Rethinking Gothic Transgressions of Gender and Sexuality

Sarah Faber’s central research areas are Game Studies, the fantastic, and nineteenth-century British literature, united by an overarching interest in narrative technique and constructions of (especially queer and/or gendered) identity and belonging. She completed her studies at Johannes Gutenberg University Mainz, where she wrote her doctoral thesis on narration in multiplayer games. She was a research and teaching associate at JGU Mainz for five years and a fellow at Brandenburg University of Applied Sciences for two. She has been a board member of the German Association for Research in the Fantastic since 2022.Kerstin-Anja Münderlein is a lecturer and post-doc at the Institute of English and American Studies (Department of English Literature) at the University of Bamberg where she completed her PhD on Gothic parody in 2019. Her fields of research include Gothic novels and parodies of the long eighteenth century with a focus on quixotism and normative femininity, British poetry of the Great War (especially Vera Brittain’s writings), and the constructions of femininities and masculinities in English Golden Age crime fiction. Her methodological focus lies on Gender Studies, audience, and reception theory. She is assistant editor for Crime Fiction Studies and currently edits a themed issue on gender and crime for the journal. Her most recent publications include Genre and Reception in the Gothic Parody: Framing the Subversive Heroine (Routledge, 2022) and the edited collection Crime Fiction, Femininities and Masculinities (forthcoming 2024).

• AcknowledgementsContent WarningsList of ContributorsIntroduction: Gothic and TransgressionSarah Faber and Kerstin-Anja MünderleinPart I: Gothic in the Long Eighteenth and Nineteenth CenturiesSarah Faber and Kerstin-Anja Münderlein1 .Excessive Fainting and Parodic Bending: Analysing Socio-Political Criticism Through the Heroine’s Body in the Gothic Novel and the Gothic Parody. Kerstin-Anja Münderlein2 The Comfort of the Male Gaze in Dickens’s Our Mutual FriendFranziska Quabeck3 Gothic Monster or Creative Muse? Strategies of Empowerment in Grace King’s “One of Us”Alycia Garbay4 From Gothic Heroines to Monstrous Prom Queens: Gender Horror in Dracula and Jennifer’s BodyKit Schuster5 Violet Strange: Gothic Girl DetectiveKeli MastenPart II: Gothic from the World Wars to the Present 6 “I Don’t Want to Grow Up:” Abject Adolescence and Southern Gothic in Carson McCullers’s Short StoriesJerneja Planinšek Žlof7 The Unspeakable Plant – Gender, Desire, and the Monstrous Vegetal in Frances Hardinge’s The Lie TreeAnja Höing8 ‘Annihilation’ of the Gendered Human: Ecogothic Transgressions of AnthropocentrismMaria Hornisch and Tamara Schmitt9 Transgressing Genre and Gender: Masculinities and (Post)Feminism in Neo-Gothic NarrativesMiriam Borham-Puyal10 “But It Seems to Me That I Have Absorbed Ruth” – Gothic Doubles in Laura Purcell’s The CorsetLara Brändle11 Archive of the Unspeakable: Unsilencing Violence in Carmen Maria Machado’s In the Dream HouseCarolin Jesussek12 Narrating the (Queer) Gothic in the Podcast The Magnus ArchivesMaria Juko13 The Wholesome Queer Gothic: Transgressing Narrative Norms and Shifting LGBTQIA+ Representation in Contemporary Re-Inventions of the GothicSarah FaberConclusion: Gothic Prospects – Ancient Monsters and New AnxietiesSarah Faber and Kerstin-Anja MünderleinIndex