Art of Darkness: A Poetics of GothicUniversity of Chicago Press, 15 лют. 2009 р. - 319 стор. Art of Darkness is an ambitious attempt to describe the principles governing Gothic literature. Ranging across five centuries of fiction, drama, and verse—including tales as diverse as Horace Walpole's The Castle of Otranto, Shelley's Frankenstein, Coleridge's The Rime of the Ancient Mariner, and Freud's The Mysteries of Enlightenment—Anne Williams proposes three new premises: that Gothic is "poetic," not novelistic, in nature; that there are two parallel Gothic traditions, Male and Female; and that the Gothic and the Romantic represent a single literary tradition. Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions such as the haunted castle and the family curse signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions: In the Male plot, the protagonist faces a cruel, violent, and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible. By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics. Lucidly and gracefully written, Art of Darkness alters our understanding of the Gothic tradition, of Romanticism, and of the relations between gender and genre in literary history. |
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Результати 1-5 із 42
Сторінка iv
... Dracula : Signs of the Fathers " in Texas Studies in Literature and Language 33 , no . 4 ( December 1991 ) : 445–63 . Chapter Sixteen originally appeared as “ An ' I ' for an Eye : ' Spectral Persecution ' in The Rime of the Ancient ...
... Dracula : Signs of the Fathers " in Texas Studies in Literature and Language 33 , no . 4 ( December 1991 ) : 445–63 . Chapter Sixteen originally appeared as “ An ' I ' for an Eye : ' Spectral Persecution ' in The Rime of the Ancient ...
Сторінка viii
... 108 NINE Demon Lovers The Monk 115 TEN Why Are Vampires Afraid of Garlic ? Dracula 121 ELEVEN The Female Plot of Gothic Fiction 135 TWELVE The Male as " Other " 141 THIRTEEN The Fiction of Feminine Desires Not the Mirror but VIII Contents.
... 108 NINE Demon Lovers The Monk 115 TEN Why Are Vampires Afraid of Garlic ? Dracula 121 ELEVEN The Female Plot of Gothic Fiction 135 TWELVE The Male as " Other " 141 THIRTEEN The Fiction of Feminine Desires Not the Mirror but VIII Contents.
Сторінка 16
... Dracula , ( 1897 ) , du Maurier's Rebecca ( 1938 ) , and the works of Stephen King . This version of the Gothic myth , therefore , describes only one wing of the haunted mansion . In representing the Gothic myth , 16 Introduction.
... Dracula , ( 1897 ) , du Maurier's Rebecca ( 1938 ) , and the works of Stephen King . This version of the Gothic myth , therefore , describes only one wing of the haunted mansion . In representing the Gothic myth , 16 Introduction.
Сторінка 21
... Dracula ( 1897 ) have vampires become stock Gothic characters . Like Frankenstein , Dracula quickly escaped the bonds of the printed page and began to inhabit the popular imagination . The difference between the pre - Dracula , proto ...
... Dracula ( 1897 ) have vampires become stock Gothic characters . Like Frankenstein , Dracula quickly escaped the bonds of the printed page and began to inhabit the popular imagination . The difference between the pre - Dracula , proto ...
Сторінка 22
... Dracula , the terrible father figure , represents the culturally " female " in blood , darkness , death , and monstrous , unspeakable , unsanctified reproduction . The vampire became unforgettable , it seems , only when Stoker tailored ...
... Dracula , the terrible father figure , represents the culturally " female " in blood , darkness , death , and monstrous , unspeakable , unsanctified reproduction . The vampire became unforgettable , it seems , only when Stoker tailored ...
Зміст
1 | |
Riding Nightmares or Whats Novel about Gothic? | 25 |
Reading Nightmères or The Two Gothic Traditions | 97 |
Writing in Gothic or Changing the Subject | 173 |
The Alien Trilogy | 249 |
APPENDIX B Gothic Families | 253 |
APPENDIX C The Female Plot of Gothic Fiction | 256 |
Bibliography | 285 |
Index | 301 |
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Abelard Agnes Ann Radcliffe appears argues beautiful Belle Dame Bluebeard castle Castle of Otranto Chicago Press Coleridge Coleridge's critics dark death desire discourse Dracula dream Edited eighteenth century Eloisa Eloisa to Abelard Emily Eros Essays experience fantasy father Female Gothic feminine feminist Freud Freudian gender genre Gothic conventions Gothic Fiction Gothic Novel Gothic plot Gothic tradition haunted horror Imagination implies Jane Eyre Keats Keats's Knight Kristeva language literary M. H. Abrams Male Gothic Mariner Mariner's marriage masculine material meaning metaphor mode Monk mother Mysteries of Udolpho mysterious myth nature object Oedipal Otranto Oxford patriarchal poem poetic Porphyro principle Psyche Psyche's psychoanalytic Radcliffe Radcliffe's readers reality represents Rime Romantic Romanticism Samuel Taylor Coleridge secret Semiotic sense sexual speaking subject Stoker's story structure sublime suggests Symbolic tale terror theory tion Udolpho uncanny unconscious University Press vampire Van Helsing Walpole woman women word writing York