An important and unique work about Gothic fiction, by"the major anthologist of supernatural and Gothic fiction", Montague Summers.

Gothic Music: The Sounds of the Uncanny traces sonic Gothic from the echoing footsteps in Gothic novels to the dark soundscapes of Goth club nights. This broad perspective importantly widens the scope of Gothic music from Goth subculture to literature, film, television and video games. This book also provides the musical and theoretical definition of Gothic music that lacks in current scholarship. Whether voicing the spectral beings of early cinema, announcing virtual terrors in video games, or intensifying the nocturnal rituals of Goth, Gothic music represents the sounds of the uncanny.

Botting expertly introduces the transformations of the gothic through history, discussing key figures such as ghosts, monsters and vampires, as well as tracing its origins, characteristics, cultural significance and critical interpretations.

Posthuman Gothic is an edited collection of thirteen chapters, and offers a structured, dialogical contribution to the discussion of the posthuman Gothic. Contributors explore the various ways in which posthuman thought intersects with Gothic textuality and mediality. The texts and media under discussion – from I am Legend to In the Flesh, and from Star Trek to The Truman Show, transgress the boundaries of genre, moving beyond the traditional scope of the Gothic. These texts, the contributors argue, destabilise ideas of the human in a number of ways. By confronting humanity and its Others, they introduce new perspectives on what we traditionally perceive as human. Drawing on key texts of both Gothic and posthumanist theory, the contributors explore such varied themes as posthuman vampire and zombie narratives, genetically modified posthumans, the posthuman in video games, film and TV, the posthuman as a return to nature, the posthuman’s relation to classic monster narratives, and posthuman biohorror and theories of prometheanism and accelerationism. In its entirety, the volume offers a first attempt at addressing the various intersections of the posthuman and the Gothic in contemporary literature and media.

Gothic novels tell terrifying stories of patriarchal societies that thrive on the oppression or even outright sacrifice of women and others. Donna Heiland’s Gothic and Gender offers a historically informed theoretical introduction to key gothic narratives from a feminist perspective. The book concentrates primarily on fiction from the 1760s through the 1840s, exploring the work of Horace Walpole, Clara Reeve, Sophia Lee, Matthew Lewis, Charlotte Dacre, Charles Maturin, Ann Radcliffe, William Godwin, Mary Wollstonecraft, Mary Shelley, John Polidori, James Malcolm Rymer, Emily Brontë, Charlotte Brontë, Charlotte Smith, and Charles Brockden Brown. The final chapter looks at contemporary fiction and its relation to the gothic, including an exploration of Margaret Atwood’s The Blind Assassin and Ann-Marie Macdonald’s Fall on Your Knees A Coda provides an overview of scholarship on the gothic, showing how gothic gradually became a major focus for literary critics, and paying particular attention to the feminist reinvigoration of gothic studies that began in the 1970s and continues today. Taken as a whole the book offers a stimulating survey of the representation of gender in the gothic, suitable for both students and readers of gothic literature.

This book reads the Gothic corpus with a thoroughly postmodern critical apparatus, pointing out that the Gothic Sublime anticipates our own doomed desire to pass beyond the hyperreal. A highly sophisticated theoretical reading of key texts of the Gothic, this book allows the reader to re-live the Gothic, not simply as a nostalgic relic or a pre-romantic aberration, but as a living presence that has strong resonances with the postmodern condition.