Correspondences can be identified between (on the one hand) androcentric cosmogonies, ancestral misogyny and tribal blood rituals, and (on the other) the classical paradigm of vampirism, especially in its literary and on-screen flowering. Specifically, the initiatory culture-hero and the archetypal vampire both confer a haematologically-mediated…[Read more]

This chapter looks at the evolving Gothic of the Vampire role playing games created by Mark Rein-Hagen et al. It offers a brief explanation of role-playing games for the uninitiated, defining their textuality in Bakhtinian terms – as chronotopes. It will lay out the relationship that role playing enjoys with the Gothic, drawing on Spooner’s pos…[Read more]

This chapter looks at the evolving Gothic of the Vampire role playing games created by Mark Rein-Hagen et al. It offers a brief explanation of role-playing games for the uninitiated, defining their textuality in Bakhtinian terms – as chronotopes. It will lay out the relationship that role playing enjoys with the Gothic, drawing on Spooner’s pos…[Read more]

This chapter looks at the evolving Gothic of the Vampire role playing games created by Mark Rein-Hagen et al. It offers a brief explanation of role-playing games for the uninitiated, defining their textuality in Bakhtinian terms – as chronotopes. It will lay out the relationship that role playing enjoys with the Gothic, drawing on Spooner’s pos…[Read more]

This paper presents some of the ideas central to my current developing research into the modes of historical television drama, particularly the Gothic mode. In focusing on the 2018 television adaptation of Picnic at Hanging Rock, the paper illustrates the idea of the Gothic mode in operation, considering its relationship to notions of historical…[Read more]

This paper examines the use of the Gothic mode in historical television drama to suggest it is used to emphasise engagement with historical traumas, and suggest that these traumas still have relevance today. This emphasis works by engaging with the associations that are acquired around the Gothic mode through experience, recognising the aesthetic…[Read more]

Images of the Tower of Babel (Gen 11:1-9) in illustrated Christian manuscripts are suggestively similar to representations on the Tower card in many versions of the Tarot deck; both genres show the Tower being destroyed from above, with oversized persons falling head-first from it. In terms of connections between heaven and earth, the antithetical…[Read more]

In 1894, Lord Alfred Douglas referred to homosexuality as “the love that dare not speak its name”, a phrase that describes the unmentionable nature of homosexuality in a period of time when sodomy was illegal. Even in the 21st century, there continues to be something unspeakable and forbidden about homosexuality. This paper equates the uns…[Read more]

The little known German card game “Höllfahren” or “Hölle” has a forgotten history that stretches back into the 16th century, when it was called “Untreue”, “untreuer Nachbar”, “in die Hölle (fahren)” and similar names. Several images and textual references indicate the game’s popularity in the 17th century. Unusual for a card game, Höllfahren emp…[Read more]

The little known German card game “Höllfahren” or “Hölle” has a forgotten history that stretches back into the 16th century, when it was called “Untreue”, “untreuer Nachbar”, “in die Hölle (fahren)” and similar names. Several images and textual references indicate the game’s popularity in the 17th century. Unusual for a card game, Höllfahren emp…[Read more]

This paper offers an articulation of a teaching methodology that I call Gamemaking in Education (GME). This educational approach emphasizes student gamemaking rather than gameplay. In this paper, I discuss what GME is, review some cases in which other educators have used what might be called GME in college classrooms, and situate GME as an…[Read more]

This paper examines a strand in British television historical drama that presents what I term a “Gothicised” version of history. This actively engages with historical trauma as returning to confront its originating society, as the classic Gothic text represents the returning or ongoing effects of a traumatic past in the narrative present. In Peaky…[Read more]

This paper considers the 2018 television adaptation of Picnic at Hanging Rock as an example of Gothicised historical television drama, which uses the Gothic mode to present a past in a way that challenges our expectations of what prestige historical drama should be like, and to emphasise historical traumas and the way that they are still relevant…[Read more]

Keynote paper.
This paper examines the connections between the winter season and Gothic historical television dramas. It defines Gothic historical television dramas as dramas with a historical setting that take on a Gothic aesthetic and emphasise themes of trauma which are active in the past and continue to be active in the present. It also…[Read more]

From living dolls to spirits wandering in search of solace or vengeance, the ghostly youth is one of the most enduring phenomena of supernatural fiction, its roots stretching back into the realms of folklore and superstition. In this spine-tingling new collection Jen Baker gathers a selection of the most chilling hauntings and encounters with…[Read more]

In the mid nineteenthcentury, a subgenre of ghost stories emerged that had roots in a hybrid tradition of institutional religious doctrine and oral folkloric expressions of anxiety over the fate of the child’s soul in the afterlife. Given the persistently high infant mortality rates and increased public awareness of child abuse across the c…[Read more]

in Vision, Contestation and Deception: Interrogating Gender and the Supernatural in Victorian Shorter Fiction, ed. Oindrila Ghosh (Avenel Press, 2021), pp.51-58