Abstract due by 15 October 2021
Co-Editors: Dr Katarzyna Ancuta (Chulalongkorn University, Thailand) and Dr Li-hsin Hsu (National Chengchi University, Taiwan)
The Gothic as an aesthetic mode has been translated into Chinese either as “gede” (哥德) or as “zhiyi” (志異) in Taiwan in the past decades. The former version, with its direct translation from the sound, indicates its western and thus foreign origin. The latter one, alternatively, domesticates the notion by adopting a pre-existent Chinese term and subsuming it into the Chinese classical tradition of tales about strange or abnormal, and mostly supernatural, occurring. Either way, the diverging approaches towards the translation of the concept of the Gothic highlights its complexity, heterogeneity and elasticity as a transnational literary term.
Asian cinemas and literatures began to capture the attention of Gothic scholars in the late 1990s. Yet when Henry J. Hughes made his case in 2000 for the acknowledgment of Japanese Gothic as a coherent literary tradition and called for the recognition of ‘transcultural’ Gothic, few people rushed to explore this unchartered Gothic territory. Much has changed in the last twenty years. The ongoing decentralisation of Gothic studies and de-westernisation of its methodologies has opened up new possibilities for including cultural productions …read more