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Exhibited by Candlelight

Sources and Developments in the Gothic Tradition


Edited by Valeria Tinkler-Villani, Peter Davidson and Jane Stevenson

Exhibited by Candlelight: Sources and Developments in the Gothic Tradition focuses on a number of strands in the Gothic. The first is Gothic as a way of looking. Paintings used as reference points, tableaux, or the Hammer Studios' visualizations of Dracula present ways of seeing which are suggestive and allow the interplay of primarily sexual passions. Continuity with the past is a further strand which enables us to explore how the sources of the Gothic are connected with the origin of existence and of history, both individual and general. Here, the Gothic offers a voice for writers whose perceptions do not fit into those of the dominant group, which makes them sensitive both to psychological and social gaps. This leads to an exploration of the very idea of sources and an attempt to bridge the gaps, as can be observed in the variety of epithets used to clarify the ways that Gothic works, ranging from heroic gothic to porno-gothic. This takes the reader to the main core of Gothic: a genre which is always ready to admit new forms of the unreal to enter and change whatever has become mainstream literature, and a way of reading and a mode profoundly affecting the reading experience. The Gothic mode cultivates its wicked ways in literature, working through it as a leavening yeast.

Une Catastrophe de Rien du tout ou De “l’ anarchie de l’ imagination”

Les artistes Maya Schweizer et Clemens von Wedemeyer répondent avec Beckett et Fassbinder aux émeutes des banlieues

Carla Taban

personnages du metteur en scène, de son assistante, du protagoniste et de l’ éclairagiste Luc, Catastrophe met en abyme non seulement l’ appareil de la production et du spectacle théâtraux, le sien y compris, mais potentiellement aussi toute autre situation artistique, sociale ou politique caractérisée par

Beckett as Muse for Egyptian Playwrights

Rereading the Theatre of the Absurd as Revolt

Amina ElHalawani

impression we exist?” (2006, 64). Adil enjoys playing the part of the audience in watching the spectacle of the cockroach, while he finds himself in no position to save it. Nevertheless, he praises the brave little creature for its determination. Samia: It climbs, then slips, then rolls over, then falls to

Cybernetic Syntax

Beckett’s “Rhythm of Doubt” in J.M. Coetzee’s Early Novels

Hunter Dukes

immediately behind it was the spectacle of what was going on in Vietnam and my gathering sense, as I read back in South African history […] of what had been going on there” (1992, 27). Coetzee draws a clear line between Beckett and contemporary political violence, but I maintain that this border is more