Details
Gothic effigy
A guide to dark visibilities|
134,99 € |
|
| Verlag: | Manchester University Press |
| Format: | EPUB |
| Veröffentl.: | 12.01.2018 |
| ISBN/EAN: | 9781526101242 |
| Sprache: | englisch |
| Anzahl Seiten: | 280 |
DRM-geschütztes eBook, Sie benötigen z.B. Adobe Digital Editions und eine Adobe ID zum Lesen.
Beschreibungen
<i>Gothic effigy</i> brings together for the first time the multifarious visual motifs and media associated with Gothic, many of which have never received serious study before. This guide is the most comprehensive work in its field, a study aid that draws links between a considerable array of Gothic visual works and artifacts, from the work of Salvator Rosa and the first illustrations of Gothic Blue Books to the latest Gothic painters and graphic artists. Currently popular areas such as Gothic fashion, gaming, T.V. and film are considered, as well as the ghostly images of magic lantern shows.
This groundbreaking study will serve as an invaluable reference and research book. In its wide range and closely detailed descriptions, it will be very attractive for students, academics, collectors, fans of popular Gothic culture and general readers.
This groundbreaking study will serve as an invaluable reference and research book. In its wide range and closely detailed descriptions, it will be very attractive for students, academics, collectors, fans of popular Gothic culture and general readers.
An adventurous and wide-ranging survey of Gothic media, this book investigates everything from oil paintings to album cover art, magic lanterns to video games.
Introduction
Chapter 1
<i>1.1 Gothic and Gothic Revival architecture </i>
<i>1.2 Graveyards, crypts and mausolea</i>
<i>1.3 Ruins</i>
<i>1.4 Follies and gardens </i>
<i>1.5 Décor, domestic furniture and uncanny household items </i>
<i>1.6 Theatre and stage</i>
<i>1.7 Masquerade, Halloween and Gothic as pageant and immersive spectacle</i>
<i>1.8 Dance and mime </i>
Chapter 2
<i>2.1 Early painting to the eighteenth century</i>
<i>2.2 Painting: Goya to Giger and after</i>
<i>2.3 Engravings: icons of ancestral fear</i>
<i>2.4 The macabre graphic art of the Blue books and Penny Dreadfuls</i>
<i>2.5 Revivified and spectral portraits: </i>Otranto<i>’s yawning picture to M.R. James’s </i>‘The Mezzotint’
<i>2.6 Uncanny signs and posters</i>
Chapter 3
<i>3.1 Sculptors and statuary</i>
<i>3.2 Wax simulacra </i>
<i>3.3 Dolls, effigies, mommets and poppets </i>
<i>3.4 Moving statues and automata</i>
<i>3.5 Tableaux vivants and poses plastiques</i>
<i>3.6 Cabinets of curiosity </i>
<i>3.7 Postmodern Gothic sculptures and figurines </i>
<i>3.8 Taxidermy </i>
Chapter 4
<i>4.1 Ghost machines: the Satanic Eidophusikon and peepshows </i>
<i>4.2 Phantasmagoria and magic lanterns: E-A Roberston’s lantern-of-fear</i>
<i>4.3 Stereoscope ‘Diableries’</i>
<i>4.4 ‘Pepper’s Ghost’ and the domestic lantern horror show</i>
<i>4.5 Eerie sight machines, zoetropes and the whirling witches of Plateau’s </i>
<i>Phenakistoscope</i>
<i>4.6 Gothic Kinetoscopes to early American horror film</i>
<i>4.7 </i><i>Gothic films, from silents to </i><i>electronic movie making</i>
<i>4.8 Gothic TV</i>
Chapter 5
<i>5.1 Gothic comics, graphic novels and icons</i>
<i>5.2 Silhouettes, Ombres Chinoises and shadowgraphs </i>
<i>5.3 Damnable lithographs: Louis Boulanger’s Satanic ‘La Ronde de Sabbat’and the dark barbarism of the ‘lapidary art’</i>
<i>5.4 Dressed, adorned and altered prints and books </i>
<i>5.5 Leporellos, moving books and monstrous concertina texts</i>
<i>5.6 Gothic calendars</i>
Chapter 6
<i>6.1 The dark hold of Daguerreotypes and early photography </i>
<i>6.2 Mourning and spirit photographs </i>
<i>6.3 Gothic collage, photocollage and shadow boxes</i>
<i>6.4 Haunts, great houses, cadavers and ossuaries: the photography of Simon Marsden and Paul Koudounaris </i>
<i>6.5 Modern photography</i>
Chapter 7
<i>7.1 </i><i>Gothic scripts, fonts, ciphers and calligraphy</i>
<i>7.2 A dark chaos of marbled papers </i>
<i>7.3 Gothic labelling,</i><i> packaging and ads</i>
<i>7.4 Graffiti, curses, sigils and heraldry</i>
<i>7.5 Tapestries and embroidery </i>
<i>7.6 Book covers and magazine covers </i>
<i>7.7 Record and CD cover art </i>
Chapter 8
<i>8.1 Gothic costume, ancient and modern </i>
<i>8.2 Gothic jewellery </i>
<i>8.3 ‘Gothic toys through Gothic glass’</i>
<i>8.4 Masks, weapons, and athames</i>
<i>8.5 Playing cards and the Tarot</i>
Chapter 9
<i>9.1 New media: the art of Gothic gaming and horror apps</i>
<i>9.2 Ghost trains</i>
<i>9.3</i><i> Horror environments and itineraries, escape rooms, Halloween hayrides and tourist attractions </i>
<i>9.4 Gothic installations </i>
<i>9.5 </i><i>Performance art, body art, tattoos and facepaint</i>
Index
Chapter 1
<i>1.1 Gothic and Gothic Revival architecture </i>
<i>1.2 Graveyards, crypts and mausolea</i>
<i>1.3 Ruins</i>
<i>1.4 Follies and gardens </i>
<i>1.5 Décor, domestic furniture and uncanny household items </i>
<i>1.6 Theatre and stage</i>
<i>1.7 Masquerade, Halloween and Gothic as pageant and immersive spectacle</i>
<i>1.8 Dance and mime </i>
Chapter 2
<i>2.1 Early painting to the eighteenth century</i>
<i>2.2 Painting: Goya to Giger and after</i>
<i>2.3 Engravings: icons of ancestral fear</i>
<i>2.4 The macabre graphic art of the Blue books and Penny Dreadfuls</i>
<i>2.5 Revivified and spectral portraits: </i>Otranto<i>’s yawning picture to M.R. James’s </i>‘The Mezzotint’
<i>2.6 Uncanny signs and posters</i>
Chapter 3
<i>3.1 Sculptors and statuary</i>
<i>3.2 Wax simulacra </i>
<i>3.3 Dolls, effigies, mommets and poppets </i>
<i>3.4 Moving statues and automata</i>
<i>3.5 Tableaux vivants and poses plastiques</i>
<i>3.6 Cabinets of curiosity </i>
<i>3.7 Postmodern Gothic sculptures and figurines </i>
<i>3.8 Taxidermy </i>
Chapter 4
<i>4.1 Ghost machines: the Satanic Eidophusikon and peepshows </i>
<i>4.2 Phantasmagoria and magic lanterns: E-A Roberston’s lantern-of-fear</i>
<i>4.3 Stereoscope ‘Diableries’</i>
<i>4.4 ‘Pepper’s Ghost’ and the domestic lantern horror show</i>
<i>4.5 Eerie sight machines, zoetropes and the whirling witches of Plateau’s </i>
<i>Phenakistoscope</i>
<i>4.6 Gothic Kinetoscopes to early American horror film</i>
<i>4.7 </i><i>Gothic films, from silents to </i><i>electronic movie making</i>
<i>4.8 Gothic TV</i>
Chapter 5
<i>5.1 Gothic comics, graphic novels and icons</i>
<i>5.2 Silhouettes, Ombres Chinoises and shadowgraphs </i>
<i>5.3 Damnable lithographs: Louis Boulanger’s Satanic ‘La Ronde de Sabbat’and the dark barbarism of the ‘lapidary art’</i>
<i>5.4 Dressed, adorned and altered prints and books </i>
<i>5.5 Leporellos, moving books and monstrous concertina texts</i>
<i>5.6 Gothic calendars</i>
Chapter 6
<i>6.1 The dark hold of Daguerreotypes and early photography </i>
<i>6.2 Mourning and spirit photographs </i>
<i>6.3 Gothic collage, photocollage and shadow boxes</i>
<i>6.4 Haunts, great houses, cadavers and ossuaries: the photography of Simon Marsden and Paul Koudounaris </i>
<i>6.5 Modern photography</i>
Chapter 7
<i>7.1 </i><i>Gothic scripts, fonts, ciphers and calligraphy</i>
<i>7.2 A dark chaos of marbled papers </i>
<i>7.3 Gothic labelling,</i><i> packaging and ads</i>
<i>7.4 Graffiti, curses, sigils and heraldry</i>
<i>7.5 Tapestries and embroidery </i>
<i>7.6 Book covers and magazine covers </i>
<i>7.7 Record and CD cover art </i>
Chapter 8
<i>8.1 Gothic costume, ancient and modern </i>
<i>8.2 Gothic jewellery </i>
<i>8.3 ‘Gothic toys through Gothic glass’</i>
<i>8.4 Masks, weapons, and athames</i>
<i>8.5 Playing cards and the Tarot</i>
Chapter 9
<i>9.1 New media: the art of Gothic gaming and horror apps</i>
<i>9.2 Ghost trains</i>
<i>9.3</i><i> Horror environments and itineraries, escape rooms, Halloween hayrides and tourist attractions </i>
<i>9.4 Gothic installations </i>
<i>9.5 </i><i>Performance art, body art, tattoos and facepaint</i>
Index
David Annwn Jones is Lecturer in English at the Open University
<i>Gothic effigy</i> brings together for the first time the multifarious visual motifs and media associated with Gothic, some of which have never received serious study before. This guide is the most comprehensive work in its field, a study aid that makes links between a considerable array of Gothic visual works and artefacts, from the work of Salvator Rosa and the first illustrations of Gothic Blue books to the latest Gothic painters and graphic artists.
Goth visual cultures are discussed from their inception in the early 1980s to the present day. Current popular areas such as the development of Gothic films are considered, as are the projections of their precursors, the monstrous and macabre images of magic lantern shows. The discussion also draws attention to dark creations such as Gothic dolls, music album covers, photography, costume and fashion, jewellery, posters, statuary and collage which, though popular, have often been marginalised and omitted from the mainstream of Gothic Studies. These are considered in relation to historical and literary contexts. New gaming media are covered, as are dance and theatre, as well as the rise of Gothic comic strips and graphic novels.
Providing original insights for readers, most of the interviews with contemporary Gothic artists included are unique to this volume. The approach taken is pluralistic and scholarly, with the work of many influential critics of the Gothic brought to bear on the media and materials. This guide is a groundbreaking survey which serves as an invaluable reference and research book. In its wide range and closely detailed descriptions, it will be attractive for students, academics, collectors, fans of popular Gothic culture and general readers.
Goth visual cultures are discussed from their inception in the early 1980s to the present day. Current popular areas such as the development of Gothic films are considered, as are the projections of their precursors, the monstrous and macabre images of magic lantern shows. The discussion also draws attention to dark creations such as Gothic dolls, music album covers, photography, costume and fashion, jewellery, posters, statuary and collage which, though popular, have often been marginalised and omitted from the mainstream of Gothic Studies. These are considered in relation to historical and literary contexts. New gaming media are covered, as are dance and theatre, as well as the rise of Gothic comic strips and graphic novels.
Providing original insights for readers, most of the interviews with contemporary Gothic artists included are unique to this volume. The approach taken is pluralistic and scholarly, with the work of many influential critics of the Gothic brought to bear on the media and materials. This guide is a groundbreaking survey which serves as an invaluable reference and research book. In its wide range and closely detailed descriptions, it will be attractive for students, academics, collectors, fans of popular Gothic culture and general readers.
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