Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)

Although he didn’t refer to a well-defined « Gothic » genre, Arthur Machen, in his 1895 novel, took up many elements which had by then become traditional. Medieval torture instruments and haunted Celtic forests no longer breed fear, but are used with excess and with parodic distance. The novel refle...

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Main Author: Claire Wrobel
Format: Article
Language:English
Published: Presses Universitaires de la Méditerranée 2008-12-01
Series:Cahiers Victoriens et Edouardiens
Online Access:https://journals.openedition.org/cve/8518
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author Claire Wrobel
author_facet Claire Wrobel
author_sort Claire Wrobel
collection DOAJ
description Although he didn’t refer to a well-defined « Gothic » genre, Arthur Machen, in his 1895 novel, took up many elements which had by then become traditional. Medieval torture instruments and haunted Celtic forests no longer breed fear, but are used with excess and with parodic distance. The novel reflects the evolution of Victorian Gothic, setting tales of terror and horror in the here and now of fin-de-siècle London. The contemporary threats of New Women and democratization are casually brushed aside, but Machen fully draws upon the anxiety generated by the possibility of reversion opened up by the theory of evolution and explored by anthropologists and criminologists. Moreover, he breaks the original systematic association of « Gothic » and « barbaric » with « medieval » in order to include the refined cruelties and mysteries of pagan rites in his abject visions. In a final twist, he sets a barbaric scene in a decaying mansion meant to embody the eighteenth century, thus « gothicizing » the age of enlightenment and urbanity.
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spelling doaj-art-92bc25184ef64469910fc64bc82e7aee2025-01-30T10:22:34ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492008-12-016710.4000/cve.8518Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)Claire WrobelAlthough he didn’t refer to a well-defined « Gothic » genre, Arthur Machen, in his 1895 novel, took up many elements which had by then become traditional. Medieval torture instruments and haunted Celtic forests no longer breed fear, but are used with excess and with parodic distance. The novel reflects the evolution of Victorian Gothic, setting tales of terror and horror in the here and now of fin-de-siècle London. The contemporary threats of New Women and democratization are casually brushed aside, but Machen fully draws upon the anxiety generated by the possibility of reversion opened up by the theory of evolution and explored by anthropologists and criminologists. Moreover, he breaks the original systematic association of « Gothic » and « barbaric » with « medieval » in order to include the refined cruelties and mysteries of pagan rites in his abject visions. In a final twist, he sets a barbaric scene in a decaying mansion meant to embody the eighteenth century, thus « gothicizing » the age of enlightenment and urbanity.https://journals.openedition.org/cve/8518
spellingShingle Claire Wrobel
Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)
Cahiers Victoriens et Edouardiens
title Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)
title_full Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)
title_fullStr Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)
title_full_unstemmed Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)
title_short Un roman néo-gothique : The Three Impostors d’Arthur Machen (1895)
title_sort un roman neo gothique the three impostors d arthur machen 1895
url https://journals.openedition.org/cve/8518
work_keys_str_mv AT clairewrobel unromanneogothiquethethreeimpostorsdarthurmachen1895