Bram Stoker and the Gothic

'My revenge is just begun! I spread it over centuries, and time is on my side,' warns Dracula. This statement is descriptive of the Gothic genre. Like the Count, the Gothic encompasses and has manifested itself in many forms. Bram Stoker and the Gothic demonstrates how Dracula marks a key moment in the transformation of the Gothic. Harking back to early Gothic's preoccupation with the supernatural, decayed aristocracy and incarceration in gloomy castles, the novel speaks to its own time, but has also transformed the genre, a revitalization that continues to sustain the Gothic today. This collection explores the formations of the Gothic, the relationship between Stoker's work and some of his Gothic predecessors, such as Poe and Wollstonecraft, presents new readings of Stoker's fiction and probes the influences of his cultural circle, before concluding by examining aspects of Gothic transformation from Daphne du Maurier to Stoker's own 'reincarnation' in fiction and biography. Bram Stoker and the Gothic testifies to Stoker's centrality to the Gothic genre. Like Dracula, Stoker's 'revenge' shows no sign of abating.

Wynne's volume is a welcome addition to the considerable body of critical writing on the relationships between Stoker, Dracula, and the gothic, and is certainly essential reading for anyone keen to stay up to date in the field of Stoker studies. Indeed, the collection ought to be required reading for anybody interested in Bram, Dracula, or looking for an introduction to gothic studies more broadly. (Aoife Dempsey, The Irish Journal of Gothic and Horror Studies, Vol. 16, 2017)

Autorentext
Catherine Wynne is Senior Lecturer in English at the University of Hull, UK. She is the author of Bram Stoker, Dracula, and the Victorian Gothic Stage (2013) and the editor of Bram Stoker: Reviews, Reminiscences, Essays and Fiction, 2 volumes (2012). In 2012, she organized the Bram Stoker Centenary Conference at the University of Hull and at Whitby to mark the centenary of Stoker's death.

Inhalt

Introduction: Catherine Wynne

1. On the origins of the Gothic Novel: From Old Norse to Otranto; Martin Arnold
2. Wollstonecraft's Wrongs of Woman to Stoker's Dracula: You've Come a Long Way Baby, or Have You?; Bettina Tate Pedersen
3. Stoker, Poe, and American Gothic in 'The Squaw'; Kevin Corstorphine
4. Bram Stoker and Gothic Transylvania; Marius-Mircea Cri?an
5. 'Labours of Their Own': Property, Blood, and the Szgany in Dracula; Abby Bardi
6. Invasions Real and Imagined: Stoker's Gothic Narratives; Carol A. Senf
7. 'Gay motes that people the sunbeams': Dust, Death and Degeneration in Dracula; Victoria Samantha Dawson
8. The Imprint of the Mother: Bram Stoker's 'The Squaw and The Jewel of Seven Stars; Sara Williams
9. 'Empire of the Air': Ireland, Aerial Warfare and Futurist Gothic; Luke Gibbons
10. Bram Stoker, Ellen Terry, Pamela Colman Smith and the Art of Devilry; Katharine Cockin
11. 'Beyond Hommy-Beg': Hall Caine's Place in Dracula;Richard Storer
12. The Du Mauriers and Stoker: Gothic Transformations of Whitby and Cornwall; Catherine Wynne
13. The Un-Death of the Author: The Fictional Afterlife of Bram Stoker; William Hughes
14. Gallants, Ghosts, & Gargoyles: Illustrating the Gothic Tale; Jef Murray