INDEX
Absence: in Edward Scissorhands, 290–91;
of the feminine, 90, 93, 95, 97,
104; in Joy Division songs, 233–56;
and melancholia, 234–35; ‘‘white-
ness’’ as, 25–27, 252–53, 256
Absalom, Absalom!, 195–96
Adolescents: appeal of goth culture
for, 121–28, 316–17, 399; in Buffy
the Vampire Slayer, 307–15; in Edward
Scissorhands, 277–78; in goth commu-
nities, 322–31
Aesthetics, aestheticism, 12, 19, 22,
124; and Poppy Z. Brite, 86; as goth
way of life, 107, 112, 139–40, 398–
404; male empowerment and, 92
Aether Sanctum, 221–24
African Americans, 36, 127, 196, 199–
202, 213–14
Alienation: in Edward Scissorhands, 277–
92; in goth self-concept, 122, 123,
125, 316–21; as goth stereotype, 219;
in vampire narratives, 293–304; in
youth subcultures, 135–36
All about Eve, 4
Alternative culture, 16, 94, 147; and
Buffy the Vampire Slayer, 307–15; and
rock music, 233, 253–54. See also
Subcultures
Androgyny, 20–23, 89–118; as ab-
sence of gender, 110; ambivalence
of goth, 53–57; and Poppy Z. Brite,
86–87; and cross-dressing, 21,
50, 69; in The Crow, 94–102; and
ethics, 89–94, 107–15; in Fight Club,
102–7; of male goth style, 20–23,
48–49, 86–87, 92; and male self-
mortification, 101; in mass media,
51; in nineteenth-century discourse,
92; as threat to homosexuality, 84.
See also Gender
And the Ass Saw the Angel, 207–14, 224
Anglophilia, in goth subculture, 271–
72
Angst, 220–21
Appiah, Anthony, 109, 111
Araki, Gregg, 336
Architecture, 220
Asceticism, 264–65
Asian Americans, 25–26, 127, 356
Atrocity: in The Crow, 95; in Joy Divi-
sion, 237–39, 247–53
‘‘Atrocity Exhibition,’’ 237–38, 243–
44, 342
Austin, Texas, 65, 72–73
Australia, 217–30; and ‘‘Australian
gothic,’’ 219–30
Authenticity: David Bowie and, 129,
131, 132, 141; of Ian Curtis, 238;
in Dracula stories, 293–304; in
Edward Scissorhands, 277–92; and goth
performativity, 141, 238, 400; in
postmodern Southern fiction, 190–
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