Academic literature on the topic 'American Gothic Novel'
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Journal articles on the topic "American Gothic Novel"
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DeVirgilis, Megan. "Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction." Gothic Studies 23, no. 2 (2021): 201–16. http://dx.doi.org/10.3366/gothic.2021.0094.
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The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.
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Vasil’yeva, El’mira V. "ON THE PECULIARITIES OF CHRONOTOPE IN NEW ENGLAND GOTHIC: THE HOUSE OF THE SEVEN GABLES BY NATHANIEL HAWTHORNE AND THE HAUNTING OF HILL HOUSE BY SHIRLEY HARDIE JACKSON." Vestnik of Kostroma State University, no. 1 (2020): 87–92. http://dx.doi.org/10.34216/1998-0817-2020-26-1-87-92.
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The article deals with Mikhail Bakhtin’s term «the chronotope of the castle» analysed on the material of two New England Gothic novels – «The House of the Seven Gables» by Nathaniel Hawthorne and «The Haunting of Hill House» by Shirley Hardie Jackson. The author assumes that chronotope is not just a spacetime characteristic, but a set of motifs – the motive of dark past, the motif of spatial and temporal isolation, and the motif of «sentient» house. All of these motifs were used by classic Gothic novel writers of the 1760s to 1830s, and were as well employed in later quasi-Gothic texts. At the turn of the 19th century, Gothic novel commenced its parallel development in American literature, where it subsequently became one of the national genres. American writers aspired to adapt Gothic poetics to the cultural context of the country. For instance, in New England Gothic fi ction, the chronotope of the castle was transformed into the chronotope of the «bad» house. However, the set of motifs has remained the same: both Hawthorne and Jackson consistently used the motifs, provided by British Gothic fi ction, yet they further explored them and came up with their own interpretations.
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Băniceru, Ana-Cristina. "Gothic Discourse in Jeffrey Eugenides’s 'The Virgin Suicides' – Challenging Suburban Uniformity and (Re)Imagining “The Other”." Linguaculture 9, no. 2 (2018): 25–40. http://dx.doi.org/10.47743/lincu-2018-2-0121.
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This paper argues that Jeffrey Eugenides, in his début novel, The Virgin Suicides, first questions and then challenges ‘the homeliness’ of the American suburbia by adopting an unsettling gothic discourse and by creating gothic subjects (the Lisbons). Gothic discourse includes the gothic tropes of confinement, persecution, alienation and contagion. My approach to the American Gothic tends to side with Siân Silyn Roberts who convincingly argues that this literary phenomenon questions the place of the individual in what he calls “a diasporic setting” (7). In eighteenth century Great Britain, Gothic fiction differentiates a literate middle class from “the other”, meaning other nationalities, ethnicities and cultures. The individual becomes a container of “cultivated sensibility” (Roberts 3). In America, this model was seriously challenged due to “a climate of ontological uncertainty and rapid demographic change” (Roberts 5). The cosmopolitan city, a place of invasion, of close proximity to the other, has become the perfect setting for gothic subjects, characterised by Roberts as mutable and adaptable. However, suburbia, with its apparent idyllic life, tries to uniformize the heterogeneous tendencies of the cosmopolitan city.
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DINES, MARTIN. "Suburban Gothic and the Ethnic Uncanny in Jeffrey Eugenides's The Virgin Suicides." Journal of American Studies 46, no. 4 (2012): 959–75. http://dx.doi.org/10.1017/s0021875812000722.
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If uncertainty and anxiety are the troubling but potentially radical qualities of gothic narrative, suburban gothic has typically been understood in terms of a banal unhomeliness which merely confirms reassuring commonplaces about the postwar American suburbs. In such readings, the suburbs are supposed to embody a desire to stand outside history: either they are places in which people seek refuge from their own pasts, or they represent an idealized past removed from the challenges of the present. This article argues that Jeffrey Eugenides's 1993 novel The Virgin Suicides undermines easy assumptions about the suburbs' atemporality. The novel's various gothic motifs suggest the difficulty of abandoning European pasts in order to adopt the white American identities required for a life in the suburbs; repressed ethnic difference haunts the suburban landscape. Yet Eugenides's suburban gothic also complicates the process of remembering such acts of forgetting: the difficulty of explicating suburban pasts, the novel insists, is precisely a measure of their having become historical. The drive to present comforting, codified narratives of the suburbs is shown to be part of a move – which always fails – to disassociate the present from these sites of conflict and trauma.
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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.
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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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Cucarella-Ramon, Vicent. "The black female slave takes literary revenge: Female gothic motifs against slavery in Hannah Crafts’s "The Bondwoman’s Narrative"." Journal of English Studies 13 (December 15, 2015): 19. http://dx.doi.org/10.18172/jes.2786.
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The Bondwoman’s Narrative is a novel that functions as a story made up from Hannah Crafts’s experiences as a bondwoman and thus merges fact and fiction giving a thoroughly new account of slavery both committed to reality and fiction. Following and taking over the Gothic literary genre that spread in Europe as a reaction toward the Romantic spirit, Crafts uses it to denounce the degrading slavery system and, mainly, to scathingly attack the patriarchal roots that stigmatize black women as the ultimate victims. It is my contention that Hannah Crafts uses the female Gothic literary devices both to attack slavery and also to stand as a proper (African) American citizen capable of relating to the cultural outlets that American culture offered aiming to counteract the derogatory stereotypes that rendered African American women at the very bottom of the social ladder.
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Yang, Ao. "ALIENATION AND AESTHETICAL SALVATION OF EVERYDAY LIFE IN THE HOUSE OF THE SEVEN GABLES." Cultural Communication And Socialization Journal 1, no. 1 (2020): 01–04. http://dx.doi.org/10.26480/ccsj.01.2020.01.04.
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The House of the Seven Gables is one of the most representative works of Nathaniel Hawthorne, the American writer and novelist. In this novel, Hawthorne, in the basis of the house of the seven gables, through the old Gothic tradition of an inherited curse, depicts a story in which the Pyncheon family was gotten back at because the thuggery committed by the ancestors of Pyncheon Family. In the meaning time, this novel is one that bears huge symbolic significance. This paper, from the perspective of the critique of everyday life theory of Lefebvre, mainly talks about the alienation of people’s everyday life and the aesthetical salvation of it. Academically, this novel is often interpreted from the perspective of Gothic Curse, symbolism, archetypal critical theory and so forth. This paper aims to further study the alienation and aesthetic salvation in this novel, thus promoting the research of Hawthorne in the domestic academical world.
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Liénard-Yeterian, Marie. "Gothic Trouble: Cormac McCarthy’s The Road and the Globalized Order." Text Matters, no. 6 (November 23, 2016): 144–58. http://dx.doi.org/10.1515/texmat-2016-0009.
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The article explores the way American author Cormac McCarthy uses the Gothic genre in his novel The Road as a means to address what has been called “our globalized order,” in particular the way it has turned human beings into consuming or consumed entities. Some dimensions of this globalized order indeed involve the reintroduction of slavery through human trafficking, unprecedented greed and labor capitalism, surveillance and personal data gathering. Hannah Arendt notes in The Origin of Totalitarianism that the disasters of the twentieth century had proved that a globalized order might “produce barbarians from its own midst by forcing millions of people into conditions which, despite all appearances, are the conditions of savages.” The artist’s task is to find the right language and images to address the breaking of the world. French philosopher J. P. Dupuy, for example, has argued that the financial world is a way to contain (contenir) the violence of competition, placing it into acceptable (symbolic) forms away from primal physical competition. McCarthy’s graphic use of Gothic tropes—including cannibalism, the wild forest, the haunted house, the chase, the conflict between light and darkness, the blurring of boundaries between different categories—creates a shock. The article also addresses the larger question of the impact of globalization on Gothic literature, and the impact of Gothic literature on real world matters as it contributes to and reflects upon and challenges global regimes of economic, social and economic power. In other words, what is the cultural work that the Gothic does in the present?
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Tian, Zhang. "Urban Gothic and the Sphinx Factor: Saul Bellow’s Mr. Sammler’s Planet." Interlitteraria 23, no. 1 (2018): 124–35. http://dx.doi.org/10.12697/il.2018.23.1.13.
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Saul Bellow, as a cerebral, analytical, and philosophical writer, unflinchingly describes the world and gives the readers tremendous thoughts about life and society. He was awarded the Nobel Prize in Literature in 1976 for his human understanding and subtle analysis of contemporary culture. In Mr. Sammler’s Planet, Bellow shows the readers a death-burdened, rotting, spoiled, sullied, exasperating, sinful earth. This insane world is full of droll mortality and morbid entertainments. The coexistence of rationality and bestiality in man is vividly displayed in this novel. In his Introduction to Ethical Literary Criticism, Professor Nie Zhenzhao formulated the theory of the Sphinx factor as composed of the human factor and the animal factor, and the combination of the two makes an integrated man. The animal factor in the novel is fully demonstrated in the black pickpocket’s bestiality, Mr. Sammler’s voyeurism, the Holocaust, killings and thefts. However, the human factor is not so salient as the animal factor in this novel. I argue that the tension between the two factors not only intensifies the conflicts but shows how the author perceives the world. Bellow shows a strong contempt for the world. A pessimistic and critical outlook is conveyed in Bellow’s understanding of cities, represented by Chicago and New York. Robbery, cheating, speculation, beauty, money and lust construct a corrupted panorama of industrial cities. This is one of the reasons why Bellow highlights the animal factor more than the human factor. He seeks to criticize the American city from different perspectives of city culture, including the corruption of the bureaucracy, vices in public transport, changes in the urban landscape, competition between the pursuit of art and the pursuit of money.
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Marshall, Nowell. "Queer Trauma in Caitlín R. Kiernan’s The Red Tree." English Language Notes 59, no. 2 (2021): 50–65. http://dx.doi.org/10.1215/00138282-9277260.
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Abstract Despite winning numerous literary awards, Caitlín R. Kiernan’s work has received little critical attention. Scholars have focused on Kiernan’s reworking of H. P. Lovecraft’s influential weird fiction and have discussed Kiernan’s pioneering work in New Weird fiction and short fiction. As astute as much of the critical work is, none of it addresses the cornerstone of Kiernan’s fiction: trauma. This essay considers Kiernan’s novel The Red Tree as a queer American gothic novel dealing with trauma and its lingering effects on its witnesses. Through its complex, fragmentary form and its use of dream sequences and unconsciously produced narratives, the novel invites readers to witness and consume Sarah Crowe’s trauma while loosely theorizing the relationship between trauma and queer temporality and spatiality.
Dissertations / Theses on the topic "American Gothic Novel"
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Davies, Helen D. F. "Shapes half-hid : psychological realisation in the English and American Gothic novel." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329059.
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Smith, Dorin. ""Strange American scion of the German trunk"| Charles Brockden Brown and the Americanization of the gothic novel." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527344.
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<p> This thesis recontextualizes the politics of Charles Brockden Brown's gothic novels in terms of the literary development of Gothicism (Friedrich Schiller) and Romanticism (Friedrich Schlegel) in Germany. This recontextualization highlights the ways in which Brown's work is participating in a transatlantic conversation about the relation of epistemology and politics in art, while underscoring how Brown's use of the gothic addresses the vital issues of grounding democratic politics in the early republic. The argument is that between his earliest extant gothic novel and his later gothic novels Brown uses Schiller's model of the gothic tale and its appeal to methodologies of epistemological verification to support democratic politics. However, in the later novels, he disregards method and uses the state of uncertainty to articulate radical subjectivity as the basis of democratic politics—<i>pace</i> Schlegel's defense of democracy.</p>
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Williams, Eleanor. "The Divine and Miss Johanna." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1145555978.
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Dorotte, Juliette. "La naissance du roman américain (1789-1819) : poétique de l’hybridité." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040180.
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Cette étude propose de réviser le postulat selon lequel le roman américain ne naît que dans les années 1820, pour suggérer que cette forme émerge plus tôt, entre 1789 et 1819. La période qui suit la fin de la guerre d’Indépendance n’est pas favorable à la naissance du roman : les élites craignent alors la déchéance de la jeune République, et la fiction risque de faire basculer le pays dans l’anarchie. Les œuvres des premiers auteurs américains sont fortement façonnées par l’impératif de didactisme et d’utilité sociale et morale qui pèse alors sur la création littéraire. Toutefois, le roman qui émerge dans les années 1790 demeure une forme sombre, plurielle et paradoxale qui résiste à toute tentative de recadrage et de maîtrise, comme en témoigne particulièrement l’œuvre de Charles Brockden Brown. Alors qu’une première tradition littéraire a commencé à se mettre en place au tournant du siècle, le roman subit une transformation esthétique majeure au cours des années 1800 et 1810. Il dépeint à présent avec nostalgie, dans une forme lisse, mesurée et linéaire, une Amérique qui n’existe plus ou qui n’a jamais existé, dans laquelle tout est perpétuellement ordonné et transparent. Ces ouvrages ne marquent pourtant pas l’avènement du roman américain, car leur équilibre est artificiel et les éléments sombres sont toujours lisibles au cours de ces deux décennies. Nous concluons qu’un roman spécifiquement américain se développe effectivement entre 1789 et 1819, qui, au moyen de deux esthétiques opposées mais complémentaires, s’interroge sur l’individualité, le temps et l’écriture, dans une quête perpétuelle d’équilibre et de maîtrise qui ne se réalise jamais vraiment<br>Although critics still widely consider the American novel only emerges in the 1820s, this dissertation invalidates this assertion and suggests that it rises between 1789 and 1819 and has specific aesthetic characteristics. The period that follows the close of the Revolution is not favorable to the development of the novel: the elites fear the fall of the early Republic, and the novel might precipitate the nation into anarchy. The first American authors’ works are fashioned by the social and moral imperatives that influence writing at that time. Despite these measures, the novels published in the 1790s are dark, fragmented and paradoxical and resist any attempt at order and control, as Charles Brockden Brown’s works show. While the 1790s seem to witness the development of a specifically American tradition, the novel undergoes a major aesthetic change at the beginning of the 19th century. Long fictions now depict, with nostalgia and in a smooth, balanced, strongly linear form, an ordered and transparent American nation that is no more or that never existed. Yet these works do not indicate that the American novel has reached its mature form, as their balance is purely artificial and unruly elements are still at work during those decades. We conclude that a specifically American novel emerges during the thirty years following the Revolution: under two different but complementary aesthetics, this genre questions matters linked to individuality, time and writing, and is haunted by a quest for control and balance that never really comes to completion
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Hepp, Rebecca. ""A queer sort of chap"| Alternative sexualities in Charles Brockden Brown's gothic novels." Thesis, Villanova University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1553906.
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<p> Brown’s four gothic novels <i>Wieland</i> (1798), <i> Ormond</i> (1799), <i>Arthur Mervyn</i> (part I, 1799; part II, 1800), and <i>Edgar Huntly</i> (1799) were closely scrutinized by contemporary readers and reviewers alike—and are still of high interest to scholars and gothic writers today. Brown’s contemporary reception and later criticism reveals an ongoing conversation of not only his creation of the American Gothic genre, but his continued influence within American literary circles. Even more recent scholarship on early American sexuality and queer theory has given scholars new ways to understand the unease some contemporary reviewers felt, as well as a unique way to trace Brown’s influence through many of the gothic and sexually charged American novels since his time. A more comprehensive review of his gothic novels, in conjunction with contemporary and subsequent criticism, reveals Brown is not only the originator of the American Gothic genre, but also America’s first author of queer literature.</p>
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Jain, Rogulski Mira. "Shirley Jackson ou l'écriture de l'inhabitable." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL184.
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Cette étude analyse les modalités de l’inhabitable dans un monde hostile et instable, ainsi que les stratégies élaborées afin de contrecarrer les effets pervers de l’instabilité. La violence des affects en jeu est à l’image de la cruauté des relations sociales, et ne laisse que peu d’espace viable même au sein du cercle familial, lui aussi soumis à l’entropie de la méchanceté ontologique. Les héroïnes de Jackson, confrontées de diverses manières aux résurgences d’expériences traumatiques que la traversée du présent, odyssée physique et psychique, transforme en obstacles insurmontables, recherchent la demeure idéale où se réfugier et trouver l’ancrage que leur interdit le monde extérieur. Jackson utilise les tropes de la maison gothique, de la hantise et du surnaturel pour illustrer les rouages trompeurs qui se mettent en place dès lors que ses héroïnes pensent avoir trouvé un tel lieu. Le paradoxe du corps maternel, qui fait cohabiter la vie et la mort, sous leurs formes pulsionnelles les plus destructrices, est le principe fondateur de l’effondrement des personnages. La folie apparaît comme un des moyens de comprendre l’incompréhensible, et de contenir la fragmentation. Enfin, l’invention du nom constitue le dernier retranchement où construire une demeure intérieure<br>Our study examines the modalities of the uninhabitable in the work of Jackson, where the characters are imprisoned in a world intrinsically hostile, as well as the strategies they use to thwart the instability it entails. The violence of the feelings at stake mirrors the cruelty of social relationships, leaving but little livable space even within the family circle, also affected by the entropy of ontological evil. Jackson’s heroines, variously confronted to the reemergence of past traumatic experiences that their odyssey through the present time transforms into unsurmountable obstacles, seek the ideal house, the haven that will anchor them into a world that rejects them. Jackson uses the tropes of the gothic haunted house as maternal space to illustrate the deadly deception such a place embodies. The cohabitation the most drastic forms of the death drive and vital impulses is the foundation principle of mental dissolution. Madness is one of the means to both embrace and understand the incomprehensible. We conclude by showing how the invention of one’s name is a way of elaborating an inner house
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Norwood, Robert N. (Robert Nicholas). "Retro." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc501003/.
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"Retro" is a novel which attempts to depict the psychological reality of the spiritually isolated individual characterized in traditional gothic novels, in this case the alienated individual in the contemporary American South. The novel follows the doctrine set down by Roland Barthes, Frank Kermode, and other postmodern critics, which holds that, as Kermode puts it, "all closure is in bad faith." Therefore, rather than offering resolution to the problems and events presented in the text, the novel attempts instead to illustrate the psychological effects its main character experiences when confronted with a world that offers only irresolution and uncertainty. The novel's strategy is to depart from conventional, realistic modes of narration and to adopt instead certain characteristics of satire, surrealism, and the type of grotesque often associated with the gothic novel.
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Kielstra, Julia Paulman. "Subterranean adventures : attitudes toward the land as influenced by the sciences in selected English, Irish, and American gothic novels 1789-1911." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389761.
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Olmedo, Nadina Estefania. "ECOS GÓTICOS EN LA NOVELA Y EL CINE DEL CONO SUR." UKnowledge, 2010. http://uknowledge.uky.edu/gradschool_diss/86.
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Latin American literary criticism has traditionally underestimated the significance of the Gothic aesthetic, in spite of the rich Gothic literary tradition of Latin America. Specifically in the Southern Cone - the focus of my research - there is a particular recurrence and consumption of this genre, not only in literature but also in cinema, which has not been deeply analyzed. I argue that a close examination of the Gothic and Fantastic elements in these novels and films unveils anxieties, repressions and manifestations of social decay that underlie common codes of social decency and the conventions of maintaining an oppressive social tradition. My analysis of particular novels extends from the beginning of the twentieh-century through the Boom; my discussion then extends to film productions from the 1960s to the present.
In the first chapter I explore the dissemination of Gothic figures and forms from their eighteenth-century origins to the present. In the second chapter I discuss how the Gothic aesthetic was used at the beginning of the twentieth-century to comment on the effects of modernization and scientific/psychological discoveries in the Southern Cone. I also analyze the Gothic as a powerful feminist discourse. Chapter three focuses on the way the Gothic aesthetic is employed as a mechanism to communicate social and moral decay in a typical Southern Cone family. I also explore how the Gothic is used to question a political-social repression or a dictatorship. In chapter four I focus on cinema in an aesthetically and technically diverse selection of filmes. All of them employ vampirism to comment on different sexual issues, such as repression, incest, homosexuality, fetishism, sadism, and other sexual-social taboos. Finally, the conclusion demonstrates that, while the Gothic aesthetic maintains certain constants throughout the twentieth-century, its underlying meaning shifts to reflect the dominant political-social themes of each era, thus ensuring its continued relevance to popular audiences.
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Sidell, Crystal. "Victorian Perspectives on the Supernatural: The Imaginary Versus the Real in Two Brontë Novels." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/495.
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The Victorians obsessed over the supernatural and this fascination with the otherworldly emerges in the literature of the day. With this thesis, I look at two nineteenth century novels that exhibit supernatural phenomena: Charlotte Brontë's Villette (1853) and Emily Brontë's Wuthering Heights (1847). Both novels, I propose, utilize this aspect of the gothic tradition to enhance their characters' psychological realism.
With Villette, I examine the supernatural as a fabricated experience. First, I study the protagonist's psyche and show how her emotional state directly contributes to the appearance of fantastic material. Specifically, I examine Lucy Snowe's childhood experiences in Bretton and then look at her continuing emotional isolation at the boarding school in Villette. I then illustrate how Lucy compensates for this loneliness by transforming the identities of her acquaintances and by often embellishing her own experiences. Following this, I examine her response to an external phenomenon, the ghostly nun. I argue that as Lucy discovers emotional fulfillment via her relationship with Paul Emanuel, she grows increasingly skeptical of the nun. This skepticism climaxes in a scene of violence, after which Lucy successfully denies the existence of the otherworldly.
With Wuthering Heights, I examine the supernatural as a genuine phenomenon. To begin, I analyze two significant scenes which frame the main narrative: Lockwood's dream and Heathcliff's death. Both events, I subsequently demonstrate, are instances of supernatural interaction with the real world. Finally, I examine the spiritual and occult beliefs of the lovers, Catherine and Heathcliff. I then show how their ideology influences their decisions and, ultimately, brings about their reunion in the afterlife.
Books on the topic "American Gothic Novel"
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A passion for consumption: The Gothic novel in America. Bowling Green State University Popular Press, 2001.
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Taubenböck, Andrea. Die binäre Raumstruktur in der Gothic novel: 18.-20. Jahrhundert. Fink, 2002.
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Marshall, Bridget M. The transatlantic gothic novel and the law, 1790-1860. Ashgate, 2010.
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Brock, Pope. Indiana gothic: A novel of adultery and murder in an American family. Nan A. Talese/Doubleday, 1999.
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Plesch, Bettina. Die Heldin als Verrückte: Frauen und Wahnsinn im englischsprachigen Roman von der Gothic Novel bis zur Gegenwart. Centaurus, 1995.
Find full textBook chapters on the topic "American Gothic Novel"
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Crow, Charles L. "Fear, Ambiguity, and Transgression: The Gothic Novel in the United States." In A Companion to the American Novel. John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118384329.ch8.
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Yao, Christine. "Gothic Monstrosity: Charles Brockden Brown’s Edgar Huntly and the Trope of the Bestial Indian." In American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0002.
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This chapter reads the development and sedimentation of the savage image of American Indians in early American history through the American gothic’s monstrous tropes, concluding with 1799 novel Edgar Huntly by Charles Brockden Brown, acclaimed as the pioneer of American gothic. If for Brown the American equivalent to Gothic castles are the perils of the western wilderness, Native Americans are the monstrous equivalent of that setting’s mythical chimera. Both inhuman and antagonistic Other, for Brown the Indian, at once integral and liminal, is a quintessential element of the American gothic genre.
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Loman, Andrew. "The Devil in the Slum: American Urban Gothic." In American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0006.
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This chapter focuses on the emergence of American urban gothic in literature of the late Antebellum. From roughly 1840 to 1860 a community of writers organized an extant urban gothic vocabulary into a popular and influential subgenre, city-mysteries, which ostentatiously announced their link to the gothic novel. These mysteries were intimately intertwined with urban reportage of the so-called ‘flash press’ among other art forms, especially the stage.
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"2. Romance and Gothic." In Handbook of the American Novel of the Nineteenth Century. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110481327-003.
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"HELL’S LOOSE: APOCALYPSE IN THE EARLY AND MODERN AFRICAN AMERICAN NOVEL." In Gothic to Multicultural. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789401206600_012.
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Osborn, Matthew Warner. "Crime Journalism and the Urban Gothic Novel." In A History of American Crime Fiction. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316442975.004.
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Sá, Daniel Serravalle de. "Trans Gothic Double in Coelho Netto’s Novel Esphinge." In Doubles and Hybrids in Latin American Gothic. Routledge, 2019. http://dx.doi.org/10.4324/9780367808136-6.
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Windell, Maria A. "Coquetry and the Transamerican Foundations of US Literary Sentimentalism." In Transamerican Sentimentalism and Nineteenth-Century US Literary History. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862338.003.0002.
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Chapter 1 recontextualizes early US sentimental literature through the coquette, a figure who connects Hannah Webster Foster’s The Coquette (1797), Charles Brockden Brown’s Wieland (1798), and Leonora Sansay’s novel of the Haitian Revolution, Secret History (1808). The chapter argues that the historical connections between Sansay’s and Foster’s heroines demonstrate how novels such as The Coquette obscure the transamerican connections underlying their “found[ing] on fact.” Secret History instead uses its Saint-Dominguan setting to rewrite paradigmatic US understandings of the coquette, rescuing the figure from both gothic horrors and the condemnations suffered by Brown’s and Foster’s heroines. Pairing Foster’s, Brown’s, and Sansay’s novels illustrates how early US sentimentalism was shaped by the Americas’—not just early America’s—literary, economic, political, and military flows.
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Uden, James. "Classical Idols and the Early American Gothic." In Spectres of Antiquity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190910273.003.0006.
Full textAbstract:
The fifth chapter of the book moves across the Atlantic to consider the influential author of the early American Gothic, Charles Brockden Brown. Although scholars have examined classical themes in certain branches of his published work, this chapter gives the first comprehensive vision of classicism in Brown, taking into account his novels, short fiction, and periodical writing. Overall, his texts communicate a powerful skepticism about the status and value of antiquity in the new nation, although Brown himself is not reticent about demonstrating his own classical erudition. The chapter centers around readings of two of Brown’s novels: Wieland; or The Transformation (1798), with its sinister vision of superstitious reverence for the Roman orator Cicero, and Ormond (1799), which encourages readers to question the conservative, classicizing vision of American culture voiced by the novel’s own narrator, Sophia. Brown’s novels illustrate well what John C. Shields has called the “acceptance and denial” pattern of American classicism, in which writers assert their own status and learning through the use of classical literature and ideas, and yet simultaneously call for a progressive departure from desiccated European tradition. The Gothic is the perfect genre for capturing that contradiction, since it expresses in sinister terms the lingering power of history over contemporary minds.
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Goyal, Yogita. "The Gothic Child." In Runaway Genres. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479829590.003.0003.
Full textAbstract:
Chapter 2 focuses on the figure of the child as soldier. Reading expansively across memoirs and novels about war, I show how the figure of the child shuttles between sentimental and gothic modes, the former universalizing, the latter calling attention to history, often repeating debates about American and Atlantic gothic. Best-selling narratives by Ishmael Beah, Susan Minot, and Uzodinma Iweala replicate the logic of humanitarian spectacles like Kony 2012 (condemning Ugandan warlord Joseph Kony) and the movement to #BringBackOurGirls (focusing on the Chibok girls kidnapped by Boko Haram in Nigeria). Tracing how and why the African child soldier appears as the afterlife of the Atlantic slave, the chapter unravels the assumptions about race in translation and travel at work. Lingering in gothic terror, refusing closure or redemption, novels by Chris Abani and Ahmadou Kourouma unearth repressed histories in order to challenge the absolute innocence demanded by human rights advocates.