Search results

You are looking at 21 - 30 of 47 items for :

  • "Gothic aesthetic" x
  • Literature and Theatre x
  • All content x
Clear All
Abstract only
Towards an aesthetic context for William Blake's 'Gothic' form
Kiel Shaub

Gothic aesthetic to which their stylistic innovations only contributed. 6 This particular thread of the Gothic Revival in England was also inextricably tied to the political ferment of the late eighteenth and early nineteenth centuries. The medieval parishioner's ‘animated devotion at the rude Gothic shrine’ effectively idealised a moment in time before the advent of the enlightenment political discourse that would culminate

in William Blake's Gothic imagination
Abstract only
Angela Carter and European Gothic
Rebecca Munford

Gothic aesthetic). Critics have tended to isolate specific texts or clusters of texts rather than explore Gothic patterns across Carter’s oeuvre. Linden Peach, for example, argues that Carter’s early work is influenced by a ‘Euro-American Gothic’ tradition and is particularly indebted to some of the key features of American Gothic outlined by Leslie Fiedler in his seminal study Love and Death in the

in Decadent Daughters and Monstrous Mothers
Robert Miles

transmits and produces power; it reinforces it, but also undermines and exposes it, renders it fragile and makes it possible to thwart it. (Foucault 1979 : 100-1) As we shall see, a pattern of reinforcement and undermining is particularly relevant to Gothic rewriting, and to the Gothic aesthetic (the subject of the following

in Gothic writing 1750–1820
Steven Bruhm

spiritual or ghostly ethereality and grave-oriented, earthy embodiment. The Gothic aesthetic of Michael Jackson’s Ghosts does much the same thing. Throughout the corps de ballet Michael does to death (as it were) heavy foot-stomping, pounding upon the floor, and foot-dragging. More than any other Jackson choreography I know, this one holds its bodies in continual flex at the waist to emphasise

in Queering the Gothic
Abstract only
Claire Colebrook

the perception of properties. It is only a subsequent abstraction and systematisation that creates a conventional or Kantian sublime that divides subject from object, line from the delineated. A Gothic aesthetic is neither one in which a formless world requires order nor one in which the world is simply given as bounded and ordered: we are neither in the world of experience – where one regards what is other than oneself with utter terror

in William Blake's Gothic imagination
Ana Elena González-Treviño

that is too vast to assimilate readily, even for them as women. 8 It is not that Blake, by refusing to represent their success, remains patriarchal in spirit, but that his vision of the feminine, by placing his characters within a subterranean or cavernous darkness, is reproducing the Gothic aesthetics that he knew so well in order to re-signify feminine bondage as a mental one – at least partially so. The Gothic aesthetic stands for a set of values that is

in William Blake's Gothic imagination
Towards the making of The Mysteries of Udolpho
Robert Miles

chapter I want to trace the development of this ‘cohering’ in Radcliffe’s early texts, showing how these techniques have their origins in the discursive practices of the Gothic aesthetic, thus supplementing what I take to be the most powerful modern re-readings of Radcliffe. The core of Radcliffean complexity, I believe, is the issue of authority, the manner in which the later Radcliffe succeeds in

in Gothic writing 1750–1820
Minding the gap in The Winter’s Tale
Elisabeth Bronfen and Beate Neumeier

shun her / Until you see her die again, for then / You kill her double’ (5.3.105–6), Paulina therefore says, foreseeing repugnance at a living corpse. So, no wonder this ‘thinglike character’ seems ‘strange, daemonie ’ (Lupton 178). For if the abjection and exclusion of the disgusting is constitutive of the Gothic aesthetic, the terms with which its Frankenstein-like controller

in Gothic Renaissance
The spectacle of dissection
Stephanie Codsi

the lifeless to the restless. In Blake's horrific narratives, disjointed organs inhabit a life of their own: ‘a foot, or a hand, or a head / Or a heart, or an eye, they swam mischevous / Dread terrors! delighting in blood’ ( BU 23:5–7; E 81). Typical of the Gothic aesthetic, the grotesqueness of this body imagery is so inflated that it collapses into the absurd. Indeed, Blake tends to use characteristics of the Gothic genre to comedic ends

in William Blake's Gothic imagination
Abstract only
Avril Horner

seen as ‘key examples of the difficult progress of the Enlightenment in Spanish cultural history’. (Significantly, both Blanco-White and Goya eventually chose to live in exile.) Concluding with an analysis of some of Goya’s murals, Curbet suggests that in these late works we see the Spanish painter questioning the very nature of human rationality: that is, moving beyond the Gothic aesthetic towards an

in European Gothic