Conference Theme

Gothic Hybridities: Interdisciplinary, Multimodal and Transhistorical Approaches

Ever since Horace Walpole in The Castle of Otranto (1765) sought to enrich the modern novel with the imaginative capacities of the ancient romance, the Gothic has been something of a hybrid mode, combining fact and fancy and indiscriminately borrowing from other genres and forms in the telling of its dark yet revelatory tales.  Perhaps there is no better occasion on which to reflect upon this aspect of the Gothic than the year 2018, the bicentenary of the publication of Mary Shelley’s Frankenstein (1818): a piecemeal construction of divergent parts, the body of the monstrous creature, like Shelley’s fiction itself, might serve as a metaphor for the hybridity of the Gothic more generally.