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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
The Elephant Man, the Hysteric, the Indian and the Doctor
Andrew Smith

interpretation of him. Figure 1 Joseph Merrick Frederick Treves, ‘A Case of Congenital Deformity’, Transactions of the Pathological Society of London , XXXVI March (1885), 494–8 Plate XX What we witness is how crucial a role a Gothic aesthetic

in Victorian demons
Andrew Smith

a more jocular reference to Dracula , writing, ‘He comes pale vampire, through storm his eyes, his bat sails bloodying the sea, mouth to her mouth’s kiss. Here. Put a pin in that chap, will you?’ 20 German Expressionist films such as Wiene’s The Cabinet of Dr Caligari (1919), Wegener’s The Golem (1920), and Murnau’s Nosferatu (1921) exploited a Gothic

in The ghost story, 1840–1920
Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

auteur status while aligning the studio itself with the American studio era. Pirie saw Hammer operating as a ‘mini-major’ in a dilution of the early Hollywood mode of production ( A Heritage of Horror 43). The auteur theory was still being codified in the 1970s, and, seeing critically derided director Terence Fisher as the hand that shaped Hammer’s Gothic aesthetic, Pirie was keen to be the first to resituate Fisher as an artist (Ibid. 49, 52). To assert Fisher’s status, Pirie used the incipient auteur theories of Andrew Sarris and Peter Wollen, utilising their tenets

in Adapting Frankenstein
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E.J. Clery and Robert Miles

2.1 Cornelius Tacitus (55 to after 115 AD), Germania (trans. 1777), translated by John Aikin The Gothic aesthetic in architecture, poetry and fiction did not emerge in a vacuum. In the words of one authority, ‘the history of the “Gothic” begins not in the eighteenth but in the seventeenth century, not in aesthetic but in political discussion’ (Kliger, 1945, p. 1

in Gothic documents