Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent Into Ennui in John Logan’S TV Series Penny Dreadful
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
NVS 12-1-13-Announcements-Page;
Announcements: CFPs, conference notices, & current & forthcoming projects and publications of interest to neo-Victorian scholars (compiled by the NVS Assistant Editors) ***** CFPs: Journals, Special Issues & Collections (Entries that are only listed, without full details, were highlighted in a previous issue of NVS. Entries are listed in order of abstract/submission deadlines.) Penny Dreadfuls and the Gothic Edited Collection Abstracts due: 18 December 2020 Articles due: 30 April 2021 Famed for their scandalous content and supposed pernicious influence on a young readership, it is little wonder why the Victorian penny dreadful was derided by critics and, in many cases, censored or banned. These serialised texts, published between the 1830s until their eventual decline in the 1860s, were enormously popular, particularly with working-class readers. Neglecting these texts from Gothic literary criticism creates a vacuum of working-class Gothic texts which have, in many cases, cultural, literary and socio-political significance. This collection aims to redress this imbalance and critically assess these crucial works of literature. While some of these penny texts (i.e. String of Pearls, Mysteries of London, and Varney the Vampyre to name a few) are popularised and affiliated with the Gothic genre, many penny bloods and dreadfuls are obscured by these more notable texts. As well as these traditional pennys produced by such prolific authors as James Malcolm Rymer, Thomas Peckett Press, and George William MacArthur Reynolds, the objective of this collection is to bring the lesser-researched, and forgotten, texts from neglected authors into scholarly conversation with the Gothic tradition and their mainstream relations. This call for papers requests essays that explore these ephemeral and obscure texts in relevance to the Gothic mode and genre. -
Conference Program
Thirty-Ninth International Conference on the Fantastic in the Arts ConferenCe Program No taping of sessions may take place without signed permission from an elected officer of the IAFA Executive Board and from all individuals participating in the session. Wednesday, March 14 11:00am-6:00pm 9:00am-6:00pm Registration Desk IAFA Book Exhibit and Sales Main Floor Augusta A/B Coordinator: Karen Hellekson Director: Mark Wingenfeld Audio-Visual Acrobatics coordinated by the incomparable Sean Nixon 2:30-3:15 p.m. Pre-Opening Refreshment Ballroom Foyer 3:30-4:15 p.m. Opening Ceremony Ballroom Host: Donald E. Morse, Conference Chair Welcome from the President: Sherryl Vint Opening Panel: Mary Shelley’s Legacies Moderator: Gary K. Wolfe Nike Sulway, John Kessel, Fred Botting Wednesday, 4:30-6:00pm Sessions 1-11 C 1. (IF/SF/VPAA) Magic and Science Fiction from the Perso- 2. (FTFN/CYA) Constructing Identity in Wonder Tales P O Arabic World and Lovecraft Chair: Linda J. Lee I V N E Chair: Debbie Felton University of Pennsylvania E University of Massachusetts-Amherst Navigating Enfreaked Disabilities in the Realms of Victorian Orange Princesses, Emerald Sorcerers and Dandy Demons: Fairy Tales The Fantastic in Persianate Miniature Painting and Epic Literature Victoria Phelps Zahra Faridany-Akhavan Saginaw Valley State University Independent Scholar With Eyes both Brown and Blue: Making Monsters in Lost Girl The Vault of Heaven: Science Fiction’s Perso-Arabic Origins Jeana Jorgensen Peter Adrian Behravesh Indiana University/Butler University University of Southern Maine The Dark Arts and the Occult: Magic(k)al Influences on/of H. -
Wail of an Ebbing Tide © 2016 Xena Torres
Wail of an Ebbing Tide © 2016 Xena Torres www.bitchofrome.com/pennydreadful Penny Dreadful is the copyright property of Showtime and Sky. It was created by John Logan and produced by Desert Wolf Productions and Neal Street Productions. This fan fiction story has been written for entertainment purposes only out of love for the show and out of respect to my fellow Dreadfuls. Dedicated to Eva Green for the gift of Vanessa Ives & my fellow Dreadfuls AUTHOR’S NOTE This story rewrites the ending of the final episode of Penny Dreadful, “The Blessed Dark,” from the moment Ethan enters the white bricked room with Vanessa. It is then divided into six parts (“episodes”) in which I attempt to conclude the series, wrapping up loose threads and plot points that I think most Dreadfuls would agree were left unresolved at the end of the series. Please note that I am not someone who is against tragic end- ings, nor do I think endings have to be sunshine and rainbows, where none of the characters die and they all go off to live perfect lives. I do, however, think endings to series need to give viewers closure and have to bring the characters to a point where we can accept they will live on without us watching. For my ending, I fol- lowed the threads already presented on the show. I also used the books Penny Dreadful drew from, directly and indirectly, while other parts were completely my own. Dr. Jekyll does not appear in this novel. While his story was disappointing, I felt it was as concluded as it could be without start- ing a new thread and this fan fiction is an attempt to conclude the show, not the first part of a virtual series. -
Universidade Federal Da Paraíba Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Letras Espelhos E
UNIVERSIDADE FEDERAL DA PARAÍBA CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN AURICÉLIO SOARES FERNANDES JOÃO PESSOA - PB ABRIL DE 2020 AURICÉLIO SOARES FERNANDES ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN Tese submetida ao Programa de Pós- Graduação em Letras, da Universidade Federal da Paraíba, como pré-requisito para a obtenção do título de Doutor em Letras. Orientador: Prof. Dr. Luiz Antonio Mousinho Magalhães Área de Concentração: Literatura, Cultura e Tradução Linha de Pesquisa: Tradução e Cultura JOÃO PESSOA - PB ABRIL DE 2020 ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN FERNANDES, Auricélio Soares. Espelhos e retratos de Dorian Gray em Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan________ fls. Tese. (Doutorado em Letras) – Universidade Federal da Paraíba, João Pessoa, 2020. BANCA EXAMINADORA ____________________________________________________ Prof. Dr. Luiz Antonio Mousinho Magalhães – UFPB Orientador ____________________________________________________ Profª. Drª Laura Loguercio Cánepa – Universidade Anhembi Morumbi (Examinadora externa) ____________________________________________________ -
The Concise Oxford Dictionary of Literary Terms
The Concise Oxford Dictionary of Literary Terms CHRIS BALDICK OXFORD UNIVERSITY PRESS OXFORD PAPERBACK REFERENCE The Concise Oxford Dictionary of Literary Terms Chris Baldick is Professor of English at Goldsmiths' College, University of London. He edited The Oxford Book of Gothic Tales (1992), and is the author of In Frankenstein's Shadow (1987), Criticism and Literary Theory 1890 to the Present (1996), and other works of literary history. He has edited, with Rob Morrison, Tales of Terror from Blackwood's Magazine, and The Vampyre and Other Tales of the Macabre, and has written an introduction to Charles Maturin's Melmoth the Wanderer (all available in the Oxford World's Classics series). The most authoritative and up-to-date reference books for both students and the general reader. Abbreviations Literary Terms Oxford ABC of Music Local and Family History Paperback Accounting London Place Names* Archaeology* Mathematics Reference Architecture Medical Art and Artists Medicines Art Terms* Modern Design* Astronomy Modern Quotations Better Wordpower Modern Slang Bible Music Biology Nursing Buddhism* Opera Business Paperback Encyclopedia Card Games Philosophy Chemistry Physics Christian Church Plant-Lore Classical Literature Plant Sciences Classical Mythology* Political Biography Colour Medical Political Quotations Computing Politics Dance* Popes Dates Proverbs Earth Sciences Psychology* Ecology Quotations Economics Sailing Terms Engineering* Saints English Etymology Science English Folklore* Scientists English Grammar Shakespeare English -
Downloaded From: Version: Accepted Version Publisher: Taylor & Francis DOI
Germaine Buckley, Chloé (2019) A tale of two women: the female grotesque in Showtime’s Penny Dreadful. Feminist Media Studies. pp. 1-20. ISSN 1468-0777 Downloaded from: https://e-space.mmu.ac.uk/622545/ Version: Accepted Version Publisher: Taylor & Francis DOI: https://doi.org/10.1080/14680777.2019.1583263 Please cite the published version https://e-space.mmu.ac.uk A Tale of Two Women: The Female Grotesque in Showtime’s Penny Dreadful Introduction: Penny Dreadful as Postfeminist Media The UK-US television series, Penny Dreadful (Showtime, 2014 - 2016) exemplifies the contradictions of postfeminist media. The series is one of many recent productions to make “canny” use of the gothic mode, knowingly evoking its literary history to produce new stories in a reimagined setting. Other examples include Grimm (2011 – 2017), American Horror Story (2011 – Present), Hemlock Grove (2013-2015), Salem (2014 – 2017), and The Frankenstein Chronicles (2015 – Present). Penny Dreadful borrows from literature, using characters such as Victor Frankenstein, Dracula and Dr Jekyll, but also from popular horror cinema, drawing inspiration from classic monster movies such as The Wolfman (1941). The series also evokes fairy tale and other ephemera, including the sensational nineteenth-century “Penny Dreadfuls” from which the show takes its name. The result is a self-aware Neo- Victorian gothic fantasy that celebrates and problematizes the tropes it borrows. Central to Penny Dreadful’s ambivalence is the figure of the “female grotesque,” which I argue is central to unpicking to complexities of contemporary postfeminist media culture. The show deploys different gothic tropes to explore representations of femininity and female bodies. -
Chapter 11 - Developing Printed Forms of Fiction Audrey Jones Western Oregon University, [email protected]
Western Oregon University Digital Commons@WOU History of the Book: Disrupting Society from Student Scholarship Tablet to Tablet 6-2015 Chapter 11 - Developing Printed Forms of Fiction Audrey Jones Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/history_of_book Part of the Critical and Cultural Studies Commons, Cultural History Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Jones, Audrey. "Developing Printed Forms of Fiction." Disrupting Society from Tablet to Tablet. 2015. CC BY-NC. This is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in History of the Book: Disrupting Society from Tablet to Tablet by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. 11 Developing Printed Forms of Fiction - Audrey Jones - Literature has evolved in a multitude of ways over the years, ranging from the humble origins of early book forms - such as scrolls and codices - to the increasing versatility of forms such as heavy bound encyclopedias and cheap paperbacks. Over the course of history, the growing possibilities for uses of the book have opened up many new markets for consumers. These have changed the way that the general populace interacts with printed materials and their suppliers, including publishing companies and authors. As the rise of lending libraries led to a greater demand for entertainment in the form of fiction, more marketing opportunities opened up within that broad genre. In the late 18th and 19th centuries, this resulted in the emergence in popularity of several notable literary forms. -
Danebrock Masterarbeit .Pdf
Hiermit erkläre ich an Eides statt, dass ich diese Masterarbeit selbstständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel benutzt habe. Die Stellen meiner Arbeit, die dem Wortlaut oder dem Sinn nach anderen Werken und Quellen, einschließlich der Quellen aus dem Internet, entnommen sind, habe ich in jedem Fall unter Angabe der Quelle als Entlehnung kenntlich gemacht. Dasselbe gilt sinngemäß für Tabellen, Karten und Abbildungen. Diese Arbeit habe ich in gleicher oder ähnlicher Form oder auszugsweise nicht im Rahmen einer anderen Prüfung eingereicht. Ich versichere zudem, dass der Text der elektronischen Fassung mit dem Text der vorgelegten Druckfassung identisch ist. Köln, 12.01.2015 Friederike Danebrock Contents 1 Introduction....................................................................................................................... 1 1.1 Outlining the project: A Penny Dreadful for the 21st century........................................... 1 1.2 The pleasures of story: A note on terminology................................................................ 5 2 “A taste in a certain kind of literature” – Penny Dreadful and 19th century’s “bad books”.............................................................................................................................. 9 2.1 Corruptive reading – penny fiction of the 19th century.................................................... 9 2.2 Seductive reading – the pleasures of serial fiction............................................................ 14 -
Penny Dreadful's Queer Orientalism
humanities Article Penny Dreadful’s Queer Orientalism: The Translations of Ferdinand Lyle Jamil Mustafa Department of English Studies, Lewis University, Romeoville, IL 60446, USA; [email protected] Received: 8 August 2020; Accepted: 3 September 2020; Published: 9 September 2020 Abstract: Cultural expressions of Orientalism, the Gothic, and the queer are rarely studied together, though they share uncanny features including spectrality, doubling, and the return of the repressed. An ideal means of investigating these common aspects is neo-Victorian translation, which is likewise uncanny. The neo-Victorian Gothic cable television series Penny Dreadful, set mostly in fin-de-siècle London, employs the character Ferdinand Lyle, a closeted queer Egyptologist and linguist, to depict translation as both interpretation and transformation, thereby simultaneously replicating and challenging late-Victorian attitudes toward queerness and Orientalism. Keywords: Gothic; neo-Victorianism; Orientalism; Penny Dreadful; queerness; the uncanny 1. Queerness, Orientalism, and the Gothic in Penny Dreadful Orientalism, neo-Victorianism, the Gothic, the queer, and the uncanny coalesce in Penny Dreadful (2014–2016), a cable television series set mostly in 1891 and 1892 London whose title references the nineteenth-century “penny dreadfuls,” mass-market, one-penny serials that featured mysterious tales of “violence, torture, blood and gore” (Killeen 2012, p. 46). This title, which portrays Penny Dreadful as a contemporary intermedial adaptation of cheap Victorian -
Penny Dreadfuls
Victorian Treasures and Trash 6th Annual Victorian Popular Fiction Association Conference Reading Pack ‘Ghastly tarradiddles’: Victorian Penny Dreadfuls Sponsored by the British Association of Victorian Studies OED definition penny dreadful n. and adj. now chiefly hist. (a) n. a cheaply published crime story written in a sensational or morbidly exciting style; a cheap publication containing such a story; (b) adj. of or relating to penny dread- fuls. ————————————————————- 19th Century British Newspapers Online ‘Penny Dreadful’: 531 results August 1870- June 1912 "OF writing many books there is no end, " says Mrs. BROWNING, at the commencement of Aurora Leigh, and truly the great poetess is right . The Huddersfield Daily Chroni- LITERATURE . The Examiner (London, England), Sat- urday, November 14, 1874; Issue 3485 LONDON, FRIDAY, APRIL 14 . Daily News (London, England), Fri- day, April 14, 1871; Issue 7787. Varney the Vampire: Chapter I. -- "How graves give up their dead, And how the night air hideous grows With shrieks!" MIDNIGHT. -- THE HAIL-STORM. -- THE DREADFUL VISITOR. -- THE VAMPYRE. The solemn tones of an old cathedral clock have announced midnight -- the air is thick and heavy -- a strange, death like stillness pervades all nature. Like the ominous calm which precedes some more than usually terrific out- break of the elements, they seem to have paused even in their ordinary fluctuations, to gather a terrific strength for the great effort. A faint peal of thunder now comes from far off. Like a signal gun for the battle of the winds to begin, it appeared to awaken them from their lethargy, and one awful, warring hurricane swept over a whole city, producing more devastation in the four or five minutes it lasted, than would a half century of ordinary phenomena. -
Historical and Literary Perspectives on the Significance of the Dime Novel in Nineteenth Century America
NAVIGATING NINETEENTH CENTURY NOVELS: LINKING HISTORICAL AND LITERARY PERSPECTIVES TO EXPLORE THE INFLUENCE OF DIME NOVELS IN NINETEENTH CENTURY AMERICA. by Helen C. Nelson A Thesis/Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Social Science Emphasis in American History May, 2005 NAVIGATING NINETEENTH CENTURY NOVELS: LINKING HISTORICAL AND LITERARY PERSPECTIVES TO EXPLORE THE INFLUENCE OF DIME NOVELS IN NINETEENTH CENTURY AMERICA by Helen C. Nelson Approved by the Master’s Thesis Committee: Delores McBroome, Major Professor Date Gayle Olson-Raymer, Committee Member Date Rodney Sievers, Committee Member Date Delores McBroome, Graduate Coordinator Date MASS—Teaching American History Cohort Donna E. Schafer, Dean for Research and Graduate Studies Date ABSTRACT NAVIGATING NINETEENTH CENTURY NOVELS: LINKING HISTORICAL AND LITERARY PERSPECTIVES TO EXPLORE THE INFLUENCE OF DIME NOVELS IN NINETEENTH CENTURY AMERICA. To set the context, this study will compare what has been written about three layers of literary output in nineteenth century America, and examine what can be learned about the class, race, gender, and culture of the intended readers. The three layers are identified by David Reynolds in Beneath the American Renaissance. Firstly, there was "classic" literature of the American Renaissance writers, secondly, a "genteel sentimental-domestic genre," and thirdly, the "sensational literature" that grew with the rise of the penny press. In order to set the scene, this study examines briefly the rise of the American novel, looks at some contemporary reviews, and as Cathy Davidson suggests in Revolution and the Word does a "careful appraisal of those moments in which literature is written." It also examines the different sectors of society at the time - the interpretive communities, in other words, the reading audience. -
Oh, the Horror!
Oh, the Horror! – Images of Female Monstrousness in Penny Dreadful Palsgaard 2 Abstract In this paper, I argue that, through its representations of monstrous female agency, Showtime’s television series Penny Dreadful produces a challenge to the binary system of gender naturalised and stabilised by the ideological structures constituting contemporary systems of power. By adopting aspects of ‘masculine’ gender, Penny Dreadful’s female protagonist, Vanessa Ives, broadens the concept of conventional gender by becoming, in a sense, a cross-gendered subject. In accordance with the theoretical concept of ‘drag,’ Vanessa disrupts the sexual stylisation of her body with a performativity that continuously goes beyond the restrictive discourse on gender that insists on the dichotomy active/male/masculinity and passive/female/femininity as the exclusive understanding of gender subjectivity. I consider the idea that the gender representation provided through Vanessa can be ideologically progressive outside of viewing practices and that the spectator’s own gender is implicated and constructed (as self-representation) through the viewing experience. My analysis shows that the multiplicity of the cinematic gaze is what enables Vanessa to evade cultural expectations of gendered behavior, and that the multivalent spectatorial positions afforded by the gaze provide for the spectator a site for creative reinvention of gender identity. Palsgaard 3 Table of Contents Introduction 4-11 Theory 12-20 Methodology 21-22 Chapter 1: Female Monstrousness 23-47 - 1.1 Monstrous Female Sexuality - 1.2 Monstrous Female Agency Chapter 2: Analytical Reflections 48-56 Chapter 3: Theoretical and Methodological Reflections 57-60 Conclusion 61-64 Episodes Cited 65 Bibliography 66-70 Palsgaard 4 Introduction There’s a real simple way to look at gender: once upon a time, someone drew a line in the sands of a culture and proclaimed with great self-importance, “On this side, you are a man; on the other side, you are a woman.” It’s time for the winds of change to blow that line away.