Abstract:
More than any other body part, the hand is indispensable to the Gothic. The Gothic Hand is created when this interaction of body and genre meets and there is a reflexive transformation, the hand either acts as a conduit for or becomes a manifestation of Gothic themes. These effects are not mutually exclusive, and the susceptibility of the hand to being made Gothic is encouraged by the ability of the hand to navigate between binary states. Yet, the hand has not received individual attention in studies of the Gothic body. This thesis aims to approach the Gothic Hand systematically and lay out its history, prestige, and impact. From the ancient Roman laws of manus, and the transcendence of the hand in English language, to the famous body of Gothic literature that, continually, provides inspiration for the Gothic on screen, in associated works of art and fashion, and the resultant cultural references, the Gothic Hand is everywhere. This works breaks down these aspects into four chapters: “The Iconographic Hand of the Classic Gothic Monster,” explores the visualisation of the Gothic Hand in relation to the enduringly iconic monsters of film; “The Disembodied Hand,” discusses the potential of Gothic Hand to break free of the body, in idioms, as gloves, and with handprints; “The Feminine Gothic Hand” approaches a trinity of female identities, bride, mother, lesbian, in relation to patriarchal law; “Gothic Helping Hands” follows two uncanny hands making their way back into the domestic and the implications of allowing them to stay. This work uses an interdisciplinary approach and references works from a wide range of subjects including works from schools of sociology, history, comparative literature, film studies, television studies, art history, psychoanalysis, material culture, and gender studies.