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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
Charles Bonnet and William Blake’s illustrations to Robert Blair’s The Grave (1808)
Sibylle Erle

Blake’s visual language systematically undermined Blair’s as it blurred the boundary between the literal and the figural and even distorted the boundaries of gender. The illustrations are uncanny because, rather than supporting the scenarios described by Blair, they create an alternative reality and tease viewers into confronting death (Freud, 1985 : 370–2). It is Blake’s Gothic aesthetic

in The Gothic and death
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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
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The Gothic in Northanger Abbey
Robert Miles

manner of the Gothic aesthetic) . She grants that the modern novel is a debased form of romance, one luxuriating in the depiction of contemporary decadence, and ought to be controlled; but romance, proper, is not to be tarred with the same brush. She recruits Cervantes to her cause, noting that the noble character of the deluded Don is ‘more respectable, and more amiable’ than characters ‘wholly immersed

in Gothic writing 1750–1820
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David Annwn Jones

simplistically as a clash between, on one hand, local families whose forbears are commemorated by the headstones and monuments and, on the other, costumed visitors and lifetime Goths insisting on their own freedoms, it also encapsulates another type of conflict between different interpretations of Gothic aesthetic visibility. Photographers such as Simon Marsden and Paul Koudounaris stress their reverence for the

in Gothic effigy
‘Mariana’, Maud and Somersby
Sue Edney

words ‘fall into a configuration’ (55) with Mariana's largely self-imposed state of physical and emotional immobility, and also with the picturesque Gothic aesthetic that allows for fantastic conjurations. Measure for Measure creates more problems here than it solves: Mariana does, eventually, marry Angelo who had rejected her for so many years, but under such strange circumstances that one might expect her to refuse. However, John Stuart Mill considers the Shakespearean relevance to be nominal; we should only ‘retain’ the moated grange ‘and a solitary dweller

in EcoGothic gardens in the long nineteenth century
Poe, Brontë and Eliot
Andrew Smith

) Morella is associated with an anti-aesthetic (which is opposed to ‘beauty’), and Poe attempts to challenge this Gothic aesthetic even whilst he works within it. Beauty is linked to melancholy grief, which bestows a paradoxical pleasure in which the subject is, as Poe states in ‘The Philosophy of Composition’, ‘impelled ... by the human thirst for self-torture’ (p. 491). However, the narrator does not

in Gothic death 1740–1914
Rebecca Munford

Maternal Muse Analysing Poe’s Gothic aesthetic in ‘Through a Text Backwards’, Carter posits that ‘the elements’ in his ‘voluptuous tales of terror’ are over-determined (‘TTB’ 482). Poe’s theatricality, she suggests, ensures we know all the time that the scenery is card-board, the blade of the axe is silver paint

in Decadent Daughters and Monstrous Mothers
Affect and ethics in fiction from neoliberal South Africa
Rebecca Duncan

not as a cleanly defined unit, but as a more diffuse entity, one that might be resistant to the molarising action of dividualisation. This potential shifts into especially sharp focus if we consider the extent to which, since its inception, gothic has evinced a deep suspicion of boundary-driven thought. While the gothic aesthetic has witnessed various changes throughout its two-century-long history

in Neoliberal Gothic