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Luís, Maria José Ricardo. "A floresta no romance de Ann Radcliffe." Master's thesis, Instituto Superior de Psicologia Aplicada, 2001. http://hdl.handle.net/10400.12/638.
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Agorni, Mirella. "Translating Italy for the eighteenth century : British women novelists, translators and travel writers 1739-1797." Thesis, University of Warwick, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287087.
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Lauzanne, Alain. "La mort dans les romans d'Ann Radcliffe." Paris 3, 1994. http://www.theses.fr/1995PA030079.
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La mort est au centre des romans d'ann radcliffe. L'intrigue repose generalement sur le meurtre d'un homme de bien, parfois commis par son frere. La victime sera vengee par l'un de ses enfants, qui risquera la mort dans son entreprise. En fait, tous les personnages sont confrontes a la mort : les parents sont decedes, le bon heros et l'heroine, s'il ne meurent pas, courent les pires dangers, le heros-scelerat est tue ou se suicide. Inseparable de l'amour, la mort brise des unions heureuses ou est utilisee, en vain, par les scelerats pour conquerir la jeune fille qu'ils convoitent. Aux dix-huitieme siecle, la mort etait omnipresente : taux de mortalite eleve, executions publiques, recits detailles de meurtres dans les journaux, scenes de morts representees dans la litterature, la peinture et la sculpture. Ann radcliffe pourtant se sert de la mort avec beaucoup de pudeur : elle evite de decrire des meurtes, des executions ou meme des cadavres. Elle prefere solliciter l'imagination de son public. Il est difficile de degager la pensee religieuse d'ann radcliffe : elle croit en l'immortalite de l'ame et en l'existence d'un autre monde, critique l'eglise catholique et fait allusion a une religion naturelle, mais ne mentionne presque jamais l'enfer. L'attitude de ses personnages devant la mort rappelle celle de ses contemporains : il faut se resigner a mourir sans oublier que la faucheuse peut apporter un bonheur ineffable, mais on ne doit pas se suicider, acte lache et immoralDeath is at the centre of the novels of ann radcliffe. The plot generally rests on the murder of a good man, sometimes committed by his brother. Justice is often meted out by one of the victim's children, who will risk death in the process. In fact, all the characters face death : the parents are dead, the hero and the heroine never die but are frequently in great danger, the villain is killed or commits suicide. Death, which is inseparable from love, breaks happy marriages or is used, in vain, by the villain to seduce the young lady he lusts for. What with a high death-rate, public executions, detailed accounts of murders in newspapers, death scenes in novels, poems, painting and sculptures, death was omnipresent in the eighteenth century. Yet ann radcliffe uses death with much delicacy and restraint- she avoids describing murders, executions or even corpses. She wants her readers to use their imagination. It is difficult to bring out ann radcliffe's views on religion. She believes in the immortality of the soul and in the existence of a better world, she criticizes the church of rome and alludes to a natural religion but hardly ever mentions hell. The attitude of her characters when they face death recalls that of her contemporaries : one must resign oneself to dying without forgetting that death can bring ineffable bliss, but one should not commit suicide, a craven immoral act
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Beasley, Garland. "Judging the Rational and the Dead: Ann Radcliffe and Feminist Theology." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/188.
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“Judging the Rational and the Dead: Ann Radcliffe and Feminist Theology” argues Radcliffe’s first three novels, The Castles of Athlin and Dunbayne (1789), A Sicilian Romance (1790), and The Romance of the Forest (1791), show a progression of feminist theology informed by the late eighteenth-century British religious movement of Rational Dissent. The thesis attempts to complicate and extend Radcliffe scholarship by moving away from fractured critical discourses and into more cohesive readings of Radcliffe that include feminist and theological interpretations of her work. Of particular interest to the project are Radcliffe’s views on the circumscribed nature of women’s existence within British notions of church and state. The thesis does more than attempt to note Radcliffe’s objections to the circumscribed nature of women in British society; it also seeks to explore the potential solutions offered by a feminist theology that rejects establishment religious hierarchies in favor of a more Unitarian system.
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McGee, Katherine Marie. "Responsibility and Responsiveness in the Novels of Ann Radcliffe and Mary Shelley." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5376.
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This dissertation looks at the ways in which humans interact with and respond to other humans and nonhumans in Ann Radcliffe's and Mary Shelley's novels. I argue that in light of the social and political turmoil surrounding the French Revolution, Radcliffe and Shelley call not so much for Revolution or drastic reform but for a change in the ways in which individuals respond to the needs of others, both human and nonhuman, and take responsibility for each other. The ways in which humans interact with the nonhuman inform the positive and negative practices that they should use to interact with other humans and vice versa.
Chapter One considers the connection between nature and culture in Radcliffe'sA Sicilian Romance, The Romance of the Forest, The Mysteries of Udolpho, and The Italian to argue that Radcliffe's "explained supernatural" occupies a liminal space between nature and culture. Furthermore, some of the upper class are able to discern that the "real," or material, supernatural does not exist while still acknowledging that some form of spiritual supernatural presence is possible, thus reflecting a heightened awareness of concepts beyond the material.
Chapter Two looks at Radcliffe's The Mysteries of Udolpho and The Italian to argue that characters who are able to appreciate nature, particularly landscape, are more admirable than those who ignore it. Specifically, these characters indicate an openness to forming reciprocal relationships with the landscapes, allowing the views offered by the landscapes to offer them peace or comfort while simultaneously respecting the power the landscapes hold. Drawing from the theories of place theorists Tim Cresswell and Yi-Fu Tuan, this chapter posits that landscapes can be classified as being on the verge of place.
Chapter Three looks at Frankenstein and The Last Man to argue that Shelley demonstrates the types of reciprocal relationships people should form with both humans and nonhumans. Donna Haraway's idea of "contact zones"--places where the human and nonhuman can communicate--inform this reading of the relationships between the human and nonhuman in these two novels. It investigates how Victor Frankenstein and the creature define "human" and then asserts that in Frankenstein the creature cannot form a place for communication with any of the humans whose acceptance and companionship he seeks because no one is willing to do so. The Last Man's Lionel Verney, on the other hand, is able to form reciprocal relationships with both the human and the nonhuman, thus enabling him to ultimately become the "last man."
The fourth and final chapter looks at Shelley's Valperga, Lodore, and The Last Man, set in the past, present, and future, respectively, arguing that Shelley uses these different time settings in order to demonstrate that many of the struggles people have are similar to ones that others had in the past and will continue to have in the future if people do not adjust the ways in which they respond to disaster. By presenting readers with specifics about location and environment, Shelley creates settings that readers can connect to and then entertain the idea that these characters' struggles are like their own.
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Kong, Pui-ming Ivy. "Between romance and realism : patterns of fulfillment in Ann Radcliffe's 'A Sicilian Romance' and Jane Austen's 'Pride and Prejudice' /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161513.
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Labourg, Alice. "Peinture et écriture : l'imaginaire pictural dans les romans gothiques d'Ann Radcliffe." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3084.
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Cette étude se propose d’analyser les différents rapports que l’écriture radcliffienne, souvent qualifiée de « peinture de mots », entretient avec la peinture d’un point de vue thématique, structurel, symbolique et formel. Nous analyserons tout d’abord comment les romans s’inscrivent dans le contexte esthétique de l’époque et son paradigme pictural (valorisation de la peinture de paysage du XVIIe siècle, redécouverte du gothique architectural, « vision en tableau » du pittoresque). L’approche intermédiale de Liliane Louvel et sa définition du pictural au sein d’une problématique texte-image nous permettront de voir comment l’écriture file la métaphore picturale et développe ses propres stratégies pour « faire tableau » dans un désir paragonesque d’émuler la peinture. Tableaux et portraits en miniature occupent également une place importance dans l’économie du récit et leurs fonctions diégétiques et symboliques seront abordées au travers de leur spécificité intersémiotique en tant qu’objets d’art littéraires. Enfin, l’étude des descriptions paysagères au cœur de l’iconotexte montrera comment deux types de picturalité s’entrecroisent, l’une, iconique et figurative, qui cherche à « faire tableau », et l’autre, picturale et sémiotique, qui travaille le texte sur le mode plus diffus du signifiant plastique, de la dislocation du « tableau » et de la dissémination de son image au travers des substituts picturaux, de la peinture synesthésique et « iconorythmique », faisant miroiter des « éclats de picturalité » en texte. Nous montrerons ainsi comment le pictural est le mode spécifique de la gothicité radcliffienne, articulant les problématiques du « female Gothic »This study will analyse the different links that Ann Radcliffe’s “word-painting”—as her writing has often been called—bears with painting, from a thematic, structural, symbolic and formal point of view. We shall first see how the novels fit into the aesthetical context of the time and its pictorial paradigm—seventeenth century landscape painting as an iconographical model, the rediscovery of Gothic architecture as a pictorial motif, the picture-like vision of the picturesque. Liliane Louvel’s intermedial approach and her definition of the “pictorial” within a text-image problematics will help us see how Radcliffe spins out her pictorial metaphor and implements her own strategies to make the reader “see pictures” in a paragon-esque desire to emulate painting. Full-sized pictures and miniature portraits also play an important role in the unfolding of the narrative. Their diegetic and symbolic functions will be studied in reference to their intersemiotic specificities as literary works of art. Finally, the study of landscape description at the core of the radcliffian iconotext will help us see how two different types of pictoriality interact, one based on figurative representation which aims at making the reader “see pictures”, and another more diffuse form which works on a semiotic level through deconstruction and iconic dissemination, expressing the pictorial signifier in words. It makes “fragments of pictoriality” shine throughout the text by means of pictorial substitutes and a synesthetic experience of “iconorythmic” pictures. We shall thus prove how the pictorial is the specific mode of Radcliffe’s Gothic writing and articulates the problematics of the female Gothic
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Forté, Nadia. "L' indicible dans les romans gothiques d'Ann Radcliffe (1789-1826)." Paris 7, 2007. http://www.theses.fr/2007PA070067.
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Cette thèse propose de rendre compte de l'imaginaire et de la création littéraire dans les romans gothiques d'Ann Radcliffe a travers le prisme de l'indicible entendu dans le double sens de non-dit et d'incapacité à dire. L'étude se déploie sur trois chapitres : les données socioculturelles ou politiques qui conditionnent différentes formes d'implicite dans le discours du roman, la persistance d'une fascination tabou pour le catholicisme chez l'auteur de confession protestante, et enfin la question de l'épistemologie qui examine les rapports problématiques entre pensée et langage à la lumière des théories de la connaissance de l'époqueThis dissertation aims at examining the realms of the imagination and literary creation in Ann Radcliffe's gothic novels as seen through the lens of the inexpressible. The notion is understood in the twofold meaning of the unspoken and of the genuine incapacity to speek. This work is comprised of three parts : the study the social, cultural, or political elements which determine the different forms of the implicit within the discourse of the novels, the persistent but taboo fascination with catholicism in a protestant author, and finally the epistemological issue which addresses the problematic relation between thought and language
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Owen, David. "Fear and trembling : the sublime and the beautiful in Ann Radcliffe and Georges Bataille." Thesis, University of Nottingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403313.
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Ede, W. R. "The gentlewoman as creative artist in the life and romances of Ann Radcliffe, 1764-1823." Thesis, Swansea University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636764.
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Ann Radcliffe's concept of the role of the gentlewoman as creative artist determined the nature and length of her literary career. A survey is made of the attitudes of other writers to their work and their status as writers in order to provide a context for discussion of Ann Radcliffe's role as a female writer. The biographical evidence, and the portrait of the gentlewoman as creative artist in Radcliffe's romances, show that she believed that the familial and social duties of the gentlewoman took precedence over her performance as a creative artist. Indeed, the creative activity should only be used to make her more effective in the performance of her duties as a gentlewoman. History and unreality are used in the romances to comment on the present while distancing the narratives, and avoiding the masculine appearance of overt commentary on current events. Some of the elements which are usually read as unreal Gothic sensationalism are based on everyday realities, or the findings of what then passed for historical scholarship. There is biographical evidence of Radcliffe's interest in politics. The narratives' function as political and religious romances is explained with reference to events and writings of their period. Religious and political events of Radcliffe's own time, like the Regency Crisis, Pitt's 'Reign of Terror', Wesley's encouragement of superstitious credulity, and the disestablishment of the Gallican Church, are related to the aristocratic worldview presented in the romance. Radcliffe's decision to cease publication was the result of the conflict between her literary career and her duties as a gentlewoman. Radcliffe's acceptance of the limited role of the gentlewoman led her to make a response to current events which abstracted the essence of the social changes of the period. As a result she achieved a considerable and enduring influence.
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Chao, Noelle. "Musical letters eighteenth-century writings of music and the fictions of Burney, Radcliffe, and Scott /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467893641&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Prado, Natália Cortez do. "CONSTRUÇÃO DA SENSIBILIDADE BURGUESA POR MEIO DO ESPAÇO EM THE MYSTERIES OF UDOLPHO DE ANN RADCLIFFE." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/9954.
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Fundação de Amparo a Pesquisa no Estado do Rio Grande do SulIn the late eighteenth century, Ann Radcliffe established herself as one of the most famous novelists of her time, and she reached the peak of her career with her fourth novel entitled The Mysteries of Udolpho (1794). Although it is one of the most important gothic novels, this narrative has issues not much explored by critics yet. The Mysteries of Udolpho presents us with one of the strongest characteristics of Radcliffe s fiction, namely, the detailed construction of setting. In this sense, this work analyses and discusses the roles of setting, which is organized in the novel as natural or constructed setting. The analysis focuses on the relation between this thematic-formal aspect and the actions and personal relationships of the protagonist Emily with other characters. The discussion shows that the different types of setting are essential in the narrative once they have strong participation in the ideological construction of characters regarding the connection between sentimentalism and rationality. Therefore, the relation between setting and characters, in this particular novel, expresses important aspects of the complex development of the bourgeois sensibility in eighteenth-century England.
Em fins do século XVIII, Ann Radcliffe se estabeleceu como uma das romancistas mais famosas de sua época, atingindo o ápice de sua carreira com seu quarto romance intitulado The Mysteries of Udolpho (1794). Apesar de ser um dos romances góticos ingleses mais importantes, ele ainda apresenta questões pouco exploradas pelos críticos. The Mysteries of Udolpho possui uma das características mais fortes das obras de Radcliffe: a minuciosa elaboração do espaço. Em vista disso, este estudo analisa e discute as funções do espaço, o qual está organizado em natural e construído. A análise centra na maneira como esse aspecto temático-estrutural se relaciona com as ações e relações pessoais da protagonista Emily com as demais personagens. Discutimos como os diferentes tipos de espaço tornam-se essenciais por participarem de forma enfática na construção ideológica das personagens, no que diz respeito à associação entre sentimentalismo e racionalidade. Assim, a relação entre espaço e personagens nesse romance expressa aspectos importantes da complexa construção da sensibilidade burguesa na Inglaterra do século XVIII.
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Davids, Courtney Laurey. "Female identity and landscape in Ann Radcliffe's Gothic Novels." Thesis, University of the Western Cape, 2008. http://hdl.handle.net/11394/2800.
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Magister ArtiumThe purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe's late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.
South Africa
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Wrobel, Claire. "Gothique et Panoptique : lecture croisée des oeuvres de Jeremy Bentham (1748-1832) et Ann Radcliffe (1764-1823)." Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100110.
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Qu’ont en commun Jeremy Bentham, père de l’utilitarisme et inventeur du Panoptique, et Ann Radcliffe, fondatrice du courant gothique en littérature ? Les deux auteurs ont suscité l’intérêt de Michel Foucault (1926-1984), quand il se penchait sur la modernité émergeant à la fin du XVIIIe siècle. Il a mis en rapport le désir de transparence que le panoptique incarnait selon lui et les espaces obscurs des « romans de la terreur ». L’objet de cette thèse est de mettre à l’épreuve la validité de cette hypothèse en élargissant le champ d’investigation. Plusieurs pistes sont explorées pour conceptualiser l’articulation entre les œuvres de Bentham et de Radcliffe : la polysémie de Gothic dans le discours littéraire, historique, politique et juridique ; le contexte de réforme pénale ; la paranoïa et les théories du complot. La confrontation de deux corpus appartenant à des régimes de discours différents ne va pas sans difficultés méthodologiques, qui sont travaillées à l’aide de la notion de la fiction. La pensée de Foucault sur la modernité a subi des évolutions, qu’il est nécessaire de prendre en compte pour évaluer la pertinence du rapport entre Bentham et Radcliffe au-delà de Surveiller et punirWhat do Jeremy Bentham—the father of utilitarianism and the inventor of the Panopticon—and Ann Radcliffe—the founder of the literary Gothic—have in common? Both authors aroused the interest of Michel Foucault (1926-1984), at the time when he was studying the emergent modernity of the end of the XVIIIth century. He linked the desire for transparency which, according to him, the Panopticon embodied to the dark spaces of the Gothic novels. The purpose of this doctoral thesis is to put the validity of this hypothesis to the test by widening the field of investigation. In order to conceptualize the articulation between the works of Bentham and Radcliffe, various approaches have been adopted: the polysemy of Gothic in the literary, historical, political and juridical discourse; the context of penal reform; paranoia and conspiracy theories. The confrontation of two corpuses belonging to different discourse systems inevitably creates some methodological difficulties, which are explored by way of the notion of fiction. Foucault’s thinking about modernity went through a series of evolutions, which it is necessary to take into account in order to assess the relevance of the relation between Bentham and Radcliffe, beyond Discipline and Punish
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Fennell, Jarad. "REPRESENTATIONS OF THE CATHOLIC INQUISITION IN TWO EIGHTEENTH-CENTURY GOTHIC NOVELS: PUNISHMENT AND REHABILITATION IN MATTHEW LE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4324.
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The purpose of this thesis is to determine how guilt and shame act as engines of social control in two Gothic narratives of the 1790s, how they tie into the terror and horror modes of the genre, and how they give rise to two distinct narrative models, one centered on punishment and the other on rehabilitation. The premise of the paper is that both Matthew G. Lewis's The Monk and Ann Radcliffe's The Italian harness radically different emotional responses, one that demands the punishment of the aberrant individual and the other that reveres the reformative power of domestic felicity. The purposes of both responses are to civilize readers and their respective representations of the Holy Office of the Inquisition are central to this process. I examine the role of the Inquisition in The Monk and contrast it with the depiction of the same institution in The Italian. Lewis's book subordinates the ecclesiastical world to the authority of the aristocracy and uses graphic scenes of torture to support conservative forms of social control based on shame. The Italian, on the other hand, depicted the Inquisition as a conspiratorial body that causes Radcliffe's protagonists, and by extension her readers, to question their complicity in oppressive systems of social control and look for alternative means to punishment. The result is a push toward rehabilitation that is socially progressive but questions the English Enlightenment's promotion of the carceral.M.A.
Department of English
Arts and Humanities
English MA
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Bennion, Anna Katharine. "It's Alive! The Gothic (Dis)Embodiment of the Logic of Networks." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2198.pdf.
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Wikle, Olivia Marie. "Mortal Sounds and Sacred Strains: Ann Radcliffe's Incorporation of Music in The Mysteries of Udolpho." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461177381.
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Prokisch, Peter. "Fanatics, Hypocrites, Christians - Katholiken als stereotype Romanfiguren bei Richardson, Lewis, Radcliffe und Maturin : Vorformen, Darstellung und Funktion /." Hamburg : Kovač, 2005. http://swbplus.bsz-bw.de/bsz121555038cov.htm.
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Nasri, Chourouq. "L'héroi͏̈ne gothique chez Ann Radcliffe et Matthew Lewis dans The mysteryies [mysteries] of Udolpho, The monk et The Italian." Paris 3, 2003. http://www.theses.fr/2003PA030153.
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Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.
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There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.
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McGarr, Susan Patricia Tym. "Representations of Deficient Motherhood in English Novels of the Eighteenth Century: Daniel Defoe, Samuel Richardson, Frances Burney, and Anne Radcliffe." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366278.
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The eighteenth century witnessed the development of an ideology of motherhood that promoted the notions that women are born to be mothers and naturally inclined toward childcare and domesticity. Throughout the century, in all manner of cultural forms, the mother’s role was constructed into a series of rules of maternal behaviour, sentiments, and responsibilities were promoted as the attributes of maternal excellence.
Against the cultural imperative to define and idealize maternity, there emerged a body of fiction in which mothers and mother figures are deficient when measured against the exacting standards of maternal excellence. Either the mother fails because she does not exhibit the appropriate maternal sentiments that would propel her to perform the duties of the ideal mother, or she is absent and forced to leave the mothering of her child to others. These others – substitute mothers – are also deficient in some way. Whatever form deficient motherhood takes in these novels, the mother figure exerts some form of agency that affects the destiny of her child, and the outcome of the narrative.
Through close textual analysis of the novels, Moll Flanders (1722), Roxana (1724), Clarissa (1747-9), Evelina (1778), and The Italian (1797), this thesis examines how literary representations of deficient motherhood are realized in English novels of the eighteenth century, and demonstrates why major writers, like Daniel Defoe, Samuel Richardson, Frances Burney, and Ann Radcliffe deployed this fascinating theme. It argues that there was a crucial change in the method of representation and that these two different methods were reflected by, and reflective of, the changing cultural and social requirements, needs, and desires to define and control motherhood. It further argues that the deficient mother was an effective narrative device for writers to explore the emerging ideas on gender and social class. The representative novels engage with issues pertinent to their historic time and place and highlight the extent to which mothers - and women in general – in eighteenth- century England were defined by the precepts of ideal motherhood, social class, and gender.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Faculty of Humanities and Social Sciences
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Roberts, Suzanne L. "The ecogothic pastoral ideologies in the gendered Gothic landscape /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3316380.
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Gao, Dodo Yun. "Terror' and 'horror' in the 'masculine' and 'feminine' Gothic : Matthew Lewis's The Monk ( 1796) and Ann Radcliffe's The Italian (1797)." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586630.
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Hallberg, Therese. ""Awful apprehension" och "sickening realization" : Om begreppen "terror" och "horror" i den gotiska litteraturen." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22834.
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Gothic literature has a tradition of dealing with dark subjects, themes and motifs, as well as depicting fear in different shapes and forms. Dani Cavallaro describes dark fiction in terms of the "aesthetic of the unwelcome". The philosopher Edmund Burke separates the beautiful from the sublime and writes that everything that is capable of producing a terror of pain and death is a source of the sublime. In her essay "On the Supernatural in Poetry", Ann Radcliffe draws a clear line between the concepts of terror and horror and distinguished them as fundamentally different. In this essay, I define the terms horror and terror by following up the research surrounding Radcliffes statement. I begin with the concept of terror that Burke and other writers define as an elevated and positive feeling, then move on to account for the discussion surrounding Matthew Lewis' novel The Monk. It was considered pornographic, lewd and outright dangerous in its obscenity with blatant depictions of violence, gore and sex. Since Radcliffe and Lewis were contemporary I reckon that it is profitable to explore this tension further in my essay. From Radcliffe and Lewis I find out how the concepts of terror and horror have developed with time and how modern theorists conceive this distinction.
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Rae, Angela Lynn. "The haunted bedroom: female sexual identity in Gothic literature, 1790-1820." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002294.
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This thesis explores the relationship between the Female Gothic novel of the late eighteenth and early nineteenth century and the social context of women at that time. In the examination of the primary works of Ann Radcliffe, Mary Wollstonecraft and Mary Shelley, this study investigates how these female writers work within the Gothic genre to explore issues related to the role of women in their society, in particular those concerned with sexual identity. It is contended that the Gothic genre provides these authors with the ideal vehicle through which to critique the patriarchal definition of the female, a definition which confines and marginalizes women, denying the female any sexual autonomy. The Introduction defines the scope of the thesis by delineating the differences between the Female Gothic and the Male Gothic. Arguing that the Female Gothic shuns the voyeuristic victimisation of women which characterizes much of the Male Gothic, it is contended that the Female Gothic is defined by its interest in, and exploration of, issues which concern the status of women in a patriarchy. It is asserted that it is this concern with female gender roles that connects the overtly radical work of Mary Wollstonecraft with the oblique critique evident in her contemporary, Ann Radcliffe’s, novels. It is these concerns too, which haunt Mary Shelley’s texts, published two decades later. Chapter One outlines the status of women in the patriarchal society of the late eighteenth century, a period marked by political and social upheaval. This period saw the increasing division of men and women into the “separate spheres” of the public and domestic worlds, and the consequent birth of the ideal of “Angel in the House” which became entrenched in the nineteenth century. The chapter examines how women writers were influenced by this social context and what effect it had on the presentation of female characters in their work, in particular in terms of their depiction of motherhood. Working from the premise that, in order to fully understand the portrayal of female sexuality in the texts, the depiction of the male must be examined, Chapter Two analyses the male characters in terms of their relationship to the heroines and/or the concept of the “feminine”. Although the male characters differ from text to text and author to author, it is argued that in their portrayal of “heroes and villains” the authors were providing a critique of the patriarchal system. While some of the texts depict male characters that challenge traditional stereotypes concerning masculinity, others outline the disastrous and sometimes fatal consequences for both men and women of the rigid gender divisions which disallow the male access to the emotional realm restricted by social prescriptions to the private, domestic world of the female. It is contended that, as such, all of the texts assert the necessity for male and female, masculine and feminine to be united on equal terms. Chapter Three interprets the heroine’s journey through sublime landscapes and mysterious buildings as a journey from childhood innocence to sexual maturity, illustrating the intrinsic link that exists between the settings of Gothic novels and female sexuality. The chapter first examines the authors’ use of the Burkean concept of the sublime and contends that the texts offer a significant revision of the concept. In contrast to Burke’s overtly masculinist definition of the sublime, the texts assert that the female can and does have access to it, and that this access can be used to overcome patriarchal oppression. Secondly, an analysis of the image of the castle and related structures reveals that they can symbolise both the patriarchy and the feminine body. Contending that the heroine’s experiences within these structures enable her to move from innocence to experience, it is asserted that the knowledge that she gains, during her journeys, of herself and of society allows her to assert her independence as a sexually adult woman.
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Craig, Steven. "'Our Gothic bard' : Shakespeare and appropriation, 1764-1800." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3067.
Full textAbstract:
In recent years, Gothic literary studies have increasingly acknowledged the role played by Shakespeare in authorial acts of appropriation. Such acknowledgement is most prominently stated in Gothic Shakespeares (eds. Drakakis and Townshend, 2008) and Shakespearean Gothic (eds. Desmet and Williams, 2009), both of which base their analyses of the Shakespeare-Gothic intersection on the premise that Shakespearean quotations, characters and events are valuable objects in their own right which mediate on behalf of the 'present' concerns of the agents of textual appropriation. In light of this scholarship, this thesis argues the case for the presence of 'Gothic Shakespeare' in Gothic writing during the latter half of the eighteenth century and, in doing so, it acknowledges the conceptual gap whereby literary borrowings were often denounced as acts of plagiarism. Despite this conceptual problem, it is possible to trace distinct 'Gothic' Shakespeares that dismantle the concept of Shakespeare as a singular ineffable genius by virtue of a textual practice that challenges the concept of the 'genius' Shakespeare as the figurehead of genuine emotion and textual authenticity. This thesis begins by acknowledging the eighteenth-century provenance of Shakespeare's 'Genius', thereby distinguishing between the malevolent barbarian Gothic of Shakespeare's own time and the eighteenth-century Gothic Shakespeares discussed under the term 'appropriation'. It proceeds to examine the Shakespeares of canonical Gothic writers (Horace Walpole, Ann Radcliffe and Matthew Lewis) as well as their lesser-known contemporaries (T.J. Horsley Curties and W.H. Ireland). For instance, Walpole conscripts Hamlet in order to mediate his experience of living in England after the death of his father, the first Prime Minister Robert Walpole. The thesis then argues for the centrality of Shakespeare in the Gothic romance's undercutting of the emergent discourses of emotion (or 'passion'), as represented by the fictions of Radcliffe and Lewis, before moving on to consider Curties's attempted recuperation - in Ethelwina; or, the House of Fitz-Auburne (1799) - of authentic passion, which is mediated through the authenticity apparatus of Edmond Malone's 1790 editions of Shakespeare's plays. It concludes with W.H. Ireland's dismantling of Malone's ceoncept of the 'authentic' Shakespeare through the contemporary transgressions of literary forgery and the evocation of an illicit Shakespeare in his first Gothic romance, The Abbess, also published in 1799.
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Owen, Kate Marie Novotny. "Modes of the Flesh: A Poetics of Literary Embodiment in the Long Eighteenth Century." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494180648937066.
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Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.
Full textAbstract:
While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
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Williams, Ian Kennedy. "Re-igniting the Gothic : contemporary drama in the classic mode." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16033/1/Ian_Williams_Thesis.pdf.
Full textAbstract:
While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
30
Radcliff, Matthew Robert. "The Romantic Genius of Einstein and the Science Essay Film." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/radcliff/RadcliffM1206.pdf.
Full textAbstract:
The image of Einstein as a scientific genius, a talent so elevated it can spill over the boundaries between science and art, requires the assumption that art and science are not simply different fields of knowledge, but are polar opposites. Despite two centuries of effort, the debate on the relationship of art and science is far from resolved; the notion that they are exclusive of each other is even less established. However, there remains a tendency to treat art and science as the two extremes of a linear scale of talent. Only an exceptional person, therefore, can straddle the line between them. The traditional science documentary aggravates this separation. Condensing the time and effort involved, through re-enactments of selected experiments, neglects the artisanal, hands-on nature of science. By spotlighting one (or at most a handful) of scientists as special, and condensing a large body of work into a small number of significant events, the documentaries give the impression that creativity in science is a rare occurrence. A new model of science film, based on the personal essay that is prominent in popular science writing (e.g., the essays of Alan Lightman), is proposed to ease the tension between art and science. The essay film, combining elements of the documentary and the personal art film, provides the opportunity to illustrate science as an inherently creative act relevant to all people.
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Radcliffe, Margaret. "Attitudes and beliefs of rural health and welfare professionals about sexual assault / Margaret J. Radcliffe." Thesis, The Author [Mt.Helen, Vic.] :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/63945.
Full textAbstract:
"The study aims to document the attitudes and beliefs of a group of rural health and welfare professionals in the Central Highlands region of Victoria, to identify if theoretical frameworks of participants for the explanation of sexual assault reflect community attitudes based on traditional mythologies and misconceptions. The study also aims to highlight where specific training about sexual assault is required, based on needs of participants, and to recommend components for a future training program."Master of Arts
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Tonn, Jenna Alexandra. "Museum, Laboratory, and Field Site: Graduate Training in Zoology at Harvard and Radcliffe Colleges, 1873-1934." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845445.
Full textAbstract:
This dissertation examines the development of graduate training in zoology at Harvard and Radcliffe Colleges under E. L. Mark between 1873 and 1934. It focuses on the changing spatial, institutional, and intellectual relationship between the Museum of Comparative Zoology and the Department of Zoology as a result of university-wide educational reforms that introduced teaching and research in the biological sciences to the curriculum in the nineteenth century.
Part I examines the Museum of Comparative Zoology’s relationship to the growth of elective instruction in natural history. Debates between the museum’s director, Alexander Agassiz, Harvard’s President Charles W. Eliot, and E. L. Mark hinged on the uncertain role that the museum was prepared to play as a site for undergraduate teaching. The creation of the department as an administrative unit in 1890, and the subsequent organization of the Department of Zoology, changed the balance of power between Agassiz and Mark and sparked demarcation conflicts over what counted as a teachable form of zoology.
Part II explores the scientific cultures of the Harvard and Radcliffe Zoological Laboratories. It addresses the laboratory as a physical site, a disciplinary space, a pedagogical tool, and a gendered social and scientific community. I reconstruct how Mark’s students experienced his idiosyncratic pedagogical system as part of their daily lives. A significant contribution of this dissertation is the examination of the Radcliffe Zoological Laboratory, a small room in the museum that Radcliffe College converted into a space for women pursuing zoological studies. Issues related to gender and debates about coeducation on campus reconfigured access to the practice of zoology, especially for Radcliffe graduate students.
Part III follows Mark’s laboratory to the field where he co-founded the Bermuda Biological Station for Research in 1903. Mark adapted his pedagogical systems to a new political and scientific environment in colonial British Bermuda. There, graduate training was understood through overlapping discourses of amateur natural history and middle-class leisure. Establishing a biological field station in an unpredictable colonial climate took priority over resistance to coeducation. This inadvertently turned the Bermuda station into an important destination for women seeking fieldwork experience in the twentieth century.History of Science
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Bobbitt, Elizabeth Kathleen. "Romantic antiquaries and silent conversations : Ann Radcliffe's post-1797 works and Sir Walter Scott." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21407/.
Full textAbstract:
This study aims to redress the almost complete critical marginalisation of Ann Radcliffe’s post-1797 works, published in a four-volume collection entitled "Gaston de Blondeville, or the Court of Henry III Keeping Festival in Ardenne, a Romance; St. Alban’s Abbey: A Metrical Tale, with some Poetical Pieces by Ann Radcliffe, to which is Prefixed a Memoir of the Author with Extracts from her Journals" (1826). I examine the major works of this collection, beginning with Radcliffe’s last novel, "Gaston de Blondeville," before providing a critical analysis of her two longest narrative poems, "St. Alban’s Abbey" and "Salisbury Plains: Stonehenge." In arguing for a widening of the bounds of Radcliffean scholarship to include not just her well-known Gothic romances of the 1790s, but also her later works, I contextualise Radcliffe’s post-1797 texts alongside Sir Walter Scott’s "Ivanhoe" (1820) and his earlier narrative poetry. Examining Radcliffe’s later work in the context of Scott’s historical fiction allows us to see Radcliffe’s innovation as a writer post-1790s. It also highlights the striking thematic reciprocity which exists between Radcliffe’s post-1797 texts and Scott’s historical fiction. These works display varying responses to a larger revival of interest in Britain’s early heritage, exemplified through Radcliffe’s and Scott’s exploration of the nature of antiquarian study and medieval romance forms. In tracking this thematic reciprocity, this study uncovers a little-acknowledged "conversation," initiated by Radcliffe’s post-1797 works with Scott’s oeuvre. The forthcoming chapters define the specific nature of this "conversation," in which Radcliffe first anticipates and then responds to Scott’s unprecedented literary success in the field of historical fiction.
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Kong, Pui-ming Ivy, and 江佩明. "Between romance and realism: patterns of fulfillment in Ann Radcliffe's 'A Sicilian Romance' and JaneAusten's 'Pride and Prejudice'." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952057.
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Webber, Caroline. "Ann Radcliffe's Gaston de Blondeville, or The Court of Henry III, Keepng Festival in Ardenne (1826) : a critical edition." Thesis, University of Liverpool, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440839.
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Hause, Marie. "The figure of the nun and the gothic construction of femininity in Matthew Lewis's The Monk, Ann Radcliffe's The Italian, and Charlotte Brontë's Villette /." Full-text of dissertation on the Internet (759.23 KB), 2010. http://www.lib.jmu.edu/general/etd/2010/masters/hauseme/hauseme_masters_04-28-2010.pdf.
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Marnieri, Maria Teresa. "Critical and iconographic reinterpretations of three early gothic novels. Classical, medieval, and renaissance influences in William Beckford’s Vathek, Ann Radcliffe’s romance of the forest and Matthew G. Lewis’s the Monk." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399574.
Full textAbstract:
El propósito de esta disertación doctoral es lo de investigar y comprender de
mejor manera las influencias múltiples que, juntas al desarrollo y a la divulgación de
la traducción literaria (puestas de relieve por Stuart Gillespie y David Hopkins),
tuvieron un papel importante en el ascenso de las primeras novelas góticas al final del
siglo dieciocho. Considerando que este trabajo está profundamente influenciado e
inspirado por la crítica literaria reconocida a nivel internacional sobre la literatura
gótica, esta investigación evita asumir perspectivas criticas típicas del siglo veinte y del
periodo actual. Procediendo atrás en el tiempo, examina los autores, su ambiente
cultural, sus conocimientos y sus puntos de vista que pertenecen al siglo dieciocho. El
enfoque se concentra sobre las primeras manifestaciones del género gótico en las
décadas inmediatamente sucesivas a la novedad introducida por Horace Walpole con
su novela fantástica El Castillo de Otranto en 1764. El periodo fin de siècle limitado
(1786-1796) de los primeros trabajos góticos que se explora en esta tesis es
inversamente proporcional al ancho nivel de creatividad e invención de sus autores.
Esta disertación tiene como objetivo lo de demonstrar que la omnipresencia y la
reiteración de temas y argumentos clásicos, medievales y renacentistas fueron
elegidos y adaptados a sus historias conscientemente por William Beckford (Vathek,
1786), Ann Radcliffe (El Romance de la Selva, 1791), y Matthew G. Lewis (El Monje,
1796), cuyas novelas representan un sincretismo único y original de ideas e influencias
literarias, culturales e iconográficas que los tres autores absorbieron de sus
contemporáneos así como de los escritores y poetas del pasado. Las tres novelas
analizadas en esta tesis fueron escritas antes, durante y después de la revolución
francesa que ha sido frecuentemente considerada como un punto de referencia y el
origen de la literatura gótica. Una de las ideas detrás de esta disertación es la intención
de demonstrar que las conexiones con la revolución en Francia son una convención
crítica a quo, que generalmente no toma en consideración peculiaridades del gótico
literario que existían antes de los acontecimientos revolucionarios. Otros aspectos
importantes incluidos en esta investigación son la función de las arquitecturas, los
paisajes y las iconografías de las novelas. La disertación está dividida en cinco partes.
La primera introduce los argumentos and la razón de ser a la base de esta investigación
junto a la motivación de organizar un estudio sobre el gótico que recibe mucha
atención crítica. El cuerpo central es formado por tres capítulos. Cada uno contiene un
análisis de una novela diferente y pone en evidencia su relación con autores como
Lucrecio, Virgilio, Ovidio, Dante, Boccaccio, Shakespeare, y otros. El quinto capítulo
incluye la conclusión y las hipótesis de investigaciones futuras que pueden
desarrollarse de este estudio. Una particularidad de la bibliografía es que presenta una
variedad de textos y traducciones que eran conocidos por los autores examinados en
esta disertación. El idioma de los novelistas góticos reflejaba inevitablemente los
estilos de los autores del pasado. Un anexo iconográfico al final de la disertación
presenta una galería de pinturas e imágenes que muestran una analogía relevante con
la belleza, el misterio y el terror del gótico.The purpose of this doctoral dissertation is to investigate and better understand the multiple influences that, together with the development and spreading of literary translations (highlighted by Stuart Gillespie and David Hopkins), played an important role in the rise of the early Gothic novel at the end of the eighteenth century. While deeply inspired by and imbued with internationally recognised critical literature of the Gothic, this study avoids assuming the critical stances of the twentieth and twenty-first centuries. It proceeds backward in time, scrutinizing the authors, their cultural background, their knowledge, and their eighteenth-century perspectives. The focus is concentrated on the first manifestations of the Gothic genre in the decades that followed the novelty introduced by Horace Walpole with The Castle of Otranto in 1764. The restricted fin de siècle timespan (1786-1796) of the early Gothic works that is explored in this thesis is inversely proportional to the high level of creativity and inventiveness of their authors. This dissertation aims at demonstrating that the pervasiveness and reiteration of Classical, Medieval, and Renaissance themes were consciously chosen and adapted to their plots by William Beckford (Vathek, 1786), Ann Radcliffe (The Romance of the Forest, 1791), and Matthew G. Lewis (The Monk, 1796), whose novels were an interesting and unusual syncretism of literary, cultural, and iconographic ideas and resources that they absorbed both from their contemporaries and, most importantly, from authors of the past. The three novels analysed in this thesis were written before, during, and after the French Revolution, which has been taken by many as a point of reference for and as a cause of the Gothic. The aim of this study is also to demonstrate that the association with the French Revolution is a critical convention a quo, which does not take into consideration Gothic peculiarities that already existed before the dramatic events in France. Other important aspects included in this investigation are the function of architectures, landscapes and iconographies in the novels. The dissertation is divided into five parts. The first part introduces the major themes and the rationale behind this investigation together with the motivation for embarking on a study on the Gothic. The central body is represented by three chapters. Every chapter analyses one novel and underscores its connection with authors such as Lucretius, Virgil, Ovid, Dante, Boccaccio, Shakespeare, and many others. The fifth chapter contains the conclusion and the future hypotheses of investigation brought about by this research. The bibliography features a variety of source texts and translations that were known to the novelists examined in this dissertation. The three Gothic writers’ language inevitably reflected and echoed themes and styles inherited from authors of different epochs. An iconography annex introduces a series of paintings and images that showed relevant associations with Gothic beauty, mystery, and horror.
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Chen, Li-Ching, and 陳麗青. "Subterranean Revolt: A View of Ann Radcliffe and Jane Austen." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/49211212170632547174.
Full textAbstract:
碩士國立中山大學
外國語文學系
84
In my thesis, I try to explore the potential rage in the novels Radcliffe and Austen, and to point out, if any, their qualified These two women novelists expose to their contemporary women conditions by a kind of artistic strategy. I call this strategy revolt. In chapter one, "Defamiliarizing/Familiarizing thefe's Subterranean Revolt in The Mysteries of Udolpho," I mainly focus specific writing style which makes her subterranean revolter novels, Radcliffe masks her attacks under disguises. Shethe readers from the horrors by presenting to them some remotees and settings, but, she at the same time, familiarizes theseng them akin to the eighteenth-century women' s situation. In chapter two, "Domesticating the Gothic: Subterranean Austen's Northanger Abbey," I discuss the novel's connection with novels and Austen's strategy of subversion in Northanger Abbey. still contains some vestiges of Radcliffe. Apart from The Udolpho, A Sicilian Romance and The Romance of the Forest both the heroine's imagination. In Northanger Abbey, Austen uncovers omnipresent adversities underlying the presumed peacefulness of eighteenth-century England. Moreover, the novel seems to gothicism underlies the quotidian life, and that the Gothic instruction to inform girls of the daily gothic. Domesticating Austen's strategy in Northanger Abbey.
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Corson, Jamie T. "The modernization of the Gothic heroine from Ann Radcliffe to Stephenie Meyer, a feminist perspective /." 2010. http://hdl.rutgers.edu/1782.2/rucore10005600001.ETD.000052178.
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Davids, Courtney Laurey. "Female Identity and Landscape in Ann Radcliffeâs Gothic Novels." Thesis, 2008. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_6931_1266275098.
Full textAbstract:
The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe&rsquo
s late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.
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Klosová, Kateřina. ""Především žena rozumu a slušnosti": ženské gotiské romány Ann Radcliffe a jejich kontext v osmnáctém století." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-294214.
Full textAbstract:
In 1977 Ellen Moers in her Literary Women coined "Female Gothic" as a new term in literary criticism. In this she seemed to be laying the foundation for a new conception and specific way of thinking about women writers as related to the Gothic genre. Moers in her critical book on women's writing claims that the Female Gothic is "easily defined: the work that women writers have done in the literary mode that, since the eighteenth century, we have called the Gothic"1. Nevertheless, along with other terms, Female Gothic was quickly adopted by the feminist critics and especially during the eighties of the twentieth century its interpretation underwent distinct changes. As Avril Horner and Sue Zlosnik observe, since the late seventies "it has been increasingly acknowledged that women writers have made use of the non-realist Gothic mode in order to explore the problematic nature of female subjectivity in Western patriarchal culture"2. Thus, what was originally conceived of as a specific coinage for the Gothic novels distinct by their female authorship, became a term encompassing the specificities of both woman style of writing and of the woman character as a means for the exploration of female experience. The application of the term became more focused and consequently rather limited in the late 1980s. This was...
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Li, Zheng-hui, and 李政慧. "A Revolution in Female Manners: Sensibility, Women''s Rights and Independence in Ann Radcliffe''s The Mysteries of Udolpho." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/74536780477341856506.
Full textAbstract:
碩士國立政治大學
英國語文研究所
91
Abstract In The Mysteries of Udolpho Ann Radcliffe describes the story of a young, middle-class woman. She illustrates how the innocent, sensitive protagonist fights against oppression, defends her value and finds her own happiness in the male dominated world. By describing the protagonist’s opposition to subordination, Radcliffe points out the necessity of changing women’s manners. The writer of this thesis explores Radcliffe’s concern with the social inferiority of women in The Mysteries of Udolpho. The writer also applies Mary Wollstonecraft’s liberal feminist thought in her discussion of Radcliffe. This thesis is divided into five chapters. The first chapter is a general introduction. It includes Ann Radcliffe and her works, the critical response, the theory employed in the textual analysis, namely Wollstonecraft’s liberal feminist thought and an overview of the eighteenth-century sensibility. The second chapter focuses on Radcliffe’s attack of the false sensibility and how it distorts the nature of women. The third chapter centers on the virtuous sensibility and how it functions as the power to reverse women’s social inferiority. In the fourth chapter, the stress will be laid upon issues of marriage, property and the meaning of independent women. The concluding chapter discusses the contribution of Radcliffe as novelist.
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Hsu, Sophia Hwei-hsin, and 許蕙薪. "Nightmare Comes True — Social Confinement in Female Gothic Works: The Italian by Ann Radcliffe and The Butcher’s Wife by Ang Li." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/15048477709324854693.
Full textAbstract:
碩士輔仁大學
英國語文學系
92
This thesis aims to explore the social expectation and patriarchal confinement imposed upon women from the texts of Ann Radcliffe’s The Italian and Ang Li’s The Butcher’s Wife. In the introduction, the traditions of English Gothic and Chinese Gothic are discussed. In Chapter One, the gothic settings in The Italian and The Butcher’s Wife are examined to present the invisible imprisonment women experience in patriarchal society. In the second chapter, with the discussion of gothic relationship between men and women, the issue of how men manipulate women with the powers of sex, hunger, death, and economics will thus be explored. The gothic relationship between women will be the main focus of Chapter Three, in which the ideas of how absent mothers influence gothic heroines, and how gothic heroines are mistreated and are further excluded from the mainstream community by gothic mother substitutes will be analyzed. The concept that women are deeply confined and imprisoned within patriarchal ideology despite their efforts to strive for independence and freedom is not only the concern expressed by Ann Radcliffe and Ang Li, but is also the conclusion of this thesis.
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Quinteiro, Sílvia Moreno de Jesus e. "A relação sujeito observador/ paisagem em The Mysteries of Udolpho de Ann Radcliffe e na obra de Caspar David Friedrich." Master's thesis, 1998. http://hdl.handle.net/10400.1/1409.
Full textAbstract:
Dissertação mest., Literatura Comparada, Faculdade de Letras da Universidade de Lisboa, 1998Este estudo consiste numa análise comparativa entre The Mysteries of Udolpho de Ann Radcliffe e a obra pictórica de Caspar David Friedrich. A comparação foi feita ao nível da relação que se estabelece nestas duas obras entre o sujeito observador e a paisagem, e tem como objectivo, para além de comprovar a pertinência desta aproximação, revelar de que modo sujeito e paisagem contribuem para a construção um do outro. O estudo encontra-se dividido em três capítulos nos quais se dá conta, respectivamente: do processo de construção da paisagem em Ann Radcliffe e em Caspar David Friedrich, do valor da fronteira e das figuras do wanderer, do traveller e do picturesque traveller na decifração da paisagem e, por último, do impacto provocado pela natureza no sujeito e do "estupor" resultante dessa experiência
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Alexander, Jerry Jennings. "Power and Identity in Three Gothic Novels: The Mysteries of Udolpho, Caleb Williams, and Melmoth the Wanderer." 2011. http://trace.tennessee.edu/utk_graddiss/1164.
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Abstract
This study examines the connection between power and identity in three Gothic novels, Ann Radcliffe’s The Mysteries of Udolpho, William Godwin’s Caleb Williams, and Charles Robert Maturin’s Melmoth the Wanderer. Following the identity theories of Erik Erikson, I argue that identity has biological, psychological, and social aspects that are subject to change over time. As individual agency—the ability to function as a person—depends on a relatively certain and stable sense of personal identity, Gothic villains—both individuals and institutions—gain and maintain their power by disempowering their victims. In order to do so, they work to compromise these victims’ sense of personal identity, causing them to suffer identity crises that greatly reduce their ability to function. Employing various means—including threats of rape, destruction of reputation, imprisonment, forced exile, denial of freedom of thought, torture, and others—Gothic villains attempt to weaken their victims by placing them in situations that cause the fears that Erikson argues all people share to become paralyzing and debilitating states of anxiety, states in which the victims suffer from a temporary, or, in extreme cases, permanent loss of agency. These Gothic victims’ paranoia, identity crises, and subsequent loss of agency underscore the importance of individuals’ identity and constitute the horror that is at the heart of Gothic fiction.
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Yi-ting, Chung, and 鍾宜廷. "The Abject Woman in Ann Radcliffe's The Italian." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/31602524676700124102.
Full textAbstract:
碩士國立臺灣師範大學
英語學系
98
Three types of abject woman in Ann Radcliffe’s The Italian will be analyzed from Julia Kristeva’s perspective of abjection in this thesis. The Kristevaian model, with Barbara Creed’s interpretation, emphasizes the two opposite characteristics of abjection – (r)ejection and transgression. Gothic women used to be prototypical characters depicted either as persecuted maidens, the rejected abject, or as tormenting monsters, the transgressive abject. But Radcliffe, as the forerunner of Female Gothic, breaks the conventions by sending her heroines across the gender boundary without offending the proprieties. Taking Radcliffe’s pioneering depiction of Gothic women as the basic premise, this thesis tries to argue that both virtuous mother and monstrous madonna fail to free themselves from gender norms. Only the border-crossing woman is likely to strive for more autonomy. Although in definition the abject can never become the subject, Radcliffe in the novel creates limited but efficacious spaces for women within the institution of male power. This thesis consists of five chapters. Chapter one is a general introduction, talking about Female Gothic conventions, The Italian and its critical response, and the methodology of Kristeva’s abjection. Chapter two focuses on virtuous mothers, the rejected abject, who give in to male hegemony and lose their freedom. Lady Olivia and Signora Bianchi are taken as instances. Chapter three centers on monstrous mothers, the transgressive abject, who attempt to take over male power but turn out to consolidate patriarchy. The Marchesa di Vivaldi and the abbess of San Stefano are representatives. Chapter four explores border-crossing women who combine the contrary characteristics of the abject. Their betwixt and between enables them enjoy great autonomy. Ellena di Rosalba and the abbess of Santa della Pieta are best examples. Chapter five is a concluding part that discusses the contribution of Radcliffe as a self-aware female writer.
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Yu-HanChang and 張雨涵. "Travel with Sensibility: Ann Radcliffe's Picturesque Narrative in The Mysteries of Udolpho and The Italian." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/zb935v.
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碩士國立成功大學
外國語文學系
102
Ann Radcliffe’s landscape descriptions in her gothic fiction were widely discussed and praised among her contemporary readers at a time of the popularity of travel literature; however, modern readers often complain of its repetitive and over-abundant narration and critics nowadays seldom analyze the landscape decoration from a point of view other than its function of gothic atmospheric evocation. This thesis seeks to examine the relation between Ann Radcliffe’s literary portrayal of picturesque landscapes and the formation of her story characters and by extension, to reveal certain social conditions of eighteenth-century England as encrypted in that relationship. The discussion in the thesis is limited to the authoress’s two latest novels, The Mysteries of Udolpho and The Italian, in which scenic delineation is employed pervasively in a large extent and features the same country, Italy. Serving as a framework for the following discussion, the first chapter offers a brief introduction of William Gilpin’s concept of picturesque travel known as an inspiration for Mrs. Radcliffe’s creation of her Gothic setting; then the chapter brings out the eighteenth-century discourse of sensibility to emphasize the relation between aesthetic experience and physical susceptibility. The second chapter, in terms of two different concepts, gender and class, aims to explore the virtuous characters’ aesthetic responses to landscapes; with a reading of eighteenth-century British social context, the chapter means to further demonstrate that these characters’ different social backgrounds reflect faithfully on their aesthetic tastes. In order to illustrate Mrs. Radcliffe’s moral vision in her gothic romances, the third chapter turns to investigate the immoral characters’ apathy towards landscapes and their paradoxical affinity with the (wild) nature. Through her picturesque narrative, Mrs. Radcliffe not only successfully shapes each of her characters but also persists in her conservative strain of Gothicism that differentiates her work from the sensationalism of the school of horror.
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MURPHY, ANN BRIAN. "PERSEPHONE IN THE UNDERWORLD: THE MOTHERLESS HERO IN NOVELS BY BURNEY, RADCLIFFE, AUSTEN, BRONTE, ELIOT, AND WOOLF (FEMINIST CRITICISM, PSYCHOANALYTICAL CRITICISM, ARCHETYPAL CRITICISM)." 1986. https://scholarworks.umass.edu/dissertations/AAI8701205.
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The female heroes in late eighteenth-century and in nineteenth-century English novels by women are strikingly motherless, lacking both a constructive model of adult female subjectivity and sexuality, and a matrilineal emotional and linguistic legacy with which to define themselves in a hostile patriarchal culture. Like Persephone in the Underworld, these heroes are captives in the wor(l)d of the father, experiencing heterosexuality as both seductive and coercive, desiring an impossible return to maternal oneness. Two narrative patterns emerge as female authors--themselves artistically motherless--trace the (socially impermissible) maturation of their heroes. In one, the representational tradition exemplified by the works of Fanny Burney, Jane Austen, and early George Eliot, female heroes initially resist patriarchal definition--cultural and psychological inscription expressed primarily in linguistic metaphors. Yet they are equally terrified by the subversive, semiotic, marginal, and declassee jouissance of maternal surrogates. Eventually, these heroes succumb to the Word of the Father and its model of feminine renunciation and silence, rather than risk the dangers of maternal reconciliation (rematriation), depicted as dirty, classless, promiscuous, and violent. By contrast, a surreal, Gothic, and fantasy narrative pattern, exemplified by the novels of Ann Radcliffe, Charlotte Bronte, later George Eliot, and Virginia Woolf, permits that dangerous, semiotic, maternal energy to disrupt and redefine the world of the novel. The patriarchal domination which threatens these heroes is heterosexual as well as linguistic, while the symbolic representatives of maternal origins they confront--often in the guise of irrational, life-saving forces--empower and renew them. Employing non-representational gestures--a species of l'ecriture feminine--to suggest such rematriation, these novels suggest a tentative, uneasy, and covert return to lost/repressed pre-Oedipal material. Employing elements of archetypal criticism, feminist psychoanalytical theory, and French feminism to examine these novels, we find a remarkable consistency of motifs: enforced silence and desire for voice/education; fear of invisibility and yearning for transcendence; profound dis-ease with (masculine) models of autonomous identity; fearless assertion on behalf of others; implicit homoerotic solace in female friendship; and a deep fear of maternal eroticism coupled with an intense desire for rematriation.
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Yen, Yu-jung, and 顏佑蓉. "The Enchantment of Escape: An Intertextual Reading of Ann Radcliffe’s The Mysteries of Udolpho." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/05172078373768119331.
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碩士國立交通大學
外國語文學系外國文學與語言學碩士班
100
This thesis aims to explore the theme of “escape” in Ann Radcliffe’s The Mysteries of Udolpho. By exploring this theme in Radcliffe’s most famous Gothic novel, I argue that the definition of escape does not limit to the heroine’s flight from the Gothic villain’s tyrant reign; it also suggests an ostensibly submissive and elusive mentality that strategically responds to the expected feminine virtues in the eighteenth century. When taking place in the Gothic novels, these episodes of escape reflect the collective female experiences of apprehension, avoidance and concealment, and demonstrate the courage to resist patriarchal tyranny by running away; when escape takes place at the level of reading, however, the novel readers’ escapism is often criticized for their wanton abandonment of domestic duties, the tendency to evade responsibilities, or ill literary taste for women’s education. This thesis aims to deal with these two opposite responses towards escape in the Gothic novel, and to decide whether the act of escape encourages passive femininity, or it may contain a latent power of subversion. In addition to Udolpho, this thesis would also provide an intertextual reading between The Monk, The Italian and Northanger Abbey by exploring their respective episodes of escape and the dialectic interaction between contemporary authors and texts. I would focus on the three levels— the narrative’s suspense, the character’s flight, and the reader’s escapism— to bring out the debate over women’s role in the eighteen-century’s family and society, issues that continue to concern us in the twenty-first century today.
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"Women, Agency, and the Public Sphere: An Investigation of Ann Radcliffe's The Romance of the Forest and The Mysteries of Udolpho." Texas Christian University, 2010. http://etd.tcu.edu/etdfiles/available/etd-04282010-131558/.
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