Count Dracula’s declaration from Bram Stoker’s iconic 1897 vampire novel is, in lots of ways, descriptive from the Gothic genre. Such as the shape-shifting Transylvanian Count, the Gothic encompasses and it has manifested itself in several forms since its emergence in 1764 using the publication of Horace Walpole’s The Castle of Otranto. Its revenge just begun. It’s spread over centuries and time is on its side.
When Stoker wrote Dracula the genre was more than a hundred years old however the novel marks a vital moment within the evolution from the Gothic – the written text harks back to early Gothic’s preoccupation using the supernatural, decayed aristocracy and incarceration in gloomy castles in foreign locales. Dracula talks to its own time but additionally transforms the genre – a revitalization that is constantly on the sustain the Gothic today.
About the eve from the centenary of Stoker’s death, which took place April 1912, the University of Hull’s Department of English and School of Arts and New Media, in colaboration with the Centre for Victorian Studies, will host a three-day international conference, Bram Stoker and Gothic Transformations. The conference will require place in the Hull Campus from the University as well as in Whitby.
In Dracula Mina describes Whitby like a “lovely place” but it soon turns into a site of horror, when Dracula lands in the Demeter in the form of your dog to make his first appearance on English soil. At Whitby Abbey, Lucy becomes the Count’s first English vampire bride.
The conference has an interest in the iconic significance of Stoker’s vampire novel and seeks to reappraise Stoker’s work within its fin-de-siècle cultural climate. It can also be interested in going through the broader context from the changing nature of Gothic productions in the late 18th century to the present. Using Dracula like a key point within the evolution from the genre, it seeks look around the novel’s Gothic predecessors and influences, and also the manner in which Stoker’s work renewed the Gothic for generations to come.
How do the Gothic’s early themes of despotic rulers and fathers, grim prophecies, supernatural embodiments, incarceration, labyrinthine passages and corridors, threatened females, and sexual deviancy transform in subsequent cultural outputs from novels, theatre, films, television and video games? How has got the Gothic in the modern manifestations and variations sustained itself right into a fourth century?
“At once escapist and conformist,” Clive Bloom argues, “the Gothic talks to the negative side of domestic fiction: erotic, violent, perverse, bizarre and obsessionally associated with contemporary fears.” So how exactly does the new Gothic from the twenty-first century participate in fantasy and fear?
Please send an abstract of 250-300 words for any 20 minute paper to Dr Catherine Wynne ([email protected]) by 1 May 2011.
Topics can include, but are not limited to, the following areas:
Stoker’s are employed in its social, political and cultural context
The growth and development of the Gothic from Otranto towards the twenty-first century
Stoker’s relation to the genre
Irish and British Gothic
Gothic theatre and drama
Gothic places and spaces
Hauntings and spectrality
Criminality and also the Gothic
Science and also the Gothic
Reincarnations of Dracula
Vampirism and also the ‘Young Vampires’ of the twenty-first century
Anti-Gothic, Gothic Parody, Comic Gothic
This conference will be held from 12 to 14 April 2012 in United Kingdom. The conference committee (Chair: Dr Catherine Wynne; Dr Charles Mundye; Dr Anna Fitzer; Dr Sabine Vanacker, Victoria Dawson and Sara Williams) welcomes delegates towards the University of Hull and Whitby to mark Stoker’s centenary and also to celebrate his contribution towards the Gothic.