Introduction; Part I: First Wave German Gothic Literature (1773 – 1817); Chapter One: Alexander Košenina (University of Hannover), “Schiller and the (short) German Crime Novel”; Chapter Two: Sophia Clark (Central Oklahoma University), “Midnight Rides, Death, and Spectres: Early German Gothic Poetry (1770s—1790s)”; Chapter Three: Jeffrey L. High (California State University, Long Beach), “The Arrival: British Reception of German Gothic Literature”; Chapter Four: Seán Allan (University of St. Andrews), “Kleist and the Gothic Novella”; Chapter Five: Jeffrey L. High (California State University, Long Beach), “Mereau, Brentano, Kleist, Wieland, and the Spanish Gothic of María de Zayas”; Chapter Six: Carrie Collenberg-González (Portland State University), “‘It was a dark and stormy night’: The Legacy of Gespensterbuch and Fantasmagoria” ; Part II: Second Wave German Gothic and Romanticism (1818 – 1906); Chapter Seven: Daniel Purdy (Pennsylvania State University), “Enclosure without Transcendence: Hegel’s Cathedral and Gothic Literature”; Chapter Eight: Christopher Burwick (Hamilton College), “Cannibalism, Infanticide, and Red Weddings: The Uncanny and the Collective Imagination in German Folklore”; Chapter Nine: Andrew Cusack (University of St. Andrews), “Beyond Romanticism: Re-Reading Tieck and Hoffmann as German Gothic”; Chapter Ten: Melissa Etzler (Butler University), “‘Da wurden die Dinge rings um mich lebendig’ (Then, everything around me came to life): The Transatlantic Ecogothic from Poe to Meyrink”; Part III: Reboot and Afterlife (1908 – present); Chapter Eleven: Elaine Chen (Harvard University), “‘Ganz von Zierat erdrückt!’: Jugendstil Design in the Neo-Gothic Works of Thomas Mann, Stefan Zweig, and Franz Kafka”; Chapter Twelve: Kai-Uwe Werbeck (University of North Carolina, Charlotte), “Mysterious Caverns, Desolate Mountains, and Haunted Castles: The Gothic in German Postwar Horror Cinema”; Chapter Thirteen: Sarah Koellner (College of Charleston), “Following Ariadne's Thread: On Gothic Imaginations and Mythological Corrections in the German Netflix Series Dark”; Chapter Fourteen: Natalie Martz (University of Oxford) and Curtis Maughan (University of Arkansas), “The German Gothic Videogame”; Chapter Fifteen: Jeffrey L. High (California State University, Long Beach) and Natalie Martz (University of Oxford), “U.S. German Gothic Literature Reception from Irving to Stephen King”
