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‘Gothic’ is Richard Davenport-Hines magisterial study of the gothic imagination from vampire novels to the modern day landscape of Bladerunner. Gothic traces the evolution of the meaning of ‘gothic’ in the artistic imagination. Gothic has never been an artistic movement built on clearly formulated principles rather it has always been the expression of the darker recesses of the human imagination. In this fascinating history Richard Davenport-Hines investigates the recurring obsessions of the gothic, the stepping away from the everyday with its guarantees and limits into the region of the immoderate and powerful. From the haunting pictures of 17th century Naples to Vampire night clubs in present day New York, Gothic is a history of the passions which overpower reason and of the images of these struggles produced by painters, gardeners, architects, poets, novelists, film-makers and fashion designers.… (altro)
Interesting, engaging, and well-written. I wish more space had been devoted to gothic cinema, and perhaps the book was a bit heavily focused on architecture but otherwise I really enjoyed this and it certainly has pushed me to read more literary and cultural criticism on gothic style ( )
Whew. This book is packed with stuff, I had to keep taking breaks. And though by the end it's clear that Davenport-Hines is just a touch, like, obsessed with Poppy Z. Brite and that other than a few things he hates the States, this is a pretty well rounded book. It's like a solid primer to one's self education in Gothic, because after reading it you're gonna wanna read all the books he mentions and quotes from.Biggest problem for me? Didn't mention Cronenberg (hello, degradation of flesh and constant exploration of power relationships?), didn't mention the rest of the Americas ('cause like, I think that a lot of the writing, magical realism or not coming from Central/Southern America is just as Gothic as anything else).The thing to remember when reading this is that though Davenport-Hines may be a historian, but he's also a devotee of the Gothic movements in art and culture in the past four hundred years. ( )
Everybody has his own theatre, in which he is manager, actor, prompter, playwright, sceneshifter, boxkeeper, doorkeeper, all in one, and audience into the bargain. Julius and Augustus Hare
Only animals who are below civilization and the angels who are beyond it can be sincere. Human beings are, necessarily, actors who cannot become something before they have first pretended to be it; and they can be divided, not into the hypocritical and the sincere, but into the sane who know they are acting and the mad who do not. W. H. Auden
Dedica
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For June Pearson
Incipit
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'The death of Satan,' according to Wallace Stevens, 'was a tragedy for the imagination.'
Citazioni
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The Specter will still haunt us, in some shape or other: and when driven from our cool Thoughts, and frighted from The Closet, will meet us even at Court. - Lord Saftesbury
Here there are dull, decaying Dandies that yawn one's path at every step, who affect to be blase sur tout before they have either felt or observed. - Lady Morgan from Naples
That cruel, inhuman scene, so insensible to the hunger and despair of men, was made purer and less real by the singing of the boys. "There is no kindliness," said Jack, "no compassion in this marvelous Nature." "It is malignant," I said. "It hates us, it is our enemy. It hates men." "Elle aime nous voir souffrir," said Jack in a low voice. "It stares at us with cold eyes, full of frozen hatred and contempt." "Before it," said Jack, "I feel guilty, ashamed, miserable. It is not Christian. It hates men because they suffer." "It is jealous of men's sufferings," I said. I like Jack because he alone, among all my American friends, felt guilty, ashamed and miserable before the cruel, inhuman beauty of that sky, that sea, those islands far away on the horizon. He alone realized that this Nature is not Christian, that it lies outside the frontiers of Christianity, and that this scene was not the face of Christ, but the image of a world without God, in which men are left alone to suffer without hope. - from Curzio Malaparte's account of soldiers stationed in Naples at the end of WWII
I am always glad to hear of any remains of the old English grandeur; and am both amazed and provoked when I hear of people destroying those magnificent structures (made to last for ages) in order to erect some trifling edifice, whose chief merit consists in the vast expense, which often renders the builder unable to inhabit it when he has done; - whereas to repair an abbey or castle in the same way as it was first built, is a worthy monument both of the owner's piety to his ancestors, and care to his posterity. But these are worn-out virtues, and hardly live even in memory. - Countess of Pomfret in 1740
Many a man believes himself the master of others, and yet is a greater slave than they. - Jean-Jacques Rousseau
One must not build a Gothic house because the nation is solide...'Tis the marvellous, the eccentric, that characterizes Englishmen. - Horace Walpole
The world is a masquerade; face, dress, voice, everything is feigned. Everybody wants to appear what he is not; everybody deceives, and nobody knows anybody. - Francisco de Goya
So many horrible associations of blood and terror are connected with the popular ideas of this extraordinary animal...and so many unsuccessful attempts have been made to import it alive, that when it was known that one had actually arrived, a most intense desire was manifested to obtain a peep at the 'bloodthirsty willin', as we heard him described by one of the great unwashed who was standing by. - The Times reporting the arrival of a Sumatran bat
...Polidori suddenly demanded, "What is there, except writing poetry, that I cannot do better than you?" Byron's reply was cool and immediate. "First," said he, "I can hit with a pistol the keyhole of that door - Secondly, I can swim across that river to younger point - and thirdly, I can give you a damned good thrashing."
Ultime parole
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The Chapmans are not just a clever goth double act: Nietzsche would recognize them as goth supermen.
‘Gothic’ is Richard Davenport-Hines magisterial study of the gothic imagination from vampire novels to the modern day landscape of Bladerunner. Gothic traces the evolution of the meaning of ‘gothic’ in the artistic imagination. Gothic has never been an artistic movement built on clearly formulated principles rather it has always been the expression of the darker recesses of the human imagination. In this fascinating history Richard Davenport-Hines investigates the recurring obsessions of the gothic, the stepping away from the everyday with its guarantees and limits into the region of the immoderate and powerful. From the haunting pictures of 17th century Naples to Vampire night clubs in present day New York, Gothic is a history of the passions which overpower reason and of the images of these struggles produced by painters, gardeners, architects, poets, novelists, film-makers and fashion designers.
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