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Textus: Gothic Frontiers. Abstracts by 1 June, 2011
full name / name of organization:
Francesca Saggini and Glennis Byron
firstname.lastname@example.org and email@example.com
Textus: English Studies in Italy No. 3 – 2012: Gothic Frontiers
This issue of Textus aims to showcase and provide further space for debate and discussion to researchers engaged in exploring, testing and redrawing the expansive frontiers of gothic and its multiple, evolving discourses.
While gothic has always resisted easy generic definition, this has become particularly notable over the past few decades as gothic has increasingly begun to merge or connect with such other genres as science fiction, urban fantasy, cyberfiction, crime fiction, westerns and romance as well as multiple non-text-based cultural manifestations. Cultural production and dissemination attest the proliferation of new gothic forms and cultural trends, which contest or redefine our understanding of what was long considered a predominantly literary genre. What new frontiers is the gothic entering in the 21st century?
Fred Botting, for one, has recently suggested a revision of the differences of/in gothic and its voices and bodies, discussing those “figures who, in their very difference, throw off older associates and anxieties, and emerge as harbingers of new forms and relationships” (Botting 2008). Similarly, Clive Bloom has drawn attention to changing concepts of body, “the new architectural space of fear” that signifies “the sense of excess and disturbance that was once attached to buildings” (2010). Furthermore, John Paul Riquelme (2008) has argued for the unearthing of a silenced gothic tradition. This revisitation envisions a submerged ‘dark’ canon that rhizomatically expands – in the past, and even more so in the present – through infinite routes of adaptation, revision, transformation. The concept of “gothic frontiers” finally opens up to transcultural gothic manifestations that engage with diverse forms, genres, materials, media and technologies – from cinema, painting, multimedia art, photography, music, dance and performance to fashion, music, games – (re)moulding textual and material bodies.
Moving from these theoretical and methodological premises, the editors are interested in exploring the pervasion and diffusion of contemporary gothic. The present issue of Textus solicits cutting-edge and theoretically informed submissions interested in all aspects of the expansive gothic universe, its thresholds and its limits. We invite proposals on topics including, but not limited to:
· intermedia adaptations; afterlives and transmissions