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By Charles L. Crow

A significant other to American Gothic encompasses a selection of unique essays that discover America’s gothic literary tradition.

  •  The biggest selection of essays within the box of yank Gothic
  • Contributions from a large choice of students from round the world
  •  The so much whole insurance of conception, significant authors, pop culture and non-print media available

 

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Extra resources for A companion to American gothic

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Allan Lloyd-Smith has shown the revelatory power of the suggestions in Lacan, reinforced by Slavoj Žižek from the later 1980s on, of a level of being called “the Real” which lies outside of all signification and is feared to be a locus of chaos, “trauma,” and the blurrings of all distinctions (such as American vs. un-American or white vs. P. Lovecraft’s subterranean grotesques mixing different species (Lloyd-Smith 2004: 142). There is additional insight for Lloyd-Smith, too, provided by a psychoanalytic-symbolic notion that Derrida has highlighted in the work of Nicholas Abraham and Maria Torok: a “geneological inheritance” within the “unconscious” that they call “the phantom” in a special sense.

Lloyd-Smith sees this process unfolding repeatedly in the gender politics of American Gothic texts from Alcott and Gilman to William Gibson, where characters who seek the illusion of sexual consistency according to dominant norms “abject” all other tendencies, particularly alternative sexualities, in themselves to make them appear in monstrous, othered guises as though they were “over there” in aberrant and un-American locations of horror – Gilman’s “yellow wallpaper” or Jackson’s Hill House, say – and not in the presented, “acceptable” public self (see Lloyd-Smith 2004: 97–108 and 158–160).

One such scheme is poststructuralism, particularly the kind linked to “deconstruction” in the writings of Jacques Derrida, whose first major texts appeared in 1967. French structuralism in the 1950s– 1960s developed Ferdinand de Saussure’s much earlier theory of language as composed of conventional but firmly structured relationships between signifiers (acoustic images without meanings attached), signifieds (concepts), and referents (objects). Literary structuralists used such terms to describe the dominant symbolic relations and oppositions that underlie whole genres of writing, and these included the ways different genres connect signifiers to signifieds at their deepest levels and yet reveal how each side of an opposition is dependent on its counterpart, for instance “the identification of center with self” and “the symmetry of the inside–outside relation” in the early Eve Kosofsky Sedgwick’s The Coherence of Gothic Conventions on the British Gothic (Sedgwick 1980: 14).

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