Sixteenth International Conference on the Arts in Society

Abstract

Though the term “gaslighting” has only risen in popular usage over the last several years, its origins can be traced back to Patrick Hamilton’s 1938 neo-Victorian melodrama Gaslight. The play vividly depicts psychological manipulation within a marriage, all of which revolves around a central object: the gaslight. In contemporary conversation, those who use the term “gaslighting” may not consciously think of the gaslight itself, especially since the object and its technology have become obsolete. However, a closer consideration of the gaslight in its materiality, function, and affect can contribute to current discussions about gaslighting as a social and psychological behavior. This project examines the role of the gaslight as object: in Hamilton’s play, in practical usage throughout the Victorian era, and in the popular imagination. Applying new materialist theories and the concept of “vibrant matter,” I will consider the particular qualities and behaviors of the gaslight that make it an especially active player within these different spheres. What is it about the gaslight that has the affective power to captivate and enchant, as well as to create an air of danger? Specifically, how does the gaslight’s presence within the domestic sphere connect with the female Gothic tradition that presents the home as a site of violence and terror? A meditation on the vital materiality of the gaslight through a critical feminist reading of Hamilton’s play can contribute to a deeper understanding of “gaslighting” as a contemporary social and psychological term, adding more layers of significance to an already powerful concept.