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Çetiner-Öktem, Züleyha. "Gothic Transformations: Revisiting the house on the borderland." Nostalgia or Perversion? Gothic Rewriting from the Eighteenth Century until the Present Day. Ed. Isabella van Elferen. Newcastle upon Tyne: Cambridge Scholars Publ. 2007. 73–85. 
Added by: joachim (4/23/13, 5:23 PM)   Last edited by: joachim (4/23/13, 5:24 PM)
Resource type: Book Chapter
Language: en: English
BibTeX citation key: etinerktem2007
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Categories: General
Keywords: "The House on the Borderland", Adaptation, Corben. Richard, Gender, Hodgson. William Hope, Horror, Jung. Carl Gustav, Literature, Revelstroke. Simon, United Kingdom, USA
Creators: Çetiner-Öktem, van Elferen
Publisher: Cambridge Scholars Publ. (Newcastle upon Tyne)
Collection: Nostalgia or Perversion? Gothic Rewriting from the Eighteenth Century until the Present Day
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After William Hope Hodgson penned his masterpiece The House on the Borderland in 1908 his story has been considered as a work midway between science fiction and fantasy, and (at the point it was called supernatural) gothic as well. Corben and Revelstroke’s graphic novel adaptation in 2000 has not only brought Hodgson’s work up-to-date format-wise but has also constructed a nostalgic bridge to the work through focussing heavily on the gothic elements; thus, rendering the adaptation more gothic and eerie than the original.
Erich Neumann claims that “the symbolism of consciousness is archetypally masculine, that of the unconsciousness archetypally feminine.” The narrative flow constantly shifting from male consciousness to female unconsciousness, in this sense, allows for an archetypal reading of the material. The archetypal images embedded in the graphic novel adaptation portray the feminine as malicious and luring. The perversity interwoven into the very material of the house and surrounding grounds is chthonian to the absolute, thus feminine. Mother Earth is depicted as spewing forth her vampiresque wild boars during the full moon and as opening her womb to enslave the rational male by using the writer’s sister Mary as a tool. Mary’s incestuous behaviour is the prime source of perversity driving the writer to a state of hallucinations.
This article aims to address the issue of how the graphic novel adaptation of The House on the Borderland portrays the feminine as the source of perversity by analysing the archetypal imagery behind the story
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