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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Сторінка 5
... " illegitimate cousin " of Romantic poetry . ) Hume argues that we can distinguish high Romantic poetry by its affirmation of the transcen- dent Imagination , while the Gothic remains mired in an 5 GOTHIC FICTION'S FAMILY ROMANCES.
... " illegitimate cousin " of Romantic poetry . ) Hume argues that we can distinguish high Romantic poetry by its affirmation of the transcen- dent Imagination , while the Gothic remains mired in an 5 GOTHIC FICTION'S FAMILY ROMANCES.
Сторінка 6
... imagination , " which , according to Coleridge , recasts the objects of the exterior world into a new and more profoundly ' true ' reality , giving the materials with which it chooses to work a unity and meaning which they do not ...
... imagination , " which , according to Coleridge , recasts the objects of the exterior world into a new and more profoundly ' true ' reality , giving the materials with which it chooses to work a unity and meaning which they do not ...
Сторінка 8
... Imagination . " In Char- lotte Bronte's heart of darkness they found their metaphor for this his- tory , which may serve as well for the feminist narrative of the Gothic : " the madwoman in the attic . " This new mythos of Gothic moves ...
... Imagination . " In Char- lotte Bronte's heart of darkness they found their metaphor for this his- tory , which may serve as well for the feminist narrative of the Gothic : " the madwoman in the attic . " This new mythos of Gothic moves ...
Сторінка 10
... Imagination " is a concept rooted in nineteenth- century culture and its philosophical and theological traditions ; hence , the Romantics ' transcendent " Imagination " is as much a fiction as any Belle Dame Sans Merci or Haunted Castle ...
... Imagination " is a concept rooted in nineteenth- century culture and its philosophical and theological traditions ; hence , the Romantics ' transcendent " Imagination " is as much a fiction as any Belle Dame Sans Merci or Haunted Castle ...
Сторінка 21
... imagination . The difference between the pre - Dracula , proto- Gothic vampire and Stoker's interpretation may hide the secret princi- ple for which we are searching , for with Dracula , the vampire moved from being a peripheral element ...
... imagination . The difference between the pre - Dracula , proto- Gothic vampire and Stoker's interpretation may hide the secret princi- ple for which we are searching , for with Dracula , the vampire moved from being a peripheral element ...
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