'On of the Princypalle Havenes of the See': The Port of Famagusta and the Ship Graffiti in the Church of St George of the Greeks, Cyprus

In its 1000-year history the port has been the source of triumph and tragedy for the city of Famagusta, being the conduit through which flowed both enormous wealth and destruction. Today the French medieval and Greek Orthodox churches, and the Venetian walls, though ruined, still carry physical traces of this turbulent society in the form of ship graffiti. Though such images are often classified as 'low-art', they are nevertheless imbued with a deep social significance, which the maritime historian can yet use to get a glimpse of an important, though virtually-forgotten, heritage in the Eastern Mediterranean.
© 2007 The Author     

Gothic memory and forgetfulness in Elizabeth Bowen's A World of Love and ‘The Demon Lover’

Elizabeth Bowen's A World of Love (1954) and ‘The Demon Lover’ (1945) share an uncustomary usage of Gothic conventions: the Anglo-Irish writer invests the Gothic genre with new meaning for the war-torn Irish and the post-World Wars generation by skewing Gothic conventions, reflecting a new Gothic for a new age – one that has seen the effects of two catastrophic wars and not only dead soldiers, but dead-in-life survivors. In A World of Love, Bowen uses not a ghost that haunts the attic, but a nearly forgotten dead World War I soldier; not a male power of place and a fleeing female, but a female power of place and a displaced male; and not a lonely, menacing castle, but a dilapidated farm. In both the novel and the short story, the dead-in-life survivors must remember in order to successfully exorcise the war and the dead soldiers of war, thereby revitalizing themselves. Those who cannot remember are doomed to the past. This article examines the twist on the Gothic novel and its statement about the possibly disastrous effects of forgetting and of remembering incorrectly – anxieties shared by other twentieth-century Irish writers in terms of their eroding cultural identity and past.     

The Gothic-Romantic Hybridity in Mary Robinson’s Lyrical Tales

ABSTRACT

Mary Darby Robinson is well known for writing her final volume of poems, the Lyrical Tales (1800), as a direct answer, sometimes poem by poem, to Wordsworth and Coleridge’s 1798 Lyrical Ballads. What has been less studied is how deliberately hybrid in style and allusions her response-poems are in the Tales, especially how prominently they foreground Gothic imagery, theatricality, and hyperbole in poems that also ape the emerging “romantic” mode of the Ballads themselves. Part of that “cheekiness,” I argue, stems from the condemnation of the Gothic that both Wordsworth and especially Coleridge had articulated in print, while also echoing it, albeit in highly modified ways, in their poetry. Most of what Robinson attempts with her hybrid Tales, though, develops the penchant in Gothic for symbolizing deep and unresolved ideological conflicts in Western culture. Her answers to Wordsworth and Coleridge, which I exemplify with selected Robinson Tales, therefore, bring out those very conflicts underlying, haunting, and even tormenting the speakers and the subject-matter in the original Lyrical Ballads.     

Notes from County Correspondents.

In 1503, the canons of Ripon Minster initiated a building campaign to replace the church’s nave. Through a careful study of the documentary evidence, including sources that have not previously been considered, this article investigates how Ripon’s clergy organised and funded the project. It offers a more precise chronology of the works and an assessment of their impact on the use of the church by its parishioners. The article also considers the clergy’s motives for rebuilding, proving that the renovation was not a reaction to the old nave’s deterioration so much as an initiative to create a grander architectural setting for processions and more space for burial within the church.     

Rodrigo Gil de Hontañón and 16th-Century Building Techniques: The Cimborio Vault of Archbishop Fonseca College Chapel in Salamanca (Spain)

Rodrigo Gil is one of the greatest masters of Spanish architecture. His brilliant career is partially explained by the efficiency of his design methods and his building techniques, especially evident in his ribbed vaults. If we examine the latter as a whole, the first aspect to be noted is undoubtedly their great formal complexity. However, the detailed study discloses that rather limited geometric and building techniques are hidden behind those elaborated patterns, aimed at simplifying and making the execution more economical. In order to bring some of these devices to light, one of his best-known vaults was selected for an in-depth study. The construction of a large-scale model of it also revealed some interesting features regarding the placing of the centerings and shorings during the erection.     

Structural Integrity of Stone Blocks From Charles Bridge in Prague

The Charles Bridge is the oldest, still-standing gothic bridge that crosses the Vltava River in Prague and up to now has belonged among the most sought-after historical monuments in the Czech Republic. The bridge has been repeatedly damaged due to floods and has been repaired several times. In the reconstructions, damaged sandstone blocks were substituted in facing. This experimental study focused on nonlinear ultrasonic spectroscopy for testing stone blocks that were extracted from the historical bridge structure. The objective of these experiments was verifying whether the methods can be applied to evaluating the internal structure of blocks, which are built-in in the structure in situ. Intact-structure blocks, blocks that had been repaired in the past, and damaged-structure blocks were measured. Two methods of nonlinear ultrasonic spectroscopy were applied—the method with single harmonic ultrasonic signal and with two harmonic ultrasonic signals. Measurement results of both applied methods proved resulting parameters correlation with block structure integrity quality.     

Death at St Bernard's: Anti-vivisection,Medicine and the Gothic

Displaying a Gothic fascination with the misapplication of science, Edward Berdoe's St Bernard's: The Romance of a Medical Student (1887) was one of a number of novels in the 1880s that repackaged the horrors of vivisection for public consumption. Although the novel can be dismissed as derivative, it departed from standard themes found in other anti-vivisection texts. Through the device of a hero struggling with the moral implications of science and the reckless treatment of patients, St Bernard's challenged the legitimacy of the teaching hospital. The present article moves debate about the Gothic, literature and science beyond well-known texts by Stevenson and Wells to examine how St Bernard's combined ‘the methods of science with the methods of romance’ and shifted the anti-vivisection narrative into the hospital. In locating the novel within anti-vivisectionist uses of fiction and late-Victorian anxieties about experimental medicine and the teaching hospital, the article explores the novel's relationship with other anti-vivisection texts and Gothic fiction, and examines what it says about scientific practices and mentalities. St Bernard's fashioned a very different hospital from existing representations to warn readers of how brutish students and cruel doctors tortured patients. In doing so, the novel recast the teaching hospital as an uncanny and dangerous place.     

A comparison of the 1889 and the revised 1903 edition of Somerville and Ross's first novel,An Irish Cousin

In 1903, after the publication of the second volume of the Irish R.M. stories, Edith ?. Somerville and Martin Ross revised and republished their first novel, An Irish Cousin (1889 Somerville, E. OE., and MartinRoss. An Irish Cousin. London: Richard Bentley, 1889. [Google Scholar]), under its original name. They reduced it from two volumes to one, made global revisions to the plot, and edited it at the word and sentence level. More interestingly, they modified the representation of the main Irish protagonists of the gothic plot, both landlords and tenants. To date, no extensive comparison between the two editions exists. The 1889 edition is rare, so commentators have relied on the 1903 edition even though they often cite the social context of the first edition. This article compares the two editions and provides explanations for the revisions, examining the authors’ personal and professional reasons for these changes voiced in their published and unpublished letters and diaries within the cultural, social, and political context of the period. The comparison briefly considers the implications of these changes for theorists of the Irish Gothic.     

Reading Kafka Visually: Gothic Ornament and the Motion of Writing in Kafka’s Der Process

Through close examination of the chapter ‘Im Dom’ in Kafka’s novel Der Process, this articles explores how a particular visual mode can shape the writing of a text. The mode analysed here inheres in the setting of Kafka’s chapter: the architecture of the Gothic cathedral, which the art historian Wilhelm Worringer, a contemporary of Kafka’s, saw embodied in the figure of ornament. This encounter between literary language and Gothic space as two phenomena mutually engendering each other opens a perspective onto the ‘motion of writing’ within the text, and onto its visuality and resonance with space. A dynamic and complex current; a chaotic tangle of lines; expression prevailing over meaning; an absent centre; vertigo and pathos — these are the principles shared by Worringer’s Gothic and Kafka’s writing.