Exploring the links between Speculative Realism, psychoanalysis, and literary criticism, this article examines OOO’s entanglement with the ‘uncanny’. Reading OOO against three notable treatments of the concept - Sigmund Freud’s 1919 essay “The ‘Uncanny’”, Ernst Jentsch’s 1906 paper “On the Psychology of the Uncanny”, and Martin Heidegger’s discussion of uncanniness in his Introduction to Metaphysics (1953) - it argues that OOO reconfigures the ‘uncanny’ as a profoundly ontological concept premised on aesthetic enstrangement. Using E.T.A. Hoffmann’s short story “The Sandman” as a case study, it assesses what the consequences of this reconfiguration are for literary criticism and, in particular, the study of the Gothic. By splicing OOO into the history and practice of Gothic scholarship, this article traces the outline of an “object-oriented uncanny”, pushing the ‘uncanny’ out of Freud’s shadow and into the “great outdoors”.

A b s t r A c t It has become a truism in discussions of Imperialist literature to state that the British empire was, in a very significant way, a textual exercise. Empire was simultaneously created and perpetuated through a proliferation of texts (governmental, legal, educational, scientific, fictional) driven significantly by a desire for what Thomas Richards describes as " one great system of knowledge. " The project of assembling this system assumed that all of the " alien " knowledges that it drew upon could be easily assimilated into existing, " universal " (that is, European) epistemological categories. This belief in " one great system " assumed that knowledges from far-flung outposts of empire could, through careful categorization and control, be made to reinforce, rather than threaten, the authority of imperial epis-temic rule. But this movement into " new " epistemic as well as physical spaces opened up the disruptive possibility for and encounter with Fou-cault's " insurrection of subjugated knowledges. " In the Imperial Gothic stories discussed here, the space between " knowing all there is to know " and the inherent unknowability of the " Other " is played out through representations of failures of classification and anxieties about the limits of knowledge. These anxieties are articulated through what is arguably one of the most heavily regulated signifiers of scientific progress at the turn of the century: the body. In an age that was preoccupied with bodies as spectacles that signified everything from criminal behaviour, psychological disorder, moral standing and racial categorization, the mutable, un-classifiable body functions as a signifier that mediates between imperial fantasies of control and definition and fin-de-siècle anxieties of dissolution and degeneration. In Imperial Gothic fiction these fears appear as a series of complex explorations of the ways in which the gap between the known and the unknown can be charted on and through a monstrous body that moves outside of stable classification.

In this article, we examine the origins and the development of wine culture in Slav-ic-speaking areas beginning in prehistoric times and continuing until the late Pro-to-Slavic period. We discuss linguistic and archeological evidence to trace the PSl term *vino by focusing on different hypotheses about its origin as a native inheritance from PIE vs. borrowing in a later period from Latin or Germanic. The goal of our analysis is to reevaluate phonological, suprasegmental, and morphological data related to *vino, specifically vowel length, accent shift, and grammatical gender. We also marshal data from other Indo-European languages, such as Armenian, Alba-nian, and Greek, to provide a more nuanced view of the spread of viticultural terms throughout Europe. Archaeological evidence is adduced to demonstrate the timeline of the arrival of various elements of wine culture to the area inhabited by speakers of Proto-Slavic. As part of that discussion, we revisit some arguments about the origin of PSl *vino and *vinogordъ based on the history of trade relations and local wine-making. Finally, we review early literary evidence that could shed light on the role of wine and wine culture in early medieval Eastern Europe. The linguistic and cultural analysis of these diverse data helps create an account of both the origins of wine culture in regions inhabited by Slavic speakers and the role that that culture played in the earliest-attested Slavic societies.

(Century Gothic Bold 16) Abstract should describe the goal, methodology and conclusion of the paper in 100-200 words. Language of the conference is English. Century Gothic, 11 pt

A Gothic Hausuhr with a very unusual frame construction and original wheels, including the crownwheel, is discussed. A careful forensic-like study of repairs and modifications indicates that it has been in use for a considerable period and is of an early date. Technical features, especially the form of the suspension gallows, suggest that it originated from southeastern Austria.

This review analyzes the contribution of Tom Nickson´s study from the position given to Spain within European Gothic by the Anglophone historiography. It argues that Nickson´s book is a radical departure from previous historiography, which had condemned Toledo Cathedral, and all Spanish gothic monuments, because they were thought to be mere copies of European models. Nickson, however, convincingly argues that Toledo Cathedral is a monument as interesting as its canonical French and English counterparts. He does so by employing a holistic, integrated, and diachronic approach, with an impressive amount of information, much of it new, which addresses some of the latest concerns in the historiography of art, the humanities, and the social sciences, such as the creation of an identity through the creation of memories.