DANCING IN THE GRAVEYARD: GOTH/IC AND THE LANGUAGE OF DANCE
The article takes a look at the Goth subculture and subculture-related narratives from the perspective of dancing/clubbing. Goth dependence on dancing goes deeper than it might seem at first sight. Taking into account Goth’s continuous presence for over a quarter of a century it is impossible to avoid the question of what makes it different from other music-related subcultures with an average life-span of three years. The answer suggested in the paper is that it allows its members to forge a new alternative identity, referred to in the article as “the Goth identity.” Once we have recognised dancing as a crucial element of this identity we immediately become aware of its presence in contemporary Gothic narratives, particularly those which can be seen as subculture-related, the examples being the novel of Jackie Askew SunDown, SunRise, several stories of Poppy Z. Brite (Drawing Blood, “His Mouth Will Taste of Wormwood”) and the novels of Caitlin Kiernan (Low Red Moon, The Threshold, Spider), and most importantly the book of a British Gothic fantasy writer – Storm Constantine Sign for the Sacred.
URBAN BODIES, GOTHIC SPACES
The aim of the article is to posit the understanding of contemporary Gothic cities in an alternate capacity of both the victim and the oppressor. The basic assumption for developing such an analogy is that Gothic cities should be treated as intelligent organisms whose representation in modern texts has been structured around their associations with the feminine. This, in turn, has it roots in the perception of the genre as built on masochistic premises, glamorising submission and inertia. The article analyses a number of contemporary Gothic literary and visual texts (prose works of J.G. Ballard, Poppy Z. Brite, Jackie Askew and Storm Constantine, James O’Barr graphic novels, and several Gothic film productions) determining their own urban spaces. Concentrating on the inscription of the described “organi-cities” into the Gothic space all the mentioned texts emphasize the irreversibility of Gothic urbanisation.
SINNERS AND MARTYRS, OR, IN GOTH WE TRUST: CONTEMPORARY GOTHIC AND THE PLEASURES OF RENUNCIATION
Resulting from the glorification of inertia and suffering Gothic can be seen as built on masochistic premises. But while early Gothic texts seemed to focus on the trials and tribulations of victimised heroines, contemporary gothicisms serve as markers of renunciation. Gothic identity, seen as both the identity of fictitious Gothic heroes and of people for whom Gothic has become a lifestyle (from alternative performance artists to the members of the Goth subculture), advocates wilful embracing of the Other as a means to renounce any aspects of conformity expected of the members of Western post-industrial societies. Having incorporated identity and properties of the Other, modern-day Gothic heroes indulge in celebrations of carnivalesque martyrdom in the name of ascertaining their individuality. The aim of the following article is to discuss the role exposure to pain and suffering and its submissive acceptance play in the formation of Gothic identity. The paper’s main assumption is that self-induced melancholia characteristic of Gothic heroes is generally a therapeutic technique aimed at combating post-traumatic depression by means of developing an alternative narcissistic identity. Gothic renunciation of conformity can thus be said to undergo a number of fixed stages: from the initial rejection of society’s norms, through the discovery of masochistic pleasure in passive resistance and development of manipulation skills, to the hedonistic enjoyment of the fully-formed narcissistic identity. The moment when disease becomes an aesthetic ideal, pain turns to pleasure and Gothic succeeds.
Published in leid.geprüft. Eds. T.W. Duschlbauer and T. Kilmitsch. Linz: Edition Gruppe für angewandte Texte, 2004.
THEY WORE BLACK VELVET. TRANSGENDERISM AND (BI)SEXUAL AMBIGUITY OF GOTH/IC
The article addresses the notion of sexual revolution at the turn of the millennium. It explores the concepts of “the third sex,” bisexuality and “switch” sado-masochism suggested as the possible answer to the conflicts on the grounds of sexuality. Drawing on the observation of the popularity of sexually ambiguous/subversive groups whose otherness has become an attractive means of expression, the article posits that the movement towards the elimination of sexual differences does not necessarily have to be viewed in terms of utopia. On the example of the Goth subculture, seen as one of the groups already living out the ideals of the on-going sexual revolution, the article argues that the “thirdness” of groups like Goths may help eradicate sex-related phobias and promote recognition of the diversity of human sexuality.
Published in A Queer Mixture. Gender Perspectives on Minority Sexual Identities. Eds. T. Sikora, D. Ferens and T. Basiuk, eds. Katowice: Slask, 2002.
Article translated into Polish and abridged for popular cultural magazines. Published under the title "Black Velvet. Plec srodka i (bi)seksualna plynnosc gotyku” in ResPublica nr 6/2003 and once again as "Black Velvet” in OFF Magazine. May 2004.