The Gothic World

The Gothic World offers an extensive overview of the popular field of the Gothic, from the eighteenth century through to the present day. Encompassing the literary, it alsoextends critical debate in exciting new directions,including film, politics, fashion, architecture, fine art, music, technologyand cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections of the volume consider: Gothic histories Gothic spaces Gothic readers and writers Gothic spectacle Contemporary impulses. The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries: a "Gothic World," indeed.

General Introduction, Glennis Byron and Dale Townshend Part 1. Gothic Histories 1. The Politics of Gothic Historiography, 1670-1800, Sean Silver 2. Gothic Antiquarianism in the Eighteenth Century, Rosemary Sweet 3. Gothic and the New American Republic, 1770-1800, Jeffrey Andrew Weinstock 4. Gothic and the Celtic Fringe, 1750-1850, James Kelly 5. British Gothic Nationhood, 1760-1830, Justin D. Edwards 6. Gothic Colonies, 1850-1920,Roger Luckhurst 7. History, Trauma and the Gothic in contemporary Western culture, Jerrold E. Hogle Part2. Gothic Spaces8. Gothic and the architectural Imagination, 1740-1840, Nicole Reynolds9. Gothic Geography, 1760-1830, Benjamin A. Brabon10. Gothic and the Victorian Home, Tamara Wagner11. American Gothic and the environment, 1800-present, Matthew WynnSivils12. Gothic Cities and Suburbs, 1880-present, Sara Wasson 13. Gothic in cyberspace, Bryan Alexander Part 3. Gothic Readers and Writers 14. Gothic and the publishing world, 1780-1820, Anthony Mandal 15. Gothic and the history of reading, 1764-1830, Katie Halsey 16.Gothic Adaptation, 1764-1830, Diane Long Hoeveler 17. Gothic romance, 1760-1830, SueChaplin18. Gothic poetry, 1700-1900, David Punter19. Gothic translation: France, 1760-1830, Angela Wright20.Gothic translation: Germany, 1760-1830, Barry Murnane21.Gothic and the child reader I: 1764-1850, M.O. Grenby 22. Gothic and the child reader II: 1850-present, Chloe Buckley 23. Gothic sensations, 1850-1880, Franz J. Potter 24. Young Adults and the contemporary Gothic, Hannah Priest 25. The earliest parodies of Gothic literature, Douglass H. Thomson 26. Figuring the author in modern Gothic writing, Neil McRobert 27. Gothic and question of theory, 1900-Present, Scott Brewster Part 4. Gothic Spectacle 28. Gothic and eighteenth-centuryvisual art, Martin Myrone 29. Gothic visuality in the nineteenth century, Elizabeth McCarthy 30. Gothic theatre, 1765-present, Diego Saglia 31. Ghosts, monsters and spirits, 1840-1900, Alexandra Warwick 32.Gothic horror film from The Haunted Castle (1896) to Psycho (1960), James Morgart 33. Gothic horrorfilm, 1960-present, Xavier Aldana Reyes 34. Southeast Asian Gothic cinema, Collete Balmain 35. Defining a Gothic aesthetic in modern and contemporary visual art, Gilda Williams 5.Contemporary Impulses 36. Sonic Gothic, Isabella van Elferen 37. Gothic lifestyle, Catherine Spooner 38. Gothic and survival horror videogames, Ewan Kirkland 39. Rewriting the canon in contemporary Gothic, Joanne Watkiss 40. Gothic tourism, Emma McEvoy 41. Gothic on the small screen, Brigid Cherry 42. Post-millenial mosters: monstrosity-no-more, Fred Botting Index

Glennis Byron is Professor of English at the University of Stirling, Scotland. With Dale Townshend, she co-runs the MLitt in The Gothic Imagination. She was the principal investigator for the AHRC-funded Global Gothic network. Globalgothic is forthcoming from Manchester University Press in 2012. Dale Townshend is Senior Lecturer in Gothic and Romantic Literature at the University of Stirling, Scotland, where he co-runs, with Glennis Byron, the MLitt in The Gothic Imagination.