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 iv
... in this publication meets the minimum requirements of the American National Standard for Informa- tion Sciences - Permanence of Paper for Printed Library Mate- rials , ANSI Z39.48-1992 . To My First Family : C.B. , GARY , AND.
... in this publication meets the minimum requirements of the American National Standard for Informa- tion Sciences - Permanence of Paper for Printed Library Mate- rials , ANSI Z39.48-1992 . To My First Family : C.B. , GARY , AND.
Сторінка xii
... tion supporting this project . Special thanks to Hugh Ruppersburg , now head of the English Department here at the University of Geor- gia in Athens , who negotiated my return to Georgia . Margaret Dickie's encouragement and advice ...
... tion supporting this project . Special thanks to Hugh Ruppersburg , now head of the English Department here at the University of Geor- gia in Athens , who negotiated my return to Georgia . Margaret Dickie's encouragement and advice ...
Сторінка 5
... tion barely concealed their hostile recognition of this literature as a cul- turally " feminine " phenomenon — a celebration of emotion , intuition , and the child.15 Perhaps a subliminal recognition of Romantic poetry's inherent ...
... tion barely concealed their hostile recognition of this literature as a cul- turally " feminine " phenomenon — a celebration of emotion , intuition , and the child.15 Perhaps a subliminal recognition of Romantic poetry's inherent ...
Сторінка 6
... tion tradition , critics have regarded the Gothic as long dead , or else ( if alive ) as irrational " feminine " popular romance . According to the Romanticist , this dim , shapeless , fiction lacks the unifying clarity of the Romantic ...
... tion tradition , critics have regarded the Gothic as long dead , or else ( if alive ) as irrational " feminine " popular romance . According to the Romanticist , this dim , shapeless , fiction lacks the unifying clarity of the Romantic ...
Сторінка 15
... tion of the line between the " obscene " and the " decent , " there is a general category of " obscenity . " Similarly , though one may have trou- ble drawing a precise line between " Gothic " and " not Gothic , " there undoubtedly is ...
... tion of the line between the " obscene " and the " decent , " there is a general category of " obscenity . " Similarly , though one may have trou- ble drawing a precise line between " Gothic " and " not Gothic , " there undoubtedly is ...
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