The Literary Gothic is a Web guide to all things concerned with literary Gothicism, which includes ghost stories, "classic" Gothic novels and Gothic fiction (1764-1820), and related pre- and post-Gothic and supernaturalist literature written prior to the mid-C20. Its target audience is all students and fans of the Gothic, regardless of age, academic level, profession, or just about anything else.The goals of this site are two-fold: to collect in one place all important links pertaining to the Gothic novel, Gothic fiction, and all other forms of literary Gothicism and subsequent traditions, and to make available etexts of important and overlooked early works in the tradition. These ideals will never be fully realized, of course, but that's the target. As noted above, there's an upper chronological limit of the mid-twentieth century, but the deliberately loose definition of "Gothic" (and, I suppose, of "literary") means that a wide range of material can be covered here. That too is part of the plan. As for the Anglophone bias, well, that's not really part of the plan, but a sad necessity....While this site began as a directory (about 2 screens of text, back in the beginning), as it has evolved into a webguide it has increasingly, and unavoidably, come to reflect my own thinking about the Gothic. This is evident not only in the selection process (far from complete and constantly under review, by the way), but perhaps primarily in the commentary and other notes which discuss the place of the author in the Gothic/post-Gothic tradition, some points of connection between various authors and/or works, and/or some elements or issues of importance in particular works. All of this reflects my own understanding of the Gothic as a popular literary tradition offering a rhetoric of imagery and tropes that authors employ and modify in order to address issues of compelling historical, psychological, and socio-cultural interest in a manner accessible to a general reading public.Yet it remains the case that my primary intention here is not to present a particular understanding of or approach to literary supernaturalism, but to help make available resources for the enjoyment and study of Gothic literature.
Welcome to the Gothic Imagination at the University of Stirling, Scotland. We aim to provide an interdisciplinary forum for lively discussion and critical debate concerning all manifestations of the Gothic mode, be it historical or as manifested in more modern and contemporary cultural events. We also seek to establish an internet-based community of Gothic scholars and enthusiasts, and to serve as a platform for the dissemination of information relevant to our mutual Gothic interests. In addition to news about the various Gothic programmes and events at Stirling, the site provides information about exciting new developments in Gothic studies around the world.
The Irish Journal of Gothic and Horror Studies (ISSN 2009-0374) is a peer-reviewed, interdisciplinary, biannual electronic publication dedicated to the exploration of Horror and Gothic literature, film, new media and television. It was launched in October 2006 by Elizabeth McCarthy and Bernice M. Murphy, both of Trinity College Dublin.
Le Fanu Studies (ISSN 1932-9598) invites essays on any aspect of the life and works of famous Victorian mystery and ghost story writer Joseph Sheridan Le Fanu (1814-1873). It also seeks essays about works of drama, literature, and film related to Le Fanu. Also welcome are essays about his contemporaries in the ghost story or mystery novel, and other Anglo-Irish authors of his day.
Studies in Gothic Fiction is an online refereed academic journal devoted to the study of the Gothic from it’s beginnings in the eighteenth century to the present. Bringing together well-known scholars and students, each issue of Studies in Gothic Fiction contains insightful articles and book reviews.
The Lewis Walpole Library is a research library for eighteenth-century studies and the prime source for the study of Horace Walpole and Strawberry Hill. Its collections include significant holdings of eighteenth-century British books, manuscripts, prints, drawings, and paintings, as well as important examples of the decorative arts.
Explore how the reputation of a great literary family was shaped by the selective release and suppression of manuscripts and documents into the public domain, and gain an insight into the real lives of a family that was blessed with genius but marred by tragedy.
O Grupo de Estudos sobre o Medo como Prazer Estético é parte de um trabalho de pesquisa que vem sendo desenvolvido desde 2009, sob a coordenação de Júlio França, Professor Adjunto de Teoria da Literatura (UERJ).Nosso objetivo é refletir sobre o que chamamos de medo artístico, uma peculiar emoção estética produzida por criações ficcionais. Se as emoções relativas à autopreservação são dolorosas quando estamos expostos às suas causas, quando experimentamos sensações de perigo sem que estejamos realmente sujeitos aos riscos, isto é, quando a fonte do medo não representa um risco real a quem o experimenta, entramos no campo das emoções estéticas. O exercício de tais sensações parece ser capaz de produzir efeitos peculiares (catarse, sublimidade), sobre os quais os Estudos Literários vêm refletindo há séculos.Nosso corpus de trabalho primário consiste no que temos chamado de literatura do medo – narrativas ficcionais que o senso comum agrupa sob termos concorrentes e sobrepostos, tais como “de horror”, “góticas”, “dark fantasy”, “sobrenaturais”, “de terror”, “fantásticas”, entre outros, mas que manteriam, como elemento comum, a capacidade e/ou intenção de produzir, como efeito de leitura, a emoção do medo.
Outros documentários e podcasts
In 1816, at 19 years old, Mary Shelley had written "Frankenstein", the first science-fiction novel. She died without knowing that she had given rise to one of the most important myths of the Western culture. Forgotten for over a century, she is still not known to the general public. However, the interest of the life of Mary Shelley exceeds her masterpiece: free, avant-gardist, her life is filled with spectacular bounces. So much that the novel and the life of the writer seem sometimes inseparable. Where the fiction stops and where the reality starts? Here is the question raised by this documentary, which draws up a portrait without precedent of one of the most forgotten writers in history.