All events take place at Simon Fraser University at Harbour Centre unless otherwise indicated.

SUNDAY, June 17

9:00-10:30 am: 4 concurrent sessions (1.5 hours)

35--Monsters, Gender, & Phantoms in the Romantic Gothic

Chair, Jerrold Hogle

35 (A) Dean Bethea (Western Oregon University) "Redefining Genres, Gender roles, and the Future: Mary Shelley's Valperga"

35 (B) John Whatley (Simon Fraser University) "Full and Empty Signs in Percy Bysshe Shelley's Gothic"

35 (C) Nicolle Jordan (G) (Brown University) "Charlotte Dacre and the 'Phantom' Private Sphere"

36--Medicine in Gothic Literature

Chair, June Sturrock

36 (A) Marjean Purinton (Texas Tech University) "Medical Cults and Gothic Culture: Popular Drama of the Early Nineteenth Century"

36 (B) Maile Chapman (Syracuse University) "Illness, Madness and the Voice of Medicine: Authority in the Short Fiction of Edgar Allen Poe"

36 (C) David Punter (University of Bristol) "'He called the ghost ... It had a queerish look': Francis Lathom and The Midnight Bell"

37--Gothic Terrorism: Systems, Conspiracies, & the Cult Leader

Chair, Faye Ringel

37 (A) Dr. Angela Wright (Sheffield-Hallam University) "The Terrorist System of Novel Writing: the anti-establishment of the Gothic genre in the periodical press of the 1790's"

37 (B) Robert Miles (Stirling University) "Systems of Terror: Conspiracy Fiction in the 1790's".

37 (C) Ed Cameron (George Washington University) "The Cult Leader and the Gothic Supernatural"

38--Canadian Dietary Gothic

Chair, Peter Schwenger

38 (A) Sandra Mornington-Abrathat (Liverpool Hope University College) "Something Hungry is Watching: Wendigo, Cannabilism, and Cultural Abjection in Ann Tracy's Winter Hunger and Mordecai Richler's Solomon Gursky Was Here"

38 (B) Sarah Rudrum (York University) "Meat is Murder: The Gothic and the Grotesque in Margaret Atwood's Alias Grace"

38 (C) Dr. Faye Hamill (University of Liverpool) "Southern Ontario Gothic"

10:30-10:45 am Refreshment Break

10:45-12:15 -pm 4 Concurrent sessions (1.5 hours)

39--Gothic Gendering: Heroine, Anti-Hero, & Machine in Three Media

Chair, Margaret Linley

39 (A) Kerry Griffin (Simon Fraser University) "The Waiting Boy: Aphanisis and Stained Masculinity in Emily Brontë's Gondal Poetry"

39 (B) Stefani Forlini (Simon Fraser University) "The Machinic-Human Body and Charlotte Mew's Aesthetic of (Dis)Embodiment"

39 (C) Susan Anthony (DePauw University) "'Master of my Fate': Characterization of the Heroine in Gothic Plays"

40--Reading Gothic Culture as Rhizome, Information, & the Oedipal Complex

Chair, Eric Henderson

40 (A) Tomasz Michalak (Simon Fraser University) "Gothic Noise and the Random Distribution of Ghosts"

40 (B) Trevor Holmes (York University) "The Cult of Count Stenbock: A Gothic Rhizome"

40 (C) Colin Haines (Uppsala University) "Plucking Out the Offending 'I'. Policing Desire in Edgar Allan Poe's 'The Tell-Tale Heart'"

41--Nationalism & the Gothic in Brockden Brown, Hogg, & Melville

Chair, Paul Budra

41 (A) Carol Davison (University of Windsor) "Calvinist Covens: Protestant Paranoia in Charles Brockden Brown's Wieland, or the Transformation and James Hogg's The Private Memoirs and Confessions of a Justified Sinner"

41 (B) Robert Carballo (Millersville University) "Shakespeare's Influence on Charles Brockden Brown's Wieland"

41 (C) Corey Thompson (University of Windsor) "Republican Gothic: Melville's 'The Bell-Tower' Reconsidered"

42--Questioning Gothic: Supernaturalism, Architectural Degeneracy, and the Anti-Technological Stance

Chair, Bruce Wyse

42 (A) A June Scudeler "'Wildered, wan, and panting': Percy Shelley's Gothic Genderings"

42 (B) Corina Wagner (Simon Fraser University) " 'The Consideration of Modern Degeneracy': Gothic Revivalism and the Architectural Design of A.W.N. Pugin"

42 (C) Robin A. Cryderman (University of Victoria) "Gothic Fictions/Alchemical Facts: Yonic Reversals and Revisionings in Theodore Roszak's The Memoirs of Elizabeth Frankenstein"

12:15-1:15 pm: Lunch (on own)

1:15-2:15 pm: 4th Plenary Address

Steven Bruhm, Mount St. Vincent University, Canada

"Only The Dead Can Dance: Gothic Choreographies of Mortality"

In the medieval French Danse Macabre, skeletons who represent death (or rather Death) present themselves to a wide range of people, from popes to farmers, and dance them into their graves. The bodies of these people are stolid, lumpen, enervated; the bodies of the skeletons - the dead - conversely, are agile, flexible, joyously expressive. In this tradition, which I want to suggest is foundational to contemporary gothic aesthetics, only the dead can dance: the pull toward death is paradoxically a seduction into movement and life where an imprisoning soul is destroyed in order to let the body move as an object of death. This talk will explore the ways in which the body in the Danse Macabre is echoed in various forms of 20th-century dance. In particular, I want to connect the Danse Macabre to the contemporary popular gothic of Michael Jackson's Thriller; through the postmodern dance practice of Japanese Butoh; to the film-turned-novel, The Red Shoes, which is shot through with gothic conventions. Ultimately, I want to discuss to role of the choreographed, stylized, posed body within an aesthetic that trades on the immediate, unmediated presence of graphic violence and somatic chaos for its artistic impact.

2:15-3:30 pm: Discussion period and refreshments

CULTS AND CONSPIRATORS FILM FESTIVAL final screening

Festival details

Film festival schedule for Sunday, June 17:

7:30 pm
The Saragossa Manuscript (Poland 1964. Director: Wojciech Has--in the restored, full-length, 35mm re-release)
Introduced by Ian Chunn, Centre for Distance Education, Simon Fraser University

DAY ENDS & Program ends