Search results

You are looking at 91 - 100 of 113 items for :

  • "gothic tradition" x
  • Literature and Theatre x
Clear All
Abstract only
Urban hieroglyphics, patternings and tattoos in Edgar Allan Poe’s ‘The tell-tale heart’ and Herman Melville’s Moby-Dick; Or, the whale
Spencer Jordan

), Bleak house [1853] (London: Penguin). Dowling, David (2010), Chasing the white whale: The Moby-Dick marathon; Or, what Melville means today (Iowa: University of Iowa Press). Engel, William E. (2012), Early modern poetics in Melville and Poe: Memory, melancholy, and the emblematic tradition (Farnham: Ashgate). Fisher, Benjamin F. (2002), ‘Poe and the gothic tradition’, in K. J. Hayes (ed.), The Cambridge companion to Edgar Allan Poe (Cambridge: Cambridge University

in Tattoos in crime and detective narratives
The Dark Knight and Balder’s descent to Hel
Dustin Geeraert

that lasted the ages, Then ripped apart at their roots. 55 One of the signature routines of the Ledger/Nolan Joker is his challenge to his victims and enemies to explain the origins of his own horrific behaviour. He asks three separate characters: ‘Do you want to know how I got these scars?’ In each case, he gives a different answer, recalling the comic book precedent of The Killing Joke , where the Joker quips of the trauma that supposedly created his evil persona: ‘If I’m going to have a past, I prefer it to be multiple choice.’ 56 The Gothic traditions

in From Iceland to the Americas
Father– daughter incest and the economics of exchange
Jenny DiPlacidi

repositioning Radcliffe’s novel – and many that follow – as part of a Gothic tradition distinct from that represented by Walpole’s parodic and satirical work. The contrast between the depictions of incest, sexuality and female agency in The Romance of the Forest and Otranto are marked in that Radcliffe’s representations of father–daughter incest allow the heroine access to desire, voice

in Gothic incest
Re-examining paradigms of sibling incest
Jenny DiPlacidi

particular type of attack on the patriarchy. While the genre functions as a space in which writers articulated these views it does so as part of the wider Gothic genre rather than from within a Female Gothic tradition that questions patriarchy by presenting incest as a sexualised abuse of the power imbalance inherent in the familial and social structures. When Fred Botting and Dale Townshend state that

in Gothic incest
Abstract only
Fred Botting

before the heroine discovers his secret, the magic wears off quickly as she finds she has been made an exile through marriage. Carter’s story, however, is not content with disillusioning the romance of marriage by exposing its darker side and turning a critical feminist eye on the patriarchal cruelties underpinning the Gothic tradition. That this tradition involves the exchange, expropriation, exile and

in Limits of horror
Matthew Schultz

, 292. 102 Burns, No Bones, 292. 103 Burns, No Bones, 285. 104 Burns, No Bones, 293. 105 Burns, No Bones, 294. 106 Burns, No Bones, 299. MUP_Schultz_Haunted.indd 162 03/04/2014 12:23 Gothic inheritance and the Troubles 163 Burns, No Bones, 315. Burns, No Bones, 252. Burns, No Bones, 258. Jim Hansen, Terror and Irish Modernism: The Gothic Tradition from Burke to Beckett (Albany, NY: State University of New York Press, 2009), p. 7. 111 Malachi O’Doherty, ‘Don’t talk about the Troubles.’ Fortnight 457 (2008): 12. 112 O’Doherty, ‘Don’t talk about the

in Haunted historiographies
Abstract only
Improbable possibilities
Robert Duggan

, 1990a, 23) This allusion to Mary Shelley’s own birth, which caused the death of her mother Mary Wollstonecraft, helps develop the Frankenstein parallels and Frank, like Shelley’s monster, is the result of an experiment to create an artificial man.10 Sage’s incorporation of Banks’s book into the gothic tradition, however, does not address the important ways in which the novel invokes the gothic only to distance itself from it. Whereas Shelley’s monster resembles Rousseau’s natural man and is a Romantic being capable of sensitive feelings and virtuous actions, Banks

in The grotesque in contemporary British fiction
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

incest allow texts to be considered masculine or ‘real’ Gothic, while incest that is averted, non-violent or implied is considered part of the Female Gothic tradition. Such a view is apparent in James Watt’s argument that Lewis’s deployment of sexuality ‘amplified the suggestion of impropriety that was only implicit in the work of a writer such as Ann Radcliffe’. 33 Similarly, Vartan P. Messier

in Gothic incest
Abstract only
Eighteenth-century Gothic poetics
Andrew Smith

degree to which the self is fashioned within an aesthetic of absence identifies the elegy as the starting point for the Gothic tradition – it is one in which ideas about ‘knowing’ also indicate how closely death, writing and emotion form a complex trinity in an epistemology of the self. The elegy In Edward Young’s Night Thoughts (1742–45), feelings about death are supplanted

in Gothic death 1740–1914
Constructing death constructing death in the 1790s–1820s
Andrew Smith

’s Night Thoughts . It might appear to elaborate a non-Gothic model of the subject, but the repeated links between creativity, memory and order should be read as counterpoints to an emerging Gothic tradition in the period – one that questioned the notions of authenticity under which such a model of the subject is organised. As we saw in the previous chapter on the elegy, for Peter M. Sacks Art

in Gothic death 1740–1914