Search results

Angela Carter and European Gothic
Author: Rebecca Munford

This book develops insights into the vexed question of Carter's textual practices through the dusty lens of the Gothic. It argues that European Gothic is vital to illuminating and understanding the tension between politics and aesthetics in Carter's work. The book shows how a more concerted focus on Carter's European literary inheritance sheds light on her particular and perverse engagements with androcentric literary and cultural frameworks. It emblematises the tension between her textual extravagancies and her self-declared 'absolute and committed materialism'. Her firm belief 'that this world is all that there is, and in order to question the nature of reality one must move from a strongly grounded base in what constitutes material reality'. The book examines the fraught relationship between Carter's sexual and textual politics. Exploring the ways in which Carter's work speaks to broader discussions about the Gothic and its representations, the book is especially concerned with analysing her textual engagements with a male-authored strand of European Gothic. This is a dirty lineage that can be mapped from the Marquis de Sade's obsession with desecration and defilement to surrealism's violent dreams of abjection. The book not only situates Carter as part of a European Gothic tradition but theoretically aligns her with what Jane Gallop, in her book on Sade, describes as France's "deconstructive" feminism, daughter of antihumanism.

Embedded narrative and the treatment of boundaries in The Manuscript Found in Saragossa (1797-1815)
Ahlam Alaki

‘found’ manuscript is a standard Gothic motif in Radcliffe and Lewis, parodied by Jane Austen in Northanger Abbey. There is thus a definite structural connection between Potocki’s work and the English Gothic tradition between 1790 and 1820. Potocki seems to have come to the Gothic via his interest in orientalism. The biographical evidence concerning what Potocki had read is not conclusive but it is

in European Gothic
Abstract only
Andrew Smith

explore ideas about life. The superficial revulsion to the corpse in this instance might seem to be Gothic, but in reality, as this book will explore, the dead often fail to signify in any crudely Gothic way. Poe’s preferred ending also implies that the Gothic is the space where metaphysical ideas can be explored. It is a highly self-conscious Gothic tradition that is explored here and it is argued that

in Gothic death 1740–1914
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 Gothictradition 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
Abstract only
Enlightenment, automata, and the theatre of terror
Victor Sage

anticipator of de Sade in this respect (Praz, 1970 :99-100). This open, enquiring attitude, in its turn, is open to ironical exploitation by writers and readers alike, and is a contributory factorin the narrative shapes of the Gothic tradition: Christopher Frayling in Vampyres has exposed the rich theologico-political stew of motives which led to those ‘scientific’ journeys to the Levant and Bohemia under the

in European Gothic
Abstract only
Darkness and suicide in the work of Patricia Highsmith
Fiona Peters

to the ways in which environment plays its part in creating the atmosphere and conditions conducive to the action that occurs. Aligned with that, the destabilising use of otherness through ‘outsiders’ stretches back at least to Agatha Christie’s Hercule Poirot. Themes regarding place that crime fiction plunders the Gothic tradition to utilise and expand include seeming ghosts, vampires, werewolves and other key stock of the Gothic tradition. As the Gothic genre itself twists these tropes and reinvents itself through time, so crime fiction picks up and plays with

in Suicide and the Gothic
Susanne Becker

. Subjectivity will be a central point of departure for the discussion of texts from the gothic tradition as well as from the Canadian postmodern; and the focus on a female subject rather than author allows for discussing a text like Henry James’s The Turn of the Screw ( 1897 ) alongside Charlotte Perkins Gilman’s The Yellow Wallpaper ( 1892

in Gothic Forms of Feminine Fictions
The rise of Nordic Gothic
Yvonne Leffler and Johan Höglund

There is a long non-realist tradition in Nordic literature and film that goes back to the Romantic period. This tradition frequently employs typical Gothic tropes, it seeks to evoke feelings of terror and horror, and it negotiates, as Gothic is understood to do, the complex tension between the human subject and Enlightenment modernity. Due to a striking reluctance by generations of Nordic literary critics and scholarship to recognise a Gothic tradition in the region, it was not until the late 1980s that the existence of Gothic fiction in the

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

context, how Blake’s illustrations supersede the visual quality of Blair’s language. Blake added to the poem. The scenes are not spontaneous sketches depicting the supernatural in the Gothic tradition founded by Walpole, but evidence of an awareness of the Zwinglian minister Johann Caspar Lavater (1741–1801) and the debate about immortality, kindled by Lavater’s contemporary, the

in The Gothic and death
Christina Petraglia

(1860s–1870s), chronologically situated between Italian Romanticism and Decadentism, and existing during the digestion of French Naturalism by budding verisiti (‘realists’) shares thematic and stylistic affinities with the Gothic traditions of its European neighbours. 4 The works of the scapigliati are riddled with transgressions of normativity typical of the Gothic

in The Gothic and death