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 2
... definition and an implicit standard of value even in those leisurely histories of " the novel " with no self- conscious theoretical bias . Therefore such surveys both minimize dis- cussion of Gothic and shove it into the closet of a ...
... definition and an implicit standard of value even in those leisurely histories of " the novel " with no self- conscious theoretical bias . Therefore such surveys both minimize dis- cussion of Gothic and shove it into the closet of a ...
Сторінка 7
... definition of Gothic as immanent and material , coincide in at least one regard . Each aligns itself with the " female " as traditionally imaged by Western culture . ( Hume's argu- ment that " Gothic " reflects the lesser " fancy " is ...
... definition of Gothic as immanent and material , coincide in at least one regard . Each aligns itself with the " female " as traditionally imaged by Western culture . ( Hume's argu- ment that " Gothic " reflects the lesser " fancy " is ...
Сторінка 8
... defined their favored literary modes against , the supposedly irrational , the ambiguous , the unenlightened , the chaotic , the dark , the hidden , the secret . In contrast to the long - dead , dusty skeleton , the mad- woman , though ...
... defined their favored literary modes against , the supposedly irrational , the ambiguous , the unenlightened , the chaotic , the dark , the hidden , the secret . In contrast to the long - dead , dusty skeleton , the mad- woman , though ...
Сторінка 10
... domestic secrets . Yet feminist critics of the Gothic have not adequately examined Moers's assumption that " female Gothic " is any Gothic fiction produced by women . Moers's definition of " Gothic " is also IO Introduction.
... domestic secrets . Yet feminist critics of the Gothic have not adequately examined Moers's assumption that " female Gothic " is any Gothic fiction produced by women . Moers's definition of " Gothic " is also IO Introduction.
Сторінка 11
A Poetics of Gothic Anne Williams. women . Moers's definition of " Gothic " is also unsatisfyingly simplis- tic : she ... define themselves , all Gothic is culturally " female . " But could it be that " female Gothic " is the other of ...
A Poetics of Gothic Anne Williams. women . Moers's definition of " Gothic " is also unsatisfyingly simplis- tic : she ... define themselves , all Gothic is culturally " female . " But could it be that " female Gothic " is the other of ...
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