The Edinburgh Companion to Gothic and the Arts 9781474432375

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The Edinburgh Companion to Gothic and the Arts

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The Edinburgh Companion to Gothic and the Arts Edited by David Punter Forthcoming The Edinburgh Companion to Literature and Music Edited by Delia da Sousa Correa The Edinburgh Companion to Charles Dickens and the Arts Edited by Juliet John and Claire Wood The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature Edited by Jeanne Dubino and Paulina Pajak The Edinburgh History of Reading, Volume 1: Early and Modern Readers Edited by Mary Hammond and Jonathan Rose The Edinburgh History of Reading, Volume 2: Common and Subversive Readers Edited by Mary Hammond and Jonathan Rose The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature Edited by Jeanne Dubino and Paulina Pajak https://edinburghuniversitypress.com/series/ecl

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The Edinburgh Companion to Gothic and the Arts

Edited by David Punter

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Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com

© editorial matter and organisation David Punter, 2019 © the chapters their several authors, 2019 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in 10 / 12 Adobe Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 3235 1 (hardback) ISBN 978 1 4744 3237 5 (webready PDF) ISBN 978 1 4744 3238 2 (epub) The right of the contributors to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498).

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Contents

List of Illustrations Notes on Contributors Introduction

viii xiii 1

Part I: Architectural Arts 1. Gothic and Architecture: Morris, Ruskin, Carlyle and the Gothic Legacies of the Lake Poets Tom Duggett

15

2. Gothic and the Built Environment: Literary Representations of the Architectural Uncanny and Urban Sublime Sara Wasson

36

3. Gothic and Design: The Geometrical Roots of Gothic Aesthetics in the Cologne Cathedral Choir Robert Bork

52

4. Gothic and Sculpture: From Medieval Piety to Modern Horrors and Terrors Peter N. Lindfield and Dale Townshend

69

5. Gothic and Installation Art: Spectral Materialities, Monstrous Ephemera Katarzyna Ancuta

89

Part II: The Visual Arts 6. Gothic and Earlier Painting: Nightmares and Premature Burials in Fuseli and Wiertz Maria Parrino 7. Gothic, Caricature, Cartoon: Insatiable Nightmares Franz Potter

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107 122

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vi

contents

8. Gothic and Portraiture: Resemblance and Rupture Kamilla Elliott 9. Gothic and Surrealism: Subculture, Counterculture and Cultural Assimilation Avril Horner

133

148

10. Gothic and Modern Art: The Experience of Ivan Albright Antonio Alcalá González

159

11. Gothic and Photography: The Darkest Art David Annwn Jones

171

Part III: Music and the Performance Arts 12. Gothic and Music: Scoring ‘Silent’ Spectres Kendra Preston Leonard

189

13. Gothic and Opera: Overwhelming Passions and Irrational Dreams Anne Williams

201

14. Gothic, Ballet, Dance: The Aesthetics and Kinaesthetics of Death Steven Bruhm

214

15. Gothic and Contemporary Music: Dark Sound, Dark Mood, Dark Aesthetics Isabella van Elferen

229

Part IV: The Literary Arts 16. Gothic and Graveyard Poetry: Imagining the Dead (of Night) Eric Parisot

245

17. Gothic Chapbooks and Ballads: Making a Long Story Short Doug Thomson and Wendy Fall

259

18. Gothic and Nineteenth-Century Poetry: Thresholds of Influence, Possibilities and Desire Angela Wright

271

19. Gothic and Modern Poetry: The Poetics of Transgression Maria Beville

286

20. Gothic and the Eighteenth-Century Novel: At Home in the English Style Robert Miles

297

21. Gothic and the Nineteenth-Century Novel: The Art of Abjection Jerrold E. Hogle

310

22. Gothic and Recent Fiction: Fears of the Past and of the Future David Punter

321

23. Gothic and the Short Story: Revolutions in Form and Genre Sarah Ilott

332

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vii

24. Gothic, Melodrama, Victorian Theatre: Gothic Drama to 1890 Clive Bloom

346

25. Gothic and Modern Theatre: Staging Modern Cultural Trauma Ardel Haefele-Thomas

358

26. Gothic and Children’s Literature: Wolves in Walls and Clocks in Crocodiles Anna Jackson

365

27. Gothic and Young Adult Literature: Werewolves, Vampires, Monsters, Rebellion, Broken Hearts and True Romance Gina Wisker

378

Part V: Media and Cultural Arts 28. Gothic and Cinema: The Development of an Aesthetic Filmic Mode Xavier Aldana Reyes

395

29. Gothic and Television: The Monster in the Living Room Linnie Blake

406

30. Gothic and Comics: From The Haunt of Fear to a Haunted Medium Julia Round

418

31. Gothic and the Graphic Novel: From the Future Shocks of Judge Dredd to the Aftershocks of DC Vertigo Stuart Lindsay 32. Gothic and Video Games: Playing with Fear in the Darkness Dawn Stobbart

434 449

33. Gothic and Internet Fiction: Digital Affordances and New Media Fears Neal Kirk

460

Index

472

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List of Illustrations

Figures Figure 1.1

Figure 1.2

Figure 1.3

Figure 2.1 Figure 2.2 Figure 2.3 Figure 2.4

Figure 3.1 Figure 3.2 Figure 3.3 Figure 3.4

Figure 3.5 Figure 3.6

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The old house hereafter. William Morris (and W. H. Hooper and C. M. Gere), Frontispiece to News from Nowhere, the Kelmscott Press edition of 1890 © The Trustees of the British Museum. All rights reserved. 17 A single Gothic thing over time. Richard Parkes Bonington, ‘Cathedral Notre-Dame’, Restes et Fragmens d’Architecture du Moyen Age (1824) © The Trustees of the British Museum. 23 Southey’s contrasts: (Left) William Westall’s ‘Druidical Stones, near Keswick’ and (right) ‘Crosthwaite Church and Skiddaw’, in Sir Thomas More: or, Colloquies on the Progress and Prospects of Society (1829), facing page 41 and frontispiece, private collection. 28–29 Gustave Doré, ‘Over London by Rail’, in London: A Pilgrimage, London: Grant & Co., 1874. 39 Graham Sutherland, ‘City of London: Twisted Girders’ (1941), pen, ink, wax crayon, chalk and gouache on paper. 43 Finbarr Fallon, ‘Camden Catacombs’ (2017), photograph. 47 Tings Chak, ‘Undocumented: The Architecture of Migrant Detention’ (Montreal: Architectural Observer, 2014), p. 95, detail. 48 Cologne Cathedral, interior of choir, photograph by Robert Bork. 52 Cologne Cathedral, exterior of choir, photograph by Robert Bork. 53 (Top) Steps in pinnacle design (graphic by Roriczer); (Bottom) The five canonical classical orders (graphic by Serlio). 57 Plan and elevation of Cologne Cathedral choir, with geometry step 1 (plan by Ingenieurbüro Fitzek/Pancini; elevation by Duttenhofer). 61 Geometries based on quadrature, at left, and dodecature, at right, graphic by Robert Bork. 62 Plan and elevation of Cologne Cathedral choir, with geometry step 2, graphic by Robert Bork. 63

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list of illustrations Figure 3.7 Figure 3.8 Figure 4.1

Figure 4.2

Figure 4.3 Figure 4.4 Figure 4.5

Figure 4.6 Figure 4.7

Figure 4.8

Figure 5.1 Figure 5.2

Figure 5.3

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Plan and elevation of Cologne Cathedral choir, with geometry step 3, graphic by Robert Bork. 65 Plan and elevation of Cologne Cathedral choir, with geometry step 4, graphic by Robert Bork. 65 William Wynford, master mason, Chantry Chapel of Bishop Waynflete, after 1486, Winchester Cathedral, Hampshire. Photographs: Peter N. Lindfield. 72 (Left) John Carter, The Cabinet at Strawberry Hill (c. 1781), SH Views C323 No. 1 Framed, Shelved in LFS Bin 45. Courtesy of the Lewis Walpole Library, Yale University; (Right) Anon., Statuette from the Oratory at Strawberry Hill (c. 1470–80). A.3-1982. © Victoria and Albert Museum, London. 76 Jake and Dinos Chapman, The Milk of Human Weakness II (2011). Courtesy of Jake and Dinos Chapman. 81 Wim Delvoye, September (2001). Steel, X-ray photographs, lead, glass, 244 x 104cm. © Studio Wim Delvoye. 82 (Top) Wim Delvoye, Chapel (scale model) (2007). Laser-cut Corten steel and stained windows. 330 x 210 x 370cm. Installation shot: Wim Delvoye au Louvre (2012). Musée du Louvre, Paris. © Studio Wim Delvoye; (bottom) Wim Delvoye, Dump Truck (scale model 1/3) (2012). Laser-cut Corten steel. 214 x 74 x 110cm. © Studio Wim Delvoye. 83 Hannes Hummel, Luxury Problems (2014). 84 (Left) Robert Longo, All You Zombies: Truth before God (1986–2012), cast 2012. Bronze, 159 1/8 x 60¾ x 61¾ in. (404.2 x 154.3 x 156.8cm.). Whitney Museum of American Art, New York: gift of the Alex Katz Foundation. 2016. Photograph by Bill Orcutt; (right) KLAT Collective, Frankie, A.K.A. The Creature of Doctor Frankenstein (2013). By Philvuagn (own work). [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0], via Wikimedia Commons)