bluuebunny/crossref_metadata_2025 huggingface dataset:
The complex of TRIP-Br1 and XIAP ubiquitinates and degrades multiple adenylyl cyclase isoforms
Authors: Hu Wenbao , Yu Xiaojie , Liu Zhengzhao , Sun Ying , Chen Xibing , Yang Xin , Li Xiaofen , Lam Wai Kwan , Duan Yuanyuan , Cao Xu , Steller Hermann , Liu Kai , Huang Pingbo
Published: June 2017

Adenylyl cyclases (ACs) generate cAMP, a second messenger of utmost importance that regulates a vast array of biological processes in all kingdoms of life. However, almost nothing is known about how AC activity is regulated through protein degradation mediated by ubiquitination or other mechanisms. Here, we show that transcriptional regulator interacting with the PHD-bromodomain 1 (TRIP-Br1, Sertad1), a newly identified protein with poorly characterized functions, acts as an adaptor that bridges the interaction of multiple AC isoforms with X-linked inhibitor of apoptosis protein (XIAP), a RING-domain E3 ubiquitin ligase. XIAP ubiquitinates a highly conserved Lys residue in AC isoforms and thereby accelerates the endocytosis and degradation of multiple AC isoforms in human cell lines and mice. XIAP/TRIP-Br1-mediated degradation of ACs forms part of a negative-feedback loop that controls the homeostasis of cAMP signaling in mice. Our findings reveal a previously unrecognized mechanism for degrading multiple AC isoforms and modulating the homeostasis of cAMP signaling.
Pleistocene reefs of the Egyptian Red Sea: environmental change and community persistence
Authors: Casazza Lorraine R.
Published: June 2017

The fossil record of Red Sea fringing reefs provides an opportunity to study the history of coral-reef survival and recovery in the context of extreme environmental change. The Middle Pleistocene, the Late Pleistocene, and modern reefs represent three periods of reef growth separated by glacial low stands during which conditions became difficult for symbiotic reef fauna. Coral diversity and paleoenvironments of eight Middle and Late Pleistocene fossil terraces are described and characterized here. Pleistocene reef zones closely resemble reef zones of the modern Red Sea. All but one species identified from Middle and Late Pleistocene outcrops are also found on modern Red Sea reefs despite the possible extinction of most coral over two-thirds of the Red Sea basin during glacial low stands. Refugia in the Gulf of Aqaba and southern Red Sea may have allowed for the persistence of coral communities across glaciation events. Stability of coral communities across these extreme climate events indicates that even small populations of survivors can repopulate large areas given appropriate water conditions and time.
"TRAVESSIAS" NO CINEMA INDEPENDENTE
Authors: Sirino Salete Paulina Machado
Published: June 2017

O filme Travessias (2015), roteiro e direção meus, foi rodado no Paraná, ao longo da rodovia BR 277, em Curitiba, Cascavel, Foz do Iguaçu, e em Ciudad del Este, fronteira do Brasil com o Paraguai. Nesse filme, as fronteiras culturais e geográficas representam um espaço de divisas e de passagem e implicam em travessias pessoais: de pai e filha – o libanês Naun (Jackson Antunes) e sua filha Maria (Taylla Sirino); de marido e mulher – o sacoleiro José (Rodrigo Ferrarini) e de sua mulher, a professora Maria Helena (Cristiana Britto); e de mãe e filho – a corretora de imóveis, Isolda (Isadora Ribeiro), e de seu filho, o diretor de teatro Léo (Alan Raffo). Neste texto, num primeiro momento, situo a produção desse longa no contexto do cinema multiplot e, assim, visando à reflexão finalizando significados, trago para dentro do texto vozes de profissionais que atuaram no desenho de som, composição da trilha musical e na colorização. Num segundo momento, aponto sobre o encontro de Travessias com o público por meio de uma síntese de seu lançamento em cinemas e da apresentação de algumas vozes que refletem sobre o filme.
O ECO DA ESCRITA EM "QUARTO DE DESPEJO: DIÁRIO DE UMA FAVELADA" (1960) E "PRECIOSA" (2009)
Authors: Sirino-Rezende Tallyssa Izabella Machado , Silva Acir Dias da
Published: June 2017

Fazendo eco ao que Gilles Deleuze apresenta em seu O ato da criação (1989), quando afirma que, quando um cineasta decide adaptar uma obra literária, é porque ele tem ideias em cinema que fazem eco àquilo que o romance apresenta como ideias em romance, pretende-se, aqui, esboçar reflexões sobre o eco presente nas obras – literária e fílmica – Quarto de despejo (1960), da escritora brasileira Carolina Maria de Jesus, e Preciosa (2009), longa-metragem do diretor estadunidense Lee Daniels. Preciosa não é uma adaptação direta de Quarto de despejo, porém, é a adaptação de Push (1996), da norte-americana Sapphire, romance inspirado nas nuances da escrita assumidas na obra de Carolina Maria de Jesus, e, o elo que une as duas obras literárias é a forma como a escrita muda a vida das personagens centrais: Carolina e Preciosa. Deste modo, buscar-se-á, neste estudo, refletir sobre o eco da escrita em Quarto de despejo e no longa Preciosa.
O PAPEL DA LÍNGUA PORTUGUESA NA COMPOSIÇÃO DE UMA ELITE POLÍTICA EM TIMOR-LESTE: SUBSÍDIOS PARA UMA DISCUSSÃO POLÍTICO-LINGUÍSTICA SOBRE LUSOFONIA
Authors: Silveira Alexandre Cohn da
Published: June 2017

O presente artigo busca discutir a relação entre a língua portuguesa e a formação de uma elite política na República Democrática de Timor-Leste (RDTL), a dos presidentes da república do período democrático. Trata-se de verificar como a língua portuguesa contribui para a constituição dessa elite após a guerrilha de resistência contra a Indonésia, bem como analisar possíveis contribuições que as relações estabelecidas pela língua (também relações de poder) trazem para a produção de um discurso favorável à presença da língua portuguesa no país.  Para tanto, são analisadas as biografias oficiais três presidentes timorenses, a partir das quais um debate interdisciplinar é desenvolvido. De um lado, estudiosos da teoria das elites e da sociologia do poder, tais como Bourdieu (1983, 1989, 2015), Saint-Martin (2008), Coradini (2001, 2003), Seidl (2013), Codato (2008), Anjos (2006) e Dallabrida (2001) auxiliam o entendimento quanto à formação, à conversão e à manutenção das elites; e, de outro lado, os estudos das Políticas Linguísticas por Makoni e Meinhof (2006), Mariani (2004) , Shohami (2006) e Rajagopalan (2003), permitem um entendimento pontual sobre discursos produzidos sobre a língua. O que se percebe é que a língua portuguesa, tal como aconteceu em outras ex-colônias lusitanas, foi acessada por uma pequena elite local de timorenses que possuíam contato direto com a metrópole e depois, dadas as circunstâncias políticas e de guerra que o país asiático vivenciou, a língua foi discursivizada como artefato político, constituindo um projeto nacionalista lusófono que nem sempre corrobora com as dinâmicas linguísticas do cotidiano.
O PATRIARCALISMO EM “GABRIELA, CRAVO E CANELA”: O ESTILHAÇAR DO RITUAL IDEOLÓGICO RADICAL
Authors: Queiroz Ana Patrícia Cavalcanti
Published: June 2017

A obra Gabriela, cravo e canelade Jorge Amado tem como cenário a cidade de Ilhéus, em 1925, quando o patriarcalismo tinha força e circulação. Nos propomos a analisar os personagens Malvina, Gabriela e Nacib a fim de traçar seus perfis subversivos e evidenciar como eles romperam com o discurso machista filiado a ideologia patriarcal que era circulado e, consequentemente, preservado na conjuntura Coronelista, na qual a mulher era marginalizada. Além disso, pretende-se relacionar a subversão desses personagens com o processo de desidentificação abordado por Pêcheux (1995). A partir de conceitos da Análise de Discurso (doravante AD), evidenciamos tanto a desidentificação de Malvina, Gabriela e Nacib quanto a dos cidadãos(-sujeitos) de Ilhéus no que concerne à ideologia e ao discurso vigente da época.
O NARRATÁRIO COMO CONFIDENTE: METAFICÇÃO E QUEBRA DA QUARTA PAREDE EM "HOUSE OF CARDS"
Authors: Piccinin Fabiana , Steindorff Gabriel
Published: June 2017

A partir da teoria da narrativa, o artigo discute a mudança de relação entre o narrador intradiegético e seu espectador ideal, o narratário. Propõe esta reflexão por meio da reflexão sobre a quebra “quarta parede” que, cria um novo nível narrativo mediante o rompimento com um esquema clássico de narrativa oriundo do teatro e adaptado para o cinema e a Tv. Neste nível, o narrador intradiegético entrega informações exclusivas ao narratário, entendido como o espectador ideal, oportunizando a duplicação da ficção mediante a criação de níveis narrativos metaficcionais e, por extensão, reforçando o sentido de cumplicidade com a audiência. Do ponto de vista empírico, a análise da quebra da quarta parede é feita a partir do estudo da minissérie House of Cards, marcada pela estrutura narrativa em que o narrador dialoga em um nível com os personagens da diegese e em outro nível distinto com o narratário, lhe confidenciando informações exclusivas.
EFEITOS DA INTERTEXTUALIDADE E DA PROSÓDIA NAS CANÇÕES DAS CAMPANHAS PRESIDENCIAIS DE DILMA ROUSSEFF
Authors: Figueiredo Maria Flávia , Ferreira Luiz Antonio
Published: June 2017

Propagandas políticas constituem um terreno fértil para análise, principalmente quando as canções nelas inseridas corroboram seu alcance persuasivo. O objetivo da pesquisa reside em fazer revelar, por meio da análise, a estrutura retórica do corpus selecionado, bem como a prosódia e a intertextualidade que os permeiam. No presente trabalho serão analisados os jingles das campanhas da candidata Dilma Rousseff à presidência em 2010 e em 2014 no horário eleitoral gratuito na TV. Nesse corpus, manifestado por meio da oralidade, os aspectos prosódicos também exercem influência no processo de produção de sentido. Por essa razão, além do arcabouço teórico advindo da Retórica e da Linguística Textual, a presente investigação contará com a contribuição de autores que descrevem os elementos prosódicos e suas respectivas funções linguísticas.
Serum N‐glycome alterations in breast cancer during multimodal treatment and follow‐up
Authors: Saldova Radka , Haakensen Vilde D. , Rødland Einar , Walsh Ian , Stöckmann Henning , Engebraaten Olav , Børresen‐Dale Anne‐Lise , Rudd Pauline M.
Published: June 2017

Using our recently developed high‐throughput automated platform, N‐glycans from all serum glycoproteins from patients with breast cancer were analysed at diagnosis, after neoadjuvant chemotherapy, surgery, radiotherapy and up to 3 years after surgery. Surprisingly, alterations in the serum N‐glycome after chemotherapy were pro‐inflammatory with an increase in glycan structures associated with cancer. Surgery, on the other hand, induced anti‐inflammatory changes in the serum N‐glycome, towards a noncancerous phenotype. At the time of first follow‐up, glycosylation in patients with affected lymph nodes changed towards a malignant phenotype. C‐reactive protein showed a different pattern, increasing after first line of neoadjuvant chemotherapy, then decreasing throughout treatment until 1 year after surgery. This may reflect a switch from acute to chronic inflammation, where chronic inflammation is reflected in the serum after the acute phase response subsides. In conclusion, we here present the first time‐course serum N‐glycome profiling of patients with breast cancer during and after treatment. We identify significant glycosylation changes with chemotherapy, surgery and follow‐up, reflecting the host response to therapy and tumour removal.
Connections matter: Updraft merging in organized tropical deep convection
Authors: Glenn I. B. , Krueger Steven K.
Published: June 2017

When tropical cumulus convection is organized, the spacing between updrafts is reduced, and deep convective cloud tops are higher. The relative importance of various processes through which organization increases cloud top heights is not well understood. It is likely that decreased spacing between updrafts in organized convection increases the frequency of convective updraft merging. What is the relative importance of merging in determining an updraft parcel's detrainment height? We investigated updraft parcel merging in organized deep convection using results from a large eddy simulation. We used Lagrangian parcel trajectories (LPTs) to locate merging events. LPTs that merge reach detrainment heights 1.5 km higher on average than LPTs which do not merge. Merged LPTs are more buoyant than nonmerged LPTs, implying less dilution due to entrainment. Using mutual information analysis, we found that merging, cloud base vertical velocity, and cloud base area are about equally important in determining parcel detrainment height.
New particle formation from sulfuric acid and amines: Comparison of monomethylamine, dimethylamine, and trimethylamine
Authors: Olenius Tinja , Halonen Roope , Kurtén Theo , Henschel Henning , Kupiainen‐Määttä Oona , Ortega Ismael K. , Jen Coty N. , Vehkamäki Hanna , Riipinen Ilona
Published: June 2017

Amines are bases that originate from both anthropogenic and natural sources, and they are recognized as candidates to participate in atmospheric aerosol particle formation together with sulfuric acid. Monomethylamine, dimethylamine, and trimethylamine (MMA, DMA, and TMA, respectively) have been shown to enhance sulfuric acid‐driven particle formation more efficiently than ammonia, but both theory and laboratory experiments suggest that there are differences in their enhancing potentials. However, as quantitative concentrations and thermochemical properties of different amines remain relatively uncertain, and also for computational reasons, the compounds have been treated as a single surrogate amine species in large‐scale modeling studies. In this work, the differences and similarities of MMA, DMA, and TMA are studied by simulations of molecular cluster formation from sulfuric acid, water, and each of the three amines. Quantum chemistry‐based cluster evaporation rate constants are applied in a cluster population dynamics model to yield cluster concentrations and formation rates at boundary layer conditions. While there are differences, for instance, in the clustering mechanisms and cluster hygroscopicity for the three amines, DMA and TMA can be approximated as a lumped species. Formation of nanometer‐sized particles and its dependence on ambient conditions is roughly similar for these two: both efficiently form clusters with sulfuric acid, and cluster formation is rather insensitive to changes in temperature and relative humidity. Particle formation from sulfuric acid and MMA is weaker and significantly more sensitive to ambient conditions. Therefore, merging MMA together with DMA and TMA introduces inaccuracies in sulfuric acid‐amine particle formation schemes.
A novel approach to evaluate soil heat flux calculation: An analytical review of nine methods
Authors: Gao Zhongming , Russell Eric S. , Missik Justine E. C. , Huang Maoyi , Chen Xingyuan , Strickland Chris E. , Clayton Ray , Arntzen Evan , Ma Yulong , Liu Heping
Published: June 2017

There are no direct methods to evaluate calculated soil heat flux (SHF) at the surface (G0). Instead, validation and cross evaluation of methods for calculating G0 usually rely on the conventional calorimetric method or the degree of the surface energy balance closure. However, there is uncertainty in the calorimetric method itself, and factors apart from G0 also contribute to nonclosure of the surface energy balance. Here we used a novel approach to evaluate nine different methods for calculating SHF, including the calorimetric method and methods based on analytical solutions of the heat diffusion equation. The SHF (Gz) measured by a self‐calibrating SHF plate at a depth of z = 5 cm below the surface (hereafter Gm_5cm) was deployed as a reference. Each SHF calculation method was assessed by comparing the calculated Gz at the same depth (hereafter Gc_5cm) with Gm_5cm. The calorimetric method and simple measurement method performed best in determining Gc_5cm but still underestimated Gm_5cm by 19% during the daytime. Possible causes for this underestimation include errors and uncertainties in SHF measurements and soil thermal properties, as well as the phase lag between Gc_5cm and Gm_5cm. Our results indicate that the calorimetric method achieves the most accurate SHF estimates if self‐calibrating SHF plates are deployed at two depths (e.g., 5 cm and 10 cm), soil temperature and water content measurements are made in a few depths between the two plates, and soil thermal properties are accurately quantified.
Geochemistry of the Bagnold dune field as observed by ChemCam and comparison with other aeolian deposits at Gale Crater
Authors: Cousin Agnes , Dehouck Erwin , Meslin Pierre‐Yves , Forni Olivier , Williams Amy J. , Stein Nathan , Gasnault Olivier , Bridges Nathan , Ehlmann Bethany , Schröder Susanne , Payré Valérie , Rapin William , Pinet Patrick , Sautter Violaine , Lanza Nina , Lasue Jérémie , Maurice Sylvestre , Wiens Roger C.
Published: June 2017

The Curiosity rover conducted the first field investigation of an active extraterrestrial dune. This study of the Bagnold dunes focuses on the ChemCam chemical results and also presents findings on the grain size distributions based on the ChemCam Remote Micro‐Imager and Mars Hand Lens Imager images. These active dunes are composed of grains that are mostly <250 μm. Their composition is overall similar to that of the aeolian deposits analyzed all along the traverse (“Aeolis Palus soils”). Nevertheless, the dunes contain less volatiles (Cl, H, and S) than the Aeolis Palus soils, which appear to be due to a lower content of volatile‐rich fine‐grained particles (<100 μm) or a lower content of volatile‐rich amorphous component, possibly as a result of (1) a lower level of chemical alteration, (2) the removal of an alteration rind at the surface of the grains during transport, (3) a lower degree of interaction with volcanic gases/aerosols, or (4) physical sorting that removed the smallest and most altered grains. Analyses of the >150 μm grain‐size dump piles have shown that coarser grains (150–250 μm) are enriched in the mafic elements Fe and Mn, suggesting a larger content in olivine compared to smaller grains (<150 μm) of the Bagnold dunes. Moreover, the chemistry of soils analyzed in the vicinity of the dunes indicates that they are similar to the dune material. All these observations suggest that the olivine content determined by X‐ray diffraction of the <150 μm grain‐size sample should be considered as a lower limit for the Bagnold dunes.
Development
Authors: Kiely Ray
Published: June 2017

The relationship between globalization and development is a problematic one, not only in the real world, but also because there is a lack of clarity over both terms in the debate. For example, the study of development rose to prominence in the period after 1945, but classical political economy's focus on the wealth of nations had been effectively concerned with development. In the postwar period, development was something which largely focused on the nation‐state, but it was also a global phenomenon, much of which was concerned, as we will see, with whether the global context hindered or boosted developmental prospects. Most of the debate, however, is concerned with the relationship between the globalization of the past 30 years, and developmental prospects for poorer countries. But even this is complicated by the fact that there are different meanings of development, particularly as in recent years some critical thinkers have questioned the idea that development is desirable (Escobar 1995). The bulk of this entry will focus on the relationship between globalization and development in recent years, but to do this, some consideration of the postwar period is also needed. There are therefore three sections: the first examines development in the postwar period up until the neoliberal turn in the late 1970s and early 1980s; second, the question of globalization is briefly examined, and related to the development debate and, specifically, renewed modernization theory; and third, the relationship between contemporary globalization and development is examined in some depth, in part through a defense of the debates over development theory that are too often regarded as being out of date in the global era.
Adultery
Authors: Scahill Andrew
Published: June 2017

Though often believed to be derived from the word “adult” as a practice of those who have attained chronological maturity, the term “adultery” is actually a combination of the Latin
ad
(toward) and
alter
(other). Taken together, adultery literally means “to make other,” a fitting etymology for the place of adultery within the Gothic, a genre so fundamentally concerned with sexuality, corruption, transformation, and otherness. Within literature as a whole, adultery serves to illustrate the conflict between desire/libido and law/civilization, or, more broadly, the personal and the public. Gothic narratives involving adulterous liaisons extend these themes and materialize patriarchal anxieties around issues of power, surveillance, and an ambivalent polarity of pleasure/terror at the display of female sexuality (see
sex
).
A
insworth,
W
illiam
H
arrison
Authors: Carver Stephen
Published: June 2017

William Harrison Ainsworth (1805–82) was a journalist, novelist, and poet. A Victorian with a Romantic soul, his historical novels had a violent, sexy mise‐en‐scène that transplanted the codes of the eighteenth‐century Gothic into an English setting (see
victorian gothic
). His most significant publications fall between
Rookwood
(1834) and
The Lancashire Witches
(1848). Although Ainsworth was a member of the early‐Victorian literary elite, his reputation was mortally wounded by controversy, and his melodramatic style was often criticized and satirized by his peers.
A
nglo‐
C
aribbean Gothic
Authors: Davison Carol Margaret
Published: June 2017

Since the eighteenth century, traditional Gothic tropes and conventions have been brought to bear on anxieties relating to colonial and imperial encounters and realities (see
imperial gothic
), both pleasurable and traumatic, and their far‐reaching legacies. In the Anglo‐Caribbean Gothic, these include various aspects of race relations (economic, ethical, sexual, political) (see
race
), the slave/plantation system (see
slavery and the gothic
), and little‐understood African cultural practices retained in the Caribbean. A compelling and significant interfacing developed well into the nineteenth century that saw the radicalization of the Gothic alongside the Gothicization of racial discourse: while racialized characters and race questions were increasingly popular Gothic ingredients, race‐focused studies and debates – medical, scientific, political, and otherwise – adopted and adapted established Gothic rhetoric and motifs.
A
twood,
M
argaret
Authors: McWilliams Ellen
Published: June 2017

The Gothic dimensions of the work of Margaret Atwood (1939–) are most visible in her interrogation of fictions of femininity, in her treatment of the figure of the woman writer, and in the recurring interest in the possibilities of dual or multiple identities in her writing (see
doubles
). In her early novel
Lady Oracle
(1976), a Gothic parody in the tradition of Jane Austen's
Northanger Abbey
, the main character, Joan Foster, writes Gothic romances for the popular fiction market but also imagines herself as the heroine of her own life. Atwood responds to the sacrificial virgin of seminal Gothic texts such as Horace Walpole's
The Castle of Otranto
and Matthew Lewis'
The Monk
by charting her protagonist's quest for agency and self‐determination through a maze of Gothic conventions (see
lewis, matthew
;
walpole, horace
). Sections of Joan's Gothic romances are interpolated into the main body of the novel and serve as all‐important ancillary texts to the story of her coming of age in Canada and her later escape to Europe (see
canadian gothic
). Joan Foster is a typical Atwoodian protagonist in that she leads more than one literary life; as well as writing popular romances (published under a pseudonym), she is also the author of an acclaimed collection of poetry that shares its name with the title of Atwood's novel and is marketed as literary Gothic by her publishers. The numerous strands of Joan's Gothic writing overlap and interact with the plot of Joan's life; for example, the men in her life are imagined as villains or as rescuer figures at different points in the text. In determining to take control of the fictions that have come to impinge upon her life story, in the final pages of the novel she abandons the fantasy of Gothic Romance for science fiction. While
Lady Oracle
is perhaps Atwood's most striking engagement with the Gothic, a number of her short fiction works, in particular the title story of her collection
Bluebeard's Egg
(1983), are explicit in reworking fairytales and folktales with a distinctly Gothic aspect to them (see
folklore
). In these shorter works, as in her novels, Atwood's revision of Gothic motifs is driven by a feminist interest in unraveling the original texts and generating new meanings from them that force a reconsideration of the roles historically assigned to women in the Gothic tradition.
A
ustralian
G
othic
Authors: Gelder Ken
Published: June 2017

The Gothic came to Australia as an imported literary genre that quickly adapted to local conditions. Early colonial explorers evoked the foundational tropes of the Gothic as they made their way into the Australian interior, so that the desert and the bush could seem – in an explorer's gloomier moments – as ancient and godforsaken as any ruined castle. As Roslyn Haynes has suggested, colonial explorers could slide from an exhilarating sense of the interior as an endless wide‐open space to an often overwhelming feeling of “enclosure and entrapment” expressed in Gothic terms (Haynes 1999: 77). The explorer's psychological condition found its reflection in the landscape, especially when the early optimism of the exploration began to wane. In his 1908 book,
The Explorers of Australia and Their Life‐Work
, the popular colonial adventure writer Ernest Favenc wrote about the early Surveyor‐General John Oxley (1785?–1828) along exactly these lines:
B
audelaire,
C
harles
Authors: Gibson Matthew
Published: June 2017

Charles Baudelaire (1821–67) was the seminal French poet of the nineteenth century. His interests and techniques inspired both the Symbolist and Decadent movements in the epochs subsequent to his death. He was also an art critic who praised Romantic and Orientalist art in preference to the classical. Although his lyrical ends and belief in the otherworldly mean that it is difficult to define Baudelaire as Gothic writer per se, he nevertheless took much influence from Gothic authors such as Hoffmann and also inspired writers of the fantastic genre such as Lautréamont. In a Gothic sense he is most celebrated for his use of macabre imagery, his Swedenborgianism, his love of terror and horror as rejuvenating forces in urban culture, and his Orientalism (see
european gothic
). Above all, however, he is renowned for translating most of Poe's work into French and introducing the American writer to the French public; a seminal achievement given the vast influence Poe's work was to exert on both Gothic and detective fiction in France (see
poe, edgar allan
).
B
enson,
E. F.
(
E
dward
F
rederic)
Authors: Freeman Nick
Published: June 2017

Edward Frederic Benson (1867–1940) belonged to a remarkable literary family. His brothers Arthur (A. C.) and Hugh (R. H.) were novelists, poets, and writers of ghost stories (see
ghost stories
), and his father, Edward White Benson, Archbishop of Canterbury from 1877 to 1896, told Henry James the anecdote that became “The Turn of the Screw” (1898) (see
james, henry
). Benson himself was a highly successful society novelist, but alongside the frivolity of his “Mapp and Lucia” comedies, a mood which extended to the entertaining satire on spiritualism “The Psychical Mallards” (1921) (see
spiritualism
), he published several collections of Gothic tales beginning with
The Room in the Tower
(1912). Neatly plotted and written in characteristically breezy style, these grim vignettes, which he termed “spook stories,” a term coined by a gently derisive Edmund Gosse, were at once commercially motivated and psychologically revealing, particularly in their repeated expression of a misogyny verging upon gynophobia (see
misogyny
).
B
ierce,
A
mbrose
Authors: Crow Charles L.
Published: June 2017

Ambrose Bierce (1842–1913) was a soldier in the American Civil War and fought in every major battle of the Western Theater until Kennesaw Mountain (June 27, 1864), where he was severely wounded. Commended for bravery on several occasions, Bierce advanced from private to the rank of brevet major. He was proud of his military career, but the war's mindless slaughter left him cynical toward noble causes and abstract virtues. Like nearly all Gothic writers, he was skeptical of progress, that cornerstone of the American national narrative (see
american gothic
).
Blood
Authors: Hughes William
Published: June 2017

As Michel Foucault adroitly observed in
La Volonté de savoir
(1976; translated 1978), blood has historically functioned as “
a reality with a symbolic function
” (Foucault 1984: 147; original emphasis). It is a central device in the cultural deployment of power, for, in mobilizing the cohesiveness of the familial, racial, and nationalistic lineages and allegiances customarily transmitted through sanguine imagery, it literalizes the metaphorical through the physiological, making a loss of blood into a diminution of essence or a compromise in identity. As Foucault suggests, in the order of signs, blood is an exclusive as well as an inclusive signifier of identity, for one may “have a certain blood” or “be of the same blood,” and the
right
(rather than, as Foucault terms it, “the ability”) to shed blood imposes an apparently unquestionable ascendancy over others of the same – or of different – bloods (Foucault 1984: 147). Those who may cause blood to flow, be they gods, potentates, or surgeons, hold the variant identities that fracture the species‐unity of humanity pooled within their ensanguined hands. Nations as well as individuals, under this analogy, may hemorrhage, the circulation of the body politic abjecting those races, creeds, or individuals deemed dangerous to the perceived greater good. In the cause of better health, blood may be made to flow or substance may be lost – though this controlled loss may still be at the price of localized lassitude or exhaustion, a conventional physiological consequence of exsanguination.
Bluebooks
Authors: Potter Franz J.
Published: June 2017

One of the most disreputable if not intriguing offsprings of the Gothic novel is the bluebook. Though considered by some critics to be not only low‐quality Gothic fiction but also a corrupted sideshow of sensational excesses and horrific content, the Gothic bluebook (occasionally referred to as “chapbook” or “shilling shocker”) thrived for nearly twenty‐five years at the beginning of the nineteenth century. Publishers often plagiarized or abridged well‐known Gothic novels into simple, short tales of terror and sold them at a trifling price. The success of these bluebooks not only changed the genre but also gave rise to a new community of entrepreneurs and consumers.
B
rite,
P
oppy
Z
.
Authors: Campbell James
Published: June 2017

With the publication of
Lost Souls
(1992), Poppy Z. Brite (1967–) achieved instant notoriety as one of Gothic's enfants terribles. Accused of privileging style over substance (Joshi 2004: 208), Brite's earliest works, including
Lost Souls, Drawing Blood
(1993), and the short story collection
Swamp Foetus
(published in the United States as
Wormwood
, 1994), are heavily indebted to both the Gothic and Goth subcultures (see
goth
). Jason K. Friedman described Brite's early works as the products of a “postmodern southern goth” mode of writing (2007: 203). Like Goth performativity, this mode playfully parodies, while also participating in, the now ubiquitous Southern Gothic (see
southern gothic
). Also central to Brite's “minoritarian Gothic” is a transgendered subjectivity (Holmes 2007: 70). Born Melissa Ann Brite, the author became Poppy Z. Brite in 1985 before relinquishing the pseudonym upon becoming Billy Martin in 2011. As detailed in the autobiographical essay “Enough Rope” (1998), Brite self‐identifies as a queer male, hence the abundance of queer male characters and the marginalization of women throughout his work. While respecting Brite's stated preference to be referred to with male pronouns, it should be noted that his work was closely informed by his gender dysphoria and his vacillation between the categories of “male” and “female,” much like “Dr. Brite,” the authorial alter‐ego that first appeared in
Self Made Man
(published in the United States as
Are You Loathsome Tonight?
, 1998), who changes gender with each new story s/he appears in.
Brown,CharlesBrockden
Authors: Weinstock Jeffrey Andrew
Published: June 2017

Charles Brockden Brown (1771–1810) has been characterized not only as the inventor of the American Gothic (Kafer 2004: xi) but also as the father of the American Romance novel (Levine 1989: 29) and America's first professional writer (Verhoeven 1992: 203) (seeamerican gothic). Brown further has been hailed as a pioneering American feminist (Verhoeven 1992: 203), historian, and political theorist (Carpenter 1981: 221). Today, he is remembered primarily for his four Gothic novels,Wieland; or The Transformation. An American Tale(1798);Ormond; or The Secret Witness(1799);Arthur Mervyn; or, Memoirs of the Year 1793(part I 1799, part II 1800); andEdgar Huntly; or, Memoirs of a Sleep‐Walker(1799), in which he adapted to his post‐Revolutionary American setting conventions of the European Gothic novel associated with Ann Radcliffe and Matthew Lewis (seeeuropean gothic). Brown's literary output, however, also included an important discussion of women's rights and marriage,Alcuin: A Dialogue(1798); two epistolary sentimental novels,Clara Howard(1801) andJane Talbot(1801); an unfinished Gothic novel,Memoirs of Carwin the Biloquist(1803–1805); and another unfinished novel,Memoirs of Stephen Calvert(1799–1800), combining elements of the romance and sentimental novel. As editor of and a primary contributor to theMonthly Magazine and American Review(1799–1800),The Literary Magazine and American Register(1803–1806), andThe American Register and General Repository of History, Politics, and Science(1807–9), as well as a frequent contributor to other magazines of the day, Brown published prolifically on many topics and also authored several important political pamphlets, including one arguing for acquisition of the Louisiana Territory. During the last years of his life, Brown translated and annotated a geographical study of the United States by French author Comte de Volney and was at work on a geographical study titledSystem of General Geography; Containing a Topological, Statistical, and Descriptive Survey of the Earth. He is credited with having influenced authors including James Fenimore Cooper, Edgar Allan Poe, and Nathanial Hawthorne.
Byron,GeorgeGordon, Sixth Baron
Authors: Franklin Caroline
Published: June 2017

Lord Byron (1788–1824) influenced the history of Gothic as a historical personage as well as through his poetry. Novelists such as Mary Shelley (seeshelley, mary wollstonecraft) were inspired by his adventurous life as well as his mysterious “Byronic heroes.” In addition, the philosophical skepticism and Romantic irony of Byron's satireDon Juanpaved the way for the dark Gothic humor of Victorian poets such as Thomas Hood and Thomas Lovell Beddoes (seeromanticism).
Canadian Gothic
Authors: Hammill Faye
Published: June 2017

Gothic has been a very important strain in Canadian literature since the early nineteenth century. Explanations for its prominence in the national canon vary in emphasis, but generally invoke the alienating effects of a vast, sparsely populated, and apparently hostile landscape; the traumas of colonization and, subsequently, decolonization; and the unsettling of national, racial, gender, and sexual identities as a result of colonial encounter, im‐migration, and diaspora.
Criticism
Authors: Hughes William
Published: June 2017

If the two prefaces that Horace Walpole attached toThe Castle of Otranto(1764) might be regarded as a sort of playful manifesto for the nascent Gothic, the earliest reactive criticism to be applied to the genre was that embodied in the reviews published by readers who were, as often as not, authors in their own right. Thus, serious interventions into the definition of acceptable Gothic aesthetics were made by Samuel Taylor Coleridge in his 1797 review ofThe Monkby Matthew G. Lewis, though a perhaps less polemical consideration of the genre as a whole was to be produced in two short essays by Nathan Drake, “On Gothic Superstition” and “On Objects of Terror,” both published in 1798. Further general considerations of the genre's aspirations and achievements were to be provided by a series of early‐nineteenth‐century essays mostly premised upon the function of the supernatural within post‐Enlightenment fiction. These include Coleridge's “The Gothic Mind” and “Gothic Literature and Art” (both 1818), and the posthumously published “On the Supernatural in Poetry” (1826) by Ann Radcliffe.
Cult Fiction
Authors: Mousoutzanis Aris
Published: June 2017

If cult fiction may be seen as a distinct genre, its most defining feature is perhaps its peculiar, almost inverse, relation to other types of writing. Unlike conventional genres, it is defined not in terms of internal, thematic, or conceptual features of the text itself but in terms of reader reception, conditions of material production, and wider debates of cultural value and canon formation.
Cyberspace
Authors: Whittaker Jason
Published: June 2017

Introduced as a term in William Gibson's 1982 story “Burning Chrome” and expanded in his 1984 novel
Neuromancer
, “cyberspace” was a conceptual science‐fiction framework for the development of new technologies in the last two decades of the twentieth century. Just as the communicators used by Captain Kirk inspired Martin Cooper to invent the mobile phone (Beuchner et al. 2007), so too did Gibson's description of cyberspace motivate a number of inventors working in the fields of virtual reality and information and communication technologies.
Degeneration
Authors: Smith Andrew
Published: June 2017

In
Dracula
(1897), Mina Harker declares that “The Count is a criminal and of criminal type. Nordau and Lombroso would so classify him” (Stoker 1996: 342) (see
stoker, bram
). Her conclusion is based upon a description that Jonathan Harker had earlier made in his journal of the Count's physiognomical attributes. Harker's description, as Leonard Wolf has noted, is a paraphrase of Cesare Lombroso's description of the archetypal criminal in his
Criminal Man
(1876) (Wolf 1975: 300). The link signifies the Count's inherent degeneration as it marks out his innate criminality. Mina's reference to Max Nordau, whose
Degeneration
was first published in 1892 (carrying a dedication to Lombroso), compounds the Count's degeneracy by aligning him with an amoral foppishness (the Count as dissolute aristocrat) that Nordau regarded as a troubling characteristic of the fin de siècle (see
fin‐de‐siècle gothic
). Theories of degeneracy thus shape Stoker's novel in particular, but they also provide a more general context that underpins the fin‐de‐siècle Gothic's engagement with disease, the body, race, and decadence. In order to appreciate this it is important to consider how theories of degeneration elaborated a language of “otherness” that the Gothic could conceptually import within the form's ideological construction of the abnormal.
Disability
Authors: Holmes Martha Stoddard
Published: June 2017

The relationship between disability and the Gothic as a genre and literary/cultural mode is both overdetermined by a plethora of representations and undertheorized by literary scholars. Since the gigantic, spectral body parts that appear in Walpole's
The Castle of Otranto
(1764), fiction, poetry, drama, and film have reiterated a connection between disabled embodiment and the Gothic. Disability's uses and meanings, however, have varied considerably, from metaphor or metonym to embodied social identity, making this element of Gothic literature and culture a rich area of exploration for Gothic studies, as well as for disability studies and body studies more generally.
Domestic Gothic
Authors: Hartnell‐Mottram Elaine
Published: June 2017

Domestic Gothic fiction may be identified by its uneasy representation of the historical and socioeconomic developments known as the “domestic ideal.” The concept of “domesticity” goes beyond the mere occupation of the physical domestic space and encompasses more than household servicing as women's work. Rather, it is a wholly ideological construct relating to the interpretation, as well as the use, of the domestic space.
Drama
Authors: Hoeveler Diane Long
Published: June 2017

Gothic drama evolved out of the melding of Shakespeare's dramatic ghosts with the themes and plots of the new Gothic novel as written by Horace Walpole, Clara Reeve, and Ann Radcliffe. These dramas enjoyed a heyday from 1790 to 1810, but were gradually displaced in popularity by the melodrama, a French‐derived dramatic form imported by Thomas Holcroft (seemelodrama). Exploring a variety of religious, social, and political ideologies that were current in the 1790s, the major Gothic dramas can be understood as dramatic adaptations of the most popular Gothic novels of the period: Matthew Lewis'Castle Spectre(Drury Lane, 1797) is arguably the most successful Gothic drama produced during the period; Henry Siddons'Sicilian Romance; or the Apparition of the Cliff(Covent Garden, 1794) is based on Ann Radcliffe's novel (1791); and James Boaden'sFontainville Forest(Covent Garden, 1794) is a Gothic drama based on a vivid vignette drawn from a larger and unwieldy Gothic novel, in this case Ann Radcliffe's popular Gothic novelThe Romance of the Forest(1791).
D
utch
G
othic
Authors: Andeweg Agnes
Published: June 2017

For a long time, “Dutch Gothic” was an oxymoron. There is no contemporary Dutch equivalent to
The Monk
(1796), even though Matthew Lewis worked on his famous novel in The Hague; nor of
Dracula
(1897), despite the fact that Dr. Van Helsing is Dutch. When the Gothic novel was at its peak – around 1800 – in surrounding countries such as Britain, Germany, and France there was only a very small production of original Dutch Gothic fiction. However, this changed drastically in the twentieth century.
Family
Authors: Munford Rebecca
Published: June 2017

From its beginnings, the Gothic has been preoccupied with questions of dynastic ambition, wrongful inheritance, and ancestral guilt. The Gothic castle is the locus for unspeakable family secrets and transgressive desires; far from being a place of safety and security, the family home is the very place from which the Gothic's monsters emerge. Gothic narratives are concerned with the ways in which the family (as a microcosm for broader social structures of patriarchal government) regulates and unsettles human experience. In this respect, early Gothic works illuminate shifts in the way in which notions of family and family life were being defined and imagined in the late eighteenth century.
F
aulkner,
W
illiam
Authors: Crow Charles L.
Published: June 2017

William Faulkner (1897–1962) defined Gothic for the first half of the twentieth century. It is not the supernatural but an oppressive sense of historical doom that haunts Faulkner's Gothic. Most of Faulkner's mature fiction forms a vast saga of Yoknapatawpha County, his mythical kingdom, from first European contact to the middle of the twentieth century. This is a Gothic history, dominated by racial conflict, war, violence, and the flawed ambitions of its “aristocracy,” the planters who held land and slaves before the Civil War, but lost their ascendency in the social and economic upheaval that followed (see
race
).
Fin‐de‐Siècle Gothic
Authors: Alder Emily
Published: June 2017

The term fin de siècle usually refers to the end of the nineteenth century in Europe, and to a particular cultural milieu shaped by people's anticipation of the century's end. Fin‐de‐siècle Gothic can refer both to a Gothic sensibility infusing some discourses of the time and particularly to a body of literature produced in approximately 1880 to 1900. To a lesser extent, the fin de siècle of the twentieth century produced an analogous strain of millenarian thinking. Most attention to the Gothic through the lens of fin de siècle, however, has focused on the late Victorian Gothic revival of the 1890s (seevictorian gothic).
Folklore
Authors: McDowell Stacey
Published: June 2017

Folklore broadly encompasses a range of genres, including myths, fables, legends, ballads, ghost stories, and fairy tales. Connoting something at once vaguely familiar and yet difficult to pin down, the term itself was not coined until 1846, when William John Thoms employed it as a catch‐all definition that combined the closely connected fields of “popular antiquities” and “popular literature.” The channeling of the antiquated past into the popular literature of the present which defines folklore also forms one of the defining characteristics of the Gothic tradition (see
popular culture
). The Gothic, after all, takes its name from the ancient Goths, drawing upon the lore, and the lure, of a dark past swathed in myth and superstition. This fascination with the past manifested in the eighteenth‐century field of antiquarian studies which, in turn, triggered the preoccupation with nostalgia, nationalism, and cultural roots in the literature of that period and beyond. Works such as Thomas Percy's
The Reliques of Ancient English Poetry
(1765) and James Macpherson's
Fragments of Ancient Poetry
(1760) were invested in preserving a cultural tradition – a concern that can also be seen in later works by Sir Walter Scott and Robert Burns, for example, which draw upon Scottish folklore to establish the roots of a national ancestry. The strong association between the Grimms' fairy tales and German cultural heritage bears testimony to the significance of folklore in constructing a sense of national identity. Wilhelm Grimm, who saw the brothers' project as one of gathering and preserving an oral tradition, observed that
Future Gothic
Authors: Montezero Nema
Published: June 2017

It might seem appropriate to blow the dust off one's crystal ball and plumb the fortunes of Gothic studies, even though the genre is traditionally backward‐looking with its presents possessed by terrors emanating from unresolved conflicts and misdemeanors of the past. But when the future collapses on the present – as in the key temporal trope of “cyberGothic” fiction – time's chronological pattern ceases to be as much of an issue as it used to be (see
cyberspace
). Even so, the crystal ball may not be that helpful as a predictive tool, its misty depths revealing no mysteries other than the distorted shapes of its enthralled gazers, reflected on its surface. It might, then, be of use to indulge in some “Gothic futurology,” extrapolating, in the manner of science fiction, on some contemporary innovation to explore its consequences on a grander scale in an imagined but recognizable near future: on this basis one might suggest that the current increase in and popularity of Gothic teen fictions will extend downwards in an unrelenting infantilization that will simultaneously deliver generic global dominance, habituation, and bored obsolescence. Futurology, of course, is notable for the entertainment it provides after the fact: the invention of the calculating machine, memorably, led to predictions of a late twentieth‐century future in which about five supercomputers would easily manage all the affairs of the world.
Games
Authors: Krzywinska Tanya
Published: June 2017

Videogames may rely on computing technology, but that does not mean they are immune to the dark touch of the Gothic – far from it. Gothic themes, characters, stories, and environments can be found across a wide range of games, from puzzle games to multiplayer online games and from shoot‐em‐ups to strategy games. Given that the Gothic is strongly thematic and often regarded as traversing and playing with boundaries, we should not be surprised by its propensity toward transmediality and its proliferation across and through generic divides.