Secondary or Theoretical Works
Benshoff, Harry M., and Barry Keith Grant. “The Monster and the Homosexual.” The Dread of Difference : Gender and the Horror Film, University of Texas Press, Austin, Texas, 2015, pp. 116–141, https://ebookcentral.proquest.com/lib/dickinson/detail.action?docID=3571889. Accessed 2024.
Fuss, Diana. “Introduction: Inside/Out.” Inside/Out : Lesbian Theories, Gay Theories, Routledge, New York, New York, 1991, pp. 1–10, https://ebookcentral.proquest.com/lib/dickinson/detail.action?docID=1144411. Accessed 2024.
Thomas, Ardel. Queer Others in Victorian Gothic : Transgressing Monstrosity. University of Wales Press, 2012.
Petrocelli, Heather O. “Horror Is Queer: Theoretical and Ontological Foundations.” Queer for Fear: Horror Film and the Queer Spectator, 1st ed., Gwasg Prifysgol Cymru / University of Wales Press, 2024, pp. 1–37, https://ebookcentral.proquest.com/lib/dickinson/reader.action?docID=7263174&ppg=12. Accessed 2024.
Rigby, Mair. “Uncanny Recognition: Queer Theory’s Debt to the Gothic.” Gothic Studies, vol. 11, no. 1, May 2009, pp. 46+. Gale Academic OneFile, link.gale.com/apps/doc/A381057953/AONE?u=carl22017&sid=bookmark-AONE&xid=815748c7. Accessed 30 Sept. 2024.
Sedgwick, Eve Kosofsky. The Coherence of Gothic Conventions, New York: Methuen, 1980.
Primary Sources
“Rebecca” by Daphne du Maurier
“Carmilla” by Joseph Sheridan Le Fanu
“Hauntings: fantastic stories” by Vernon Lee
“The Haunting of Hill House,” by Shirley Jackson
Academic Journal
Horror Studies
Keywords
Queer theory, gothic, horror
For my thesis, I am interested in focusing on the way queerness manifests in the gothic horror tradition. This genre interests me because of how it explores and reveals cultural anxieties. Gothic literature centers elements that are often uneasily regarded within society, then moralizes them to produce clear messages about good and evil. The intrinsically transgressive elements of the gothic are what make it align well with queer readings. Gothic literature often includes the concept of the immoral “other,” which is where queer theory begins to be used as a unit of analysis. Throughout the history of this genre, queerness has been covertly used to signify a monstrous and frightening “other.” At the same time queer-coded villains represented supposed social evils, they also represented transgressive yet tempting sexuality. This complicated relationship between the gothic and queerness both upheld and questioned popular perceptions of reality.
I am currently most interested in exploring this concept of monstrousness within the context of gothic literature and queer theory. The majority of the secondary sources I have chosen provide insight into the history of this literary genre and its relation to queerness. I plan to determine which time period I would like to focus on, as well as which primary source I would like to build my research around. As I continue to explore this subject, some of my guiding questions will be: what does it mean to queer the gothic? How have representations of queerness developed in this genre?
Update
I have narrowed down the subject of my thesis to focus on gothic literature. To reflect this change, I have removed secondary sources that focus on horror and film, and I have found additional sources that have a specific focus on queerness in gothic literature. I have also begun to read primary texts that may relate to my research, beginning with “Rebecca” and “Carmilla.” These are texts that have frequently been referenced in the articles I have read while researching my topic, making them a good starting point.