguées, le roman noir et le frénétique.

CFP: A New Look at the Gothic Monster (SAMLA, Durham, North Carolina. Nov. 9-11, 2012)

A New Look at the Gothic Monster

(SAMLA, Durham, North Carolina. Nov. 9-11, 2012)

South Atlantic Modern Language Association
contact email:

A New Look at the Gothic Monster

This panel explores the cultural roles that monsters inhabit in Gothic fiction. Since the late-Victorian period, popular fiction has featured a panoply of monsters—vampires, werewolves, ghosts, zombies, mummies, shape-shifters, unknowable, and amorphous “things,” and a variety of other undeads. The evolution of monsters, what they represent, and why audiences need them are subjects of interest for this panel. Topics may include, but are not limited to, the following areas: psychology and the monster; the abhuman; the post-human and the monster; the monster in imperial Gothic fiction; popular fiction and the monster; cultural transformations of the monster.

By May 30, 2012, please submit 300-word abstracts to Sharla Hutchison, Fort Hays State University, at

CFP: Dracula and the Gothic in Literature, Pop Culture and the Arts.

An Interdisciplinary Colloquium at the Centenary of Bram Stoker’s death

University of Minho – Braga, Portugal
29-30 June 2012; Abstract deadline: 15 April 2012

Few literary works have had such a lasting influence on popular culture as Bram Stoker’s Dracula (1897). One hundred years after the Irish author’s death, the abundance of adaptations of the Romanian Count’s tale spans over all the arts and modes of expression. More than 200 film versions of Dracula exist, from Murnau’s inaugural 1922 Nosferatu to Coppola’s 1992 box office hit, but it is perhaps Bela Lugosi’s iconic interpretation in the 1931 horror film classic that first comes to mind. Theatre plays and musicals, as well as dance performances, also abound, making Dracula a trendy stage motif. TV adaptations are countless and even a remarkable radio version of Stoker’s story by Orson Welles (1938) is on record. Stoker’s character also features in such diverse media as video games, cartoons, comics, anime and manga.

In literature, the Gothic – a combination of horror, romance and melodrama in supernatural plots – can be traced back to Walpole’s 1764 The Castle of Otranto, A Gothic story, and the vampire theme also bears a Romantic matrix: Lord Byron’s epic poem “The Giaour” (1813), Coleridge’s “Christabel” (1816) and John W. Polidori’s short story The Vampyre (1819), not to mention Mary Shelley’s Frankenstein (1818), all present undead creatures as their uncanny protagonists. After Elizabeth C. Grey’s influential story The Skeleton Count (1828), two Victorian milestones are Varney the Vampire (1847), attributed to James M. Rymer, and Sheridan le Fanu’s novella Carmilla (1872). In the 20th century, Gothic and vampire fiction proliferated, with such authors as Algernon Blackwood, William H. Hodgson, M. R. James and, of course, H.P. Lovecraft, the most reputed writer of ‘cosmic horror’. To this day a steady production flow, which ranges from Richard Matheson to best-selling Stephen King, bears witness to Stoker’s ‘undying’ impact.

This interdisciplinary colloquium seeks to reappraise the multimodal and multimedia adaptations of Stoker’s Dracula, in their literary, cinematic, theatrical, televised, and computerized facets, as well as the origins, evolution, imagery, mythology, theory and criticism of Gothic fiction and of the Gothic (sub)culture. We welcome contributions for 20-minute papers in English on any aspect of Bram Stoker’s legacy, as well as on Gothic / horror / supernatural manifestations in literature, pop culture and the arts.

Possible topics include (but are not restricted to):
• Stoker’s Dracula in its social, cultural and political environment
• Gothic forerunners: Horace Walpole, Clara Reeve, Ann Radcliffe
• Romanticism, melodrama and the supernatural
• Victorian Gothic: from Dickens to the Brontës
• Fin-de-siècle revival of the Gothic: Robert Louis Stevenson’s Dr Jekyll and Mr Hyde (1886) and Oscar Wilde’s The Picture of Dorian Gray (1891).
• Stoker abroad: issues of reception and translation of Dracula around the world
• Female Gothic romance in the 20th century: Phyllis A Whitney, Victoria Holt, Joan Aiken, Barbara Michaels
• Southern Gothic: Carson McCullers, Flannery O’Connor, Tennessee Williams, William Faulkner
• Present-day horror: from Anne Rice to Stephen King
• Language and style in Gothic literature
• Gothic imagery, Gothic bodies and Gothic monsters
• Dracula on film and stage
• Dracula and Gothic motifs in cartoons and comics
• Gothic fiction and the struggles between “high” and “popular” culture
• Satirizing the Gothic: parody and humor
• Transgressive sexuality in vampire fiction
• Post-colonial perspectives on the vampire legend: from Nalo Hopkinson to Tananarive Due
• Feminist reworkings of vampire fiction
• Vampirism and the teenage vampire craze of the 21st century

Abstracts of 250-300 words, including full title of paper, name of speaker, institutional affiliation and position, a bio-sketch and contact details (postal address and e-mail address), should be sent as Word attachments to Prof. Isabel Ermida at E-mails should be titled: “Colloquium on the Gothic”.

Important dates:
• Deadline for submission of proposals: 15 April 2012
• Notification of acceptance: 30 April 2012
• Registration: 1 May 2012 – 31 May 2012
• Registration fees: Delegates: 60 euros /Students: 20 euros
• Late registration (1 June–15 June 2012): Delegates: 80 euros / Students: 25 euros

Please note: Delegates failing to register before the deadline cannot be included in the programme.

Organizing Committee:
• Isabel Ermida (Chair)
• Anabela Rato
• Amélia Carvalho
• Jaime Costa
• Salomé Osório

This International Colloquium is hosted by DEINA (Department of English and North-American Studies) and supported by CEHUM (Center for Humanistic Studies) and ILCH (Institute of Arts and Humanities) of the University of Minho at Braga, Portugal.

All speakers are responsible for their own travel arrangements and accommodation. Relevant information about hotels and transportation from the nearest airport (Oporto) is provided on the colloquium website.

Updated information at: