Cover -- Contents -- Introduction -- Literary Gothic -- American Gothic -- Perversity in the Selected Works of Edgar Allan Poe -- Works Cited -- From Scratch Once More or, Sam Lawson Restarts the American Gothic -- Works Cited -- From Faustus to Azatoth: H. P. Lovecraft's "Dreams in the Witch-House" (of Modernity) -- Works Cited -- Gothic Metalepsis and Ekphrastic Horror: Self-Conscious Reflection on the Ambivalent Cultural Status in Stephen King's "The Road Virus Heads North" -- Works Cited -- (Post-) Colonial Gothic -- Loveless Legacies: Gothic Mothers and Haunted Daughters in Postcolonial Literature -- Works Cited -- Reading (Post-) Colonial Terror within Gothic Aesthetics: The Conceptual Limits of Postcolonial Gothic in Canadian Aboriginal Fiction -- Works Cited -- Gothic Topographies -- The Haunting of the House in Charlotte Perkins Gilman's "The Yellow Wallpaper" -- Introduction -- Haunting as a discourse -- The Narrative of Melancholia -- The Yellow Wallpaper -- Conclusion -- Works Cited -- Hermann Hesse's Steppenwolf as a Modern Gothic Tale: A Cognitive Poetic Perspective -- 1. Introduction -- 2. Cognitive Poetics -- 2.1. Cognitive Poetics and narratology -- 3. The classical, the romantic, and the gothic -- 4. The novel -- 4.1. The gothic cityscapes -- 4.2. Harry as an outsider and a gothic flâneur -- 4.3. Harry and the Doppelgänger -- 4.4. The Steppenwolf's evolution -- 5. Conclusions -- Works cited -- "Nature is the Church of Satan." The Gothic Topography in Contemporary Scandinavian Horror Novels and Films -- The topofocal tradition -- The hostile landscape -- Time and place -- The wilderness as "the other" -- Works Cited -- Gothic Bodies -- Antonia and the Male Gaze. Imaging Femininity in M. G. Lewis's The Monk -- Works Cited -- Who's Afraid of Carmilla? Le Fanu's "Carmilla": Gender and Power -- Introduction.

Carmilla - a gothic monstrous woman and her predecessors -- Who is afraid of Carmilla? And why? -- Works Cited -- Grotesque Revived: Monstrosity in Angela Carter's Nights at the Circus -- Works Cited -- Body out of (Human) Bounds: Lesbian Transformations in Contemporary Horror Fiction -- Introduction: Gothic Transformations -- (Dis)locating Lesbian Bodies -- Pushing the Limits in Skin -- Conclusion: Alternatives and Restrictions -- Works Cited -- The Supernatural -- E. Nesbit and the Gothic Mode in Children's Fiction -- Works Cited -- Gothic Subversions of Heterosexual Matrix in Sarah Waters's Affinity -- Works Cited -- Floating Worlds, Splintered Narratives and Unstable Identities: The Spectral Return of the Gothic in Sarah Waters's Fingersmith -- Works Cited -- Non-Literary Gothic -- Gothic Dispatches from War Zones -- Works Cited -- Gothic Elements in Vampire Films by Hammer Film Productions -- Introduction: Hammer Film Productions and the New Monster -- 1. Setting -- 2. Time -- 3. Costumes and Props -- 4. Supernatural Elements -- 5. Damsel in Distress -- 6. Horror and Terror -- 7. Kitsch -- Conclusion -- Works Cited -- Peter Bogdanovich's Targets: The Old Gothic Monster vs. the New Villain -- Works Cited -- "I've seen bodies shining like stars": Making a Case for Necrophilia in Lynne Stopkewich's Kissed -- Works Cited -- As Gothic As It Gets? E. Elias Merhige's Shadow of the Vampire - A Gothic Film on the Gothic Nature of Film -- I. Introduction -- II. Shadow of the Vampire - A Gothic Film -- III. Shadow of the Vampire on the Gothic Nature of Film -- IV. Conclusion -- Works Cited -- Gothic Convention and the Aesthetics of Failure -- Works Cited -- Contributors.