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The Routledge Companion to Gothic (Routledge Companions)
  
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The Routledge Companion to Gothic (Routledge Companions) (Hardcover)

by Catherine Spooner (Editor), Emma McEvoy (Editor)
4.0 out of 5 stars See all reviews (1 customer review)
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Product details

  • Hardcover: 304 pages
  • Publisher: Routledge; 1 edition (30 Sep 2007)
  • Language English
  • ISBN-10: 0415398428
  • ISBN-13: 978-0415398428
  • Product Dimensions: 23.4 x 16.2 x 2.8 cm
  • Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)

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Product Description

Review

"A combination of sound scholarship and provocative ideas, The Routledge Companion to the Gothic will be a splendid guide for those new to Gothic and open up fresh paths of enquiry for existing scholars."

Avril Horner, Professor of English and Co-President of the International Gothic Association (2005-8), Kingston University, London.



Product Description

In a wide-ranging series of introductory essays written by some of the leading figures in the field, this book is one of the most comprehensive and up-to-date guides on the diverse and murky world of the gothic in literature, film and culture.



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3 of 3 people found the following review helpful:
4.0 out of 5 stars Sets a New Standard in Gothic Criticism, 11 Jan 2008
By James Rattue (Surrey, England) - See all my reviews
(REAL NAME)   
This review is from: The Routledge Companion to Gothic (Routledge Companions) (Paperback)
Every major academic press seems to want its own `guide to Gothic' at the moment. It'll be interesting to see whether anyone can do better than Routledge's - which is pretty good, and marks another step forward in the integration of literary and non-narrative Gothic. A series of chapters examine the history of Gothic in European writing, and then trace the influence of place and setting on the development of the tradition. The third part, `Gothic Concepts', is a delight, and includes the most deft description of Julia Kristeva's theory of `abjection' I've come across within Gothic criticism, immensely enlightening for those of us who haven't tackled the original. The final section, `Gothic media', is more patchy. Emma McEvoy's chapter on theatre and Kamilla Elliott's on film both read like rather rushed and breathless summaries of their subjects (and Dr Pickle & Mr Pryde, p.223, wasn't a `Laurel & Hardy film' since Oliver Hardy wasn't in it); but Dr Fred Botting's apparently recent discovery of the possibilities of `Gothic Culture' results in a stunning, if rather self-congratulatorily clever, bit of work. In fact, I wonder whether this essay, slinkily making its way around the web of representations and re-representations by which Gothic art and Gothic reality interact and affect one another, actually points towards the end of Gothic Studies itself. It certainly depicts a kaleidoscopic phantasmagoria of imagery and play-acting that (as some of us have been saying for a while, and as Catherine Spooner and Paul Hodkinson in their essays keep reminding readers of this book) it's difficult to make any conclusion about.

This is perhaps the best-written and most consistently valuable survey of Gothic yet published. If there is a major weakness, it's the absence of any attention to visual art forms until the last section. It isn't the last word on the subject; but could it mark the beginning of the end?
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