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The ecoGothic sensibilities of Mary Shelley and Nathaniel Hawthorne
Jennifer Schell

, R. A. (2004) Landscape and Ideology in American Renaissance Literature: Topographies of Skepticism (Cambridge: Cambridge University Press). Barrow, M. V., Jr. (2009) Nature’s Ghosts: Confronting Extinction from the Age of Jefferson to the Age of Ecology (Chicago: University of Chicago Press). Becker

in The Gothic and death
Nightmares, conscience and the ‘Gothic’ self in Richard III
Elisabeth Bronfen and Beate Neumeier

Drakakis, commenting on Baldick, lists a number of Shakespearean plays that would exemplify such anxieties, but omits Richard III (Drakakis, ‘Introduction’ 8). Generally speaking, Renaissance literature, Shakespeare in particular, provided a rich configuration of resources for Gothic writing of the late eighteenth and early nineteenth centuries; for discussion, see

in Gothic Renaissance
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Religion, folklore, Shakespeare
E.J. Clery and Robert Miles

supernatural fantasy as allegory in order to figure philosophical ideas, on the grounds that it dissipates the emotional impact of the marvellous. Although her examples are taken from classical and Renaissance literature, ‘supernatural machinery’ remained a popular mode, and her argument has a direct bearing on contemporary poetic practice (see Swedenberg, 1938, and Spacks

in Gothic documents
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Sarah Annes Brown

future we don’t have to layer past and present on top of one another to create a hybrid montage. As a vision of Rome’s possible future the picture of cows lowing in the Forum is simply and literally true. In Archaeologies of English Renaissance Literature , Philip Schwyzer makes the following observation about a group of English Renaissance treatments of ruin, including Shakespeare’s Sonnet

in A familiar compound ghost