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 xii
... unconsciously typed the phrase " threat of castration " without the " h . " Finally , I want to acknowledge my companion ( or perhaps famil- iar ) who joined the family as I was beginning Art of Darkness : Pandora , a calico Persian and ...
... unconsciously typed the phrase " threat of castration " without the " h . " Finally , I want to acknowledge my companion ( or perhaps famil- iar ) who joined the family as I was beginning Art of Darkness : Pandora , a calico Persian and ...
Сторінка 1
... unconsciously established since professional criticism of Gothic began about a century ago . But a rad- ical remapping of the territory is warranted ; the familiar guides have not served us well . As long as we think of Gothic primarily ...
... unconsciously established since professional criticism of Gothic began about a century ago . But a rad- ical remapping of the territory is warranted ; the familiar guides have not served us well . As long as we think of Gothic primarily ...
Сторінка 4
... unconsciously ) like Victorian biographers intent on a fiction of family respectability— even if it means burning some letters or expurgating a diary or two . Any unfortunate " family resemblance " between Gothic prose and Romantic ...
... unconsciously ) like Victorian biographers intent on a fiction of family respectability— even if it means burning some letters or expurgating a diary or two . Any unfortunate " family resemblance " between Gothic prose and Romantic ...
Сторінка 15
... unconscious , encourage different histories of Gothic.36 ( He also noted the relatively old - fash- ioned habits of most Gothic critics ; " It might as well be 1958 in the castle , " he concludes wryly . ) The problems of " Gothic ...
... unconscious , encourage different histories of Gothic.36 ( He also noted the relatively old - fash- ioned habits of most Gothic critics ; " It might as well be 1958 in the castle , " he concludes wryly . ) The problems of " Gothic ...
Сторінка 17
... unconsciously acknowledged its especially complex , problematic status as a category . Earlier critics tried repeat- edly to resolve Gothic into satisfactory subdivisions . Montague Sum- mers ( 1938 ) first proposed that there were ...
... unconsciously acknowledged its especially complex , problematic status as a category . Earlier critics tried repeat- edly to resolve Gothic into satisfactory subdivisions . Montague Sum- mers ( 1938 ) first proposed that there were ...
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