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Lee’s Kruitzner and Byron’s Werner
Robert Miles

shift in the deep structure of the self, or in the culture that may, or may not, have produced it. But I do contend that a project such as this one – intent on catching the discursive inflections of Gothic writing in its inter textual moments – provides a basis, an understanding, on which it is possible to proceed. I argued that the discursive provenance of the Gothic – the Gothic aesthetic and hygienic

in Gothic writing 1750–1820
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The dance of global darkness
Steven Bruhm

becoming a borderless art for a borderless century’ ( 2010 : 1). This chapter seeks to unpack a number of suggestions and assumptions that I have woven into my above description of butoh as a recognisably gothic aesthetic. By juxtaposing the living dead of an ‘Eastern’ dance practice with the animated corpse of the ‘Western’ gothic, I want to join two critical traditions that, to my knowledge, have not yet

in Globalgothic
Robert Miles

and its shadow are not of a universal, remote character, but invoke power. The desire aroused by the Gothic garden (sexual desire but also desire for self-realization) is one crossed by discourse. In assessing Gothic narratives of nurture it is important once again to keep gender in mind. In discussing the Gothic aesthetic I argued that the discursive values of the Gothic (patriarchy, the companionate

in Gothic writing 1750–1820
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Gender in the Gothic
Robert Miles

In the last chapter we looked at the Gothic as discourse, as a site of power/knowledge. Insofar as the Gothic aesthetic incorporates an idealized national identity together with a myth of origin it tends towards the openly ideological. But power is also written into the Gothic in less explicit ways. I used Foucault to problematize the late eighteenth century as a period of ‘archival

in Gothic writing 1750–1820
Robert Miles

’ controversy, Shakespeare contra Voltaire, the new aesthetic emerging from the canonization of the national poet versus French neo-classicism. In one respect Walpole’s celebrated comments in the second preface, on his attempts to forge ‘modern’ romance, are merely an intervention in the arguments producing the Gothic aesthetic. But in another they enlarge the boundaries of contemporary controversy. A link

in Gothic writing 1750–1820
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What is 'Gothic'?
Robert Miles

. The first, in explicating genealogy, uses the theories of Michel Foucault and Lawrence Stone to problematize the late eighteenth century, as a means of gaining a focus on the kind, and character, of the discourses relevant to the Gothics provenance. The next box, on the Gothic aesthetic, closes on the construction of the Gothic as a taste, an ideology, a series of related discourses at the back of Gothic writing. The next

in Gothic writing 1750–1820
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Andrew Smith

states of feeling (such as grief and melancholy) and the rhetorical construction of emotion in an emerging Gothic aesthetic. The Romantic Gothic explores the role of the writer in this Gothic discourse about death that, in its establishment of a Gothic iconography, also reaches out to an implied reader who can interpret the type of codes and symbols that characterise this discourse. The dead also occupy

in Gothic death 1740–1914
Christabel, The Eve of St Agnes and Lamia
Robert Miles

Contemporary critics themselves were clear about Christabel Gothic provenance. George Felton Mathew, in the European Magazine, sketches in the Gothic aesthetic as a positive backdrop against which he feels the poem ought to be read, particularly focusing on Christabel’s idealized, Gothic charm: ‘she is charitable, religious, beautiful and tender’ (Reiman 1977 : 505). He also poses the crucial question of

in Gothic writing 1750–1820
Elisabeth Bronfen and Beate Neumeier

to justice. Here too, the possibility remains that they are little more than external manifestations of Roderic’s own psychic state. Through a direct appropriation of Shakespeare’s Macbeth , ghost-seeing in Young’s Donalda is the phantasmatic projection of a conscience that is riddled with guilt. If this coupling of the ‘Gothicaesthetic with

in Gothic Renaissance
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Gardens, religious tradition and ecoGothic exegesis in Algernon Blackwood’s ‘The Lost Valley’ and ‘The Transfer’
Christopher M. Scott

employing the Gothic aesthetic in his narratives, Blackwood prefers instead to implement it in the light of his own interpretation of spiritual and ecological ontologies. Blackwood's nuanced presentation of the Gothic aesthetic cultivates an ecoGothic parterre within which Blackwood's physical landscapes evoke dread through a mystical conflation of gardens and the otherworldly. Blackwoodian mystical landscapes When he observed the natural landscape, Blackwood viewed it beyond its mere exterior characteristics. He recognised the

in EcoGothic gardens in the long nineteenth century