Academic literature on the topic 'English fiction English fiction Gothic literature'
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Journal articles on the topic "English fiction English fiction Gothic literature"
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Bonet Safont, Juan Marcos. "Professors, Charlatans, and Spiritists: The Stage Hypnotist in Late Nineteenth-Century English Literature." Culture & History Digital Journal 9, no. 1 (September 11, 2020): 007. http://dx.doi.org/10.3989/chdj.2020.007.
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In this paper I will explore the stereotype of the stage hypnotist in fiction literature through the analysis of the novellas Professor Fargo (1874) by Henry James (1843-1916) and Drink: A Love Story on a Great Question (1890) by Hall Caine (1853-1931). Both Professor Fargo and Drink form part of a literary subgenre referred to variously as “Hypnotic Fiction”, “Trance Gothic” or “mesmeric texts”. The objective of my research, which examines both the literary text itself and its historical and social context, is to offer new and interesting data that may contribute to the development of a poetics or theory of the literary subgenre of hypnotic fiction. In this sense, this article is an essential contribution to a broader analysis that I have been working on, focusing on highlighting the generic features of this type of literature by analysing the stereotypes of hypnotists in fiction.
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Maggi, Simona. "The Strange Case of Teaching English Through the Gothic Novel." Grove - Working Papers on English Studies 26 (October 24, 2019): 103–16. http://dx.doi.org/10.17561/grove.v26.a6.
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In this article I endeavour to encourage teachers of Secondary Education to use English literature in their English language lessons. Indeed, literature provides a huge amount of authentic reading materials, making the students practise extensive as well as intensive reading, which is crucial for the foreign language acquisition. Moreover, it is an enormous source of motivation, allowing students to give free rein to their imagination and enjoy their English lessons. The election of gothic fiction is linked to this latter purpose: the 19th gothic genre is generally well accepted by adolescents as it represents a way to reflect on themselves through a journey to “self-revelation”. The double personality/identity-theme of R. L. Stevenson’s novel The Strange Case of Dr Jekyll and Mr Hyde fits well into their interests and their quest for self-knowledge. It offers them the chance to process what they are going through in this often unstable stage of their journey into adulthood by trying to figure out their place in the world.
Keywords: Reading skill, Literature in ELT, Gothic fiction, R. L. Stevenson, The Strange Case of Dr Jekyll and Mr Hyde, Double identity
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Dąbrowska, Małgorzata. "Images of Trebizond and the Pontos in Contemporary Literature in English with a Gothic Conclusion." Text Matters, no. 6 (November 23, 2016): 247–63. http://dx.doi.org/10.1515/texmat-2016-0015.
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A Byzantinist specializing in the history of the Empire of Trebizond (1204–1461), the author presents four books of different genres written in English and devoted to the medieval state on the south coast of the Black Sea. The most spectacular of them is a novel by Rose Macaulay, Towers of Trebizond. Dąbrowska wonders whether it is adequate to the Trebizondian past or whether it is a projection of the writer. She compares Macaulay’s novel with William Butler Yeats’s poems on Byzantium which excited the imagination of readers but were not meant to draw their attention to the Byzantine past. This is, obviously, the privilege of literature. As a historian, Dąbrowska juxtaposes Macaulay’s narration with the historical novel by Nicolas J. Holmes, the travelogue written by Michael Pereira and the reports of the last British Consul in Trabzon, Vorley Harris. The author of the article draws the reader’s attention to the history of a rather unknown and exotic region. The Empire of Trebizond ceased to exist in 1461, conquered by Mehmed II. At the same time the Sultan’s army attacked Wallachia and got a bitter lesson from its ruler Vlad Dracula. But this Romanian hero is remembered not because of his prowess on the battlefield but due to his cruelty which dominated literary fiction and separated historical facts from narrative reality. The contemporary reader is impressed by the image of a dreadful vampire, Dracula. The same goes for Byzantium perceived through the magic stanzas by Yeats, who never visited Istanbul. Rose Macaulay went to Trabzon but her vision of Trebizond is very close to Yeats’s images of Byzantium. In her story imagination is stronger than historical reality and it is imagination that seduces the reader.
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Im, Seo Hee. "The Ghost in the Account Book: Conrad, Faulkner, and Gothic Incalculability." Novel 52, no. 2 (August 1, 2019): 219–39. http://dx.doi.org/10.1215/00295132-7546745.
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Abstract “The Ghost in the Account Book” claims that the imperial fiction of Joseph Conrad and William Faulkner rejects accounting as a totalizing logic and, by extension, questions the English novel's complicity in propagating faith in that false logic. Accounting, which had remained unobtrusively immanent to realist novels of empire such as Mansfield Park and Great Expectations, surfaces to the diegetic level and becomes available for critical scrutiny in high modernist novels such as Heart of Darkness or Absalom, Absalom! Drawing from writings by Max Weber (on guarantees of calculability) and Mary Poovey (on the accuracy effect), this essay attends to the dandy accountant of Heart of Darkness, the accretive narrative structure of Nostromo, and Shreve's recasting of Sutpen's life as a debtor's farce in Absalom, Absalom! If Conrad bluntly equates accounting with lying, Faulkner reveals secrets elided in rows of debit and credit one by one as sensational truths; to those ends, both writers invoke Gothic conventions. By dispatching the totalizing technique that had been invented by early modern merchants and finessed by realist novelists to generate faith in a stable fiduciary community, Conrad and Faulkner impel the invention of newer forms and figures with which to express the new imperial (and later, postcolonial) world order.
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Price, Cheryl Blake. "VEGETABLE MONSTERS: MAN-EATING TREES IN FIN-DE-SIÈCLE FICTION." Victorian Literature and Culture 41, no. 2 (February 15, 2013): 311–27. http://dx.doi.org/10.1017/s1060150312000411.
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Gothic stories and fictionalized travel accounts featuring dangerous exotic plants appeared throughout the nineteenth century and were especially prevalent at the fin de siècle. As the century progressed and the public's fascination with these narratives grew, fictional plants underwent a narrative evolution. By the end of the Victorian period, deadly plants had been transformed from passive poisoners into active carnivores. Stories about man-eating trees, among the most popular of the deadly plant tales, reflect this narrative progression. The trope of the man-eating tree developed out of late eighteenth- and early nineteenth-century accounts of a much less dangerous plant: the Javanese upas. Tales about the upas described the tree as having a poisonous atmosphere which killed every living thing within a several mile radius. The existence of this plant was first reported by a Dutch surgeon named Foersch in a 1783 article published in the London Magazine, and the story was recounted several times throughout the century (“The Valley of Poison” 46). A typical account of the popular tale would highlight the exotic location and the mysterious power of the tree: Somewhere in the far recesses of Java there is, according to Foersch, a dreadful tree, the poisonous secretions of which are so virulent, that they not only kill by contact, but poison the air for several miles around, so that the greater number of those who approach the vegetable monster are killed. Nothing whatever, he tells us, can grow within several miles of the upas tree, except some little trees of the same species. For a distance of about fifteen miles round the spot, the ground is covered with the skeletons of birds, beasts, and human beings. (“The Upas Tree of Fact and Fiction” 12) Even though more credible adventurers revealed the inaccuracies of Foersch's report and thoroughly discredited the fantastic powers attributed to the upas, the story nonetheless took hold of the Victorian imagination. As a result of Foersch's widely-circulated narrative, the word “upas” was rapidly incorporated into the English lexicon; writers such as Erasmus Darwin, Thomas Carlyle, Charlotte Brontë, and Charles Dickens use the upas as a metaphor for a person, object, or idea that has a poisonous, destructive atmosphere. The upas was even a subject for nineteenth-century art, as evidenced by Francis Danby's 1820 gothic painting of a solitary upas tree in the midst of a desolate rocky landscape. Although the myth of the upas focuses on the tree's lethal powers, it is important to note that the upas is, relatively speaking, a very passive “vegetable monster.” The plant is potentially dangerous, but stationary; extremely isolated, it is only harmful to those who rashly ignore the warning signs and wander within the area of its poisonous influence. Even in these exaggerated accounts, the upas is a non-carnivorous monster that grows in a remote, uninhabited area of Java.
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Clark Mitchell, David. "A New ‘Rhetoric of Darkness’: Joseph Sheridan Le Fanu, John Connolly and the Irish Gothic." Oceánide 13 (February 9, 2020): 95–102. http://dx.doi.org/10.37668/oceanide.v13i.45.
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The relationship between Ireland and the Gothic goes back to the early days of the genre, when the Sublime, as identified by the Irish philosopher Edmund Burke, became central to the aesthetic concepts which would abound in the articulation of the Gothic as a literary form. The “dark, desolate and stormy grandeur” of the perception of Ireland which was held by the English reading public in the late eighteenth century was readily adaptable for the use of the island as a kind of pre-Enlightenment wilderness which, when combined with its linguistic, religious and cultural “otherness”, provided a fertile territory for the growth of a literature which favoured the supernatural, the uncanny and the numerous features which unite to make up the genre. As early as 1771, Elizabeth Griffin’s "The History of Lady Barton" contains elements of the Gothic, and the huge popularity of Waterford-born Regina Maria Roche’s "The Children of the Abbey"gave a definitive boost to the genre with regard to Irish writers. The success of Sydney Owenson’s "The Wild Irish Girl", and that of Charles Robert Maturin with "The Milesian Chief" and "Melmoth the Wanderer" helped foster a tradition which would be continued throughout the nineteenth century by writers such as Joseph Sheridan Le Fanu, L.T. Meade and Bram Stoker. It is Le Fanu who, arguably, was the first writer to merge the Gothic with crime fiction. For Begnall, his works “oscillate between the poles of supernatural horror and suspenseful detection”, and, in short fiction such as “The Murdered Cousin” and “The Evil Guest” and novels including "Uncle Silas" and "Wylder’s Hand" Le Fanu consciously merges the emerging format of the murder mystery with the lugubrious labyrinths of the Gothic. Le Fanu’s influence was, of course, international, but the paths he trod were also followed by numerous Irish writers. One of the most successful of these is John Connolly who, since the introduction of Charlie Parker with the publication of "Every Dead Thing" in 1999 has, in the eighteen novels which have appeared to date, successfully revised the concepts and tropes which make up the Irish Gothic. In this paper these works will be analysed with reference to their debt to the Irish Gothic tradition and, most specifically, to the writing of Le Fanu.
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Maroshi, V. V. "Gothic beetle: a comment on one of Pushkin’s allusions." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 66–79. http://dx.doi.org/10.17223/18137083/72/5.
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The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is represented within the genres of elegy, pastoral, and ballad. We expand the field of Pushkin’s allusion to the Gothic novels of A. Radcliffe and Gothic fiction in general. Mentioning the beetle launches a chain of reminiscences from Gothic novels during Tatiana’s walk and her visit to Onegin’s empty “castle.” The quotations from Shakespeare and Collins in Radcliffe’s novels are of great significance. Shakespeare’s beetle, a Hecate’s messenger, is involved in creating an atmosphere of night fears and mystery surrounding the scene in Onegin’s castle. A collection of Radcliffe’s novels in Pushkin’s library suggests the poet was somewhat familiar with the paratext of the novel “The Romance of the Forest”. Moreover, the beetle as a parody character for a ballad and a Gothic novel appeared in the unfinished poem “Vasily Khrabrov” by the poet’s uncle, V. L. Pushkin.
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Tupan, Maria-Ana. "Romantic Healers in Old and in New Worlds." Volume-1: Issue-9 (November, 2019) 1, no. 9 (December 7, 2019): 1–12. http://dx.doi.org/10.36099/ajahss.1.9.1.
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The revision of Romanticism in the last two or three decades went deeper than any other revolution in the canonization of western literature. Tom Wein (British Identities, Heroic Nationalisms and the Gothic Novel.1764-1824), Gary Kelly (English Fiction of the Romantic Period), Virgil Nemoianu (Taming Romanticism), or Michael Löwy and Robert Sayre (Romanticism Against the Tide of Modernity) demystified the uncritical association of this literary trend with the revolutionary political ethos in 1789 France, casting light on the conservative, pastoriented yearnings of the major representatives. Such considerations, however, do not apply to the American scene, where politics and poetics, unaffected, or at least not directly affected by the Reign of Terror and the Napoleonic wars remained faithful to the ideas of the French Revolution. Whereas Europe turned conservative, with the Great Powers forming suprastatal networks of influence (The Holy Alliance at the Congress of Vienna in 1815 bonding the Kingdom of Prussia, the Austrian and Russian empires, joined a few years later by France and the United Kingdom), America built a political system grounded in the rights of the individual and pursued ” dreams” of personal and national assertiveness (the ”city on the hill,” “from rags to riches”) in opposition to the European ”concert of nations” model. Our paper is pointing to a necessary dissociation of meliorist plots and narratives of healing in the romantic canon on either part of the Atlantic instead of subsuming them under a common poetics/politics heading.
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Hynes, Joseph, Michael North, and Patrick Swinden. "Contemporary English Fiction." Contemporary Literature 27, no. 1 (1986): 90. http://dx.doi.org/10.2307/1208601.
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Yiannitsaros, Christopher. "Unhomely Counties: Gothic Surveillance and Incarceration in the Villages of Agatha Christie." Gothic Studies 23, no. 1 (March 2021): 77–95. http://dx.doi.org/10.3366/gothic.2021.0079.
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This article examines the ways in which Agatha Christie's fictional villages may be interpreted as fundamentally gothic spaces. It makes the case that within the novels The Murder at the Vicarage (1930) and The Moving Finger (1943), outdoor spaces do not offer the potential release from captivity that is set out in more traditional gothic paradigms. Instead, exterior landscapes surrounding and connecting homes function as a continuation of domestic interiority, thus acting as able accomplices in a gothic transformation of ‘home’ into ‘prison’. By examining the shifting meanings of panoptic surveillance present within these villages, and the outward extension of private family romances into more public forms of cruelty and humiliation, this article suggests that far from creating idyllic exemplars of English rurality, Christie's fictional villages work to unmask the dark, ‘unhomely’ core that lies buried at the very heart of the English ‘Home Counties’.
Dissertations / Theses on the topic "English fiction English fiction Gothic literature"
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El, Inglizi Najwa Yousif. "Negotiating the gothic in the fiction of Thomas Hardy." Thesis, University of Birmingham, 2003. http://etheses.bham.ac.uk//id/eprint/112/.
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The purpose of this research is to investigate Thomas Hardy’s relation to the Gothic tradition, especially that deriving from the classic period 1760-mid-1820s. The main novels chosen for such an investigation are Two on a Tower, The Mayor of Casterbridge, Tess of the d’Urbervilles and Jude the Obscure. Parallels with the following texts form the heart of the thesis: Horace Walpole, The Castle of Otranto, Ann Radcliffe, The Mysteries of Udolpho, William Godwin, Caleb Williams, Matthew Lewis, The Monk, Mary Shelley, Frankenstein and Charles Maturin, Melmoth the Wanderer. This investigation has been instigated by three major elements noted in the criticism on Hardy’s literary art in general and on his tragedies in particular. First, although Hardy scholars employ terminology pertaining to the Gothic and romance genres in describing Hardy’s plots, characters and settings, very few of them make a direct and explicit connection to the Gothic novel. Second, the few who do broach the Gothic elements in Hardy’s fiction limit their understanding of the kind of Gothic Hardy employs mainly to the second quarter of the nineteenth century and onwards. Moreover, they seem to be more willing to admit such influence in his minor works, obfuscating the influence of Gothic discourse on his major novels. Therefore, this research will attempt to investigate Hardy’s involvement with Gothic discourse and examine the ways in which the characteristic settings, drama and character-types of such discourse are domesticated, complicated and made more subtle in Hardy’s work. Finally, it envisages further investigation into Hardy’s work in its relation to his architectural knowledge and his philosophic views of life in general, and his views of humanity’s place in it in particular.
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Foulds, Alexandra Laura. "Gothic monster fiction and the 'novel-reading disease', 1860-1900." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30684/.
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This thesis scrutinises the complex ‘afterlife’ of sensation fiction in the wake of the 1860s and ‘70s, after the end of the period that critics have tended to view as the heyday of literary sensationalism. It identifies and explores the consistent framing of sensation fiction as a pathological ‘style of writing’ by middle-class critics in the periodical press, revealing how such responses were moulded by new and emerging medical research into the nervous system, the cellular structure of the body, and the role played by germs in the transmission of diseases. Envisioned as a disease characterised by its new immersive and affective reading process, sensation fiction was believed to be infecting its readers. It infiltrated their nervous systems, instigating a process of metamorphosis that gradually depleted their physical and mental integrity and reduced them to a weakened, ‘flabby’, ‘limp’ state. The physical boundaries of the body, however, were not the only limits that sensation fiction seemed to wilfully disregard. ‘[S]preading in all directions’, it contaminated other modes, other media, and other kinds of recreational entertainment, making them equally sensational and pathological. One of these modes was Gothic monster fiction at the end of the nineteenth century, which was repeatedly labelled ‘sensational’ and described as generating the same cardiovascular responses as works by Wilkie Collins, Mary Elizabeth Braddon, and Mrs Henry Wood. This infection of fin de siècle Gothic fiction by literary sensationalism can be gauged in the plots and monsters that those texts portray. Gothic monster narratives at the end of the nineteenth century are shaped by the concerns at the heart of middle-class commentators’ responses to sensation fiction, and by the medical lexicon employed to vocalise these anxieties. Monstrosity is linked to contagion and stimulation, as the monster seems to pollute all those with whom it comes into contact. It triggers a process of degeneration and debilitation akin to that associated with the reading of sensation fiction, producing a host of ‘shocked’, nervous, or hysterical characters. Encounters with the monster are linked to recreational reading or other kinds of behaviour that such reading became associated with, such as thrill-seeking, substance abuse, and illicit sexual desire. The result is a group of texts in which the monster embodies the same threat to boundaries, as well as individual, and, at times, national health that middle-class reviewers associated with literary sensationalism.
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Alsulami, Mabrouk. "Science Fiction Elements in Gothic Novels." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2016. http://digitalcommons.auctr.edu/cauetds/47.
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This thesis explores elements of science fiction in three gothic novels, Mary Shelley’s Frankenstein, Robert Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. It begins by explicating the important tropes of science fiction and progresses with a discussion that establishes a connection between three gothic novels and the science fiction genre. This thesis argues that the aforementioned novels express characters’ fear of technology and offer an analysis of human nature that is literarily futuristic. In this view, each of the aforementioned writers uses extreme events in their works to demonstrate that science can contribute to humanity’s understanding of itself. In these works, readers encounter characters who offer commentary on the darker side of the human experience.
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White, Troy Nelson. "The Gothic threshold of Sabine Baring-Gould : a study of the Gothic fiction of a Victorian squarson." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35652/.
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This thesis is a study of the Gothic fiction of Sabine Baring-Gould (1834- 1924), with particular attention given to Baring-Gould’s roles as squire and parson. I have chosen to analyze two of Baring-Gould’s Gothic works, the novel Mehalah (1880) and the novella Margery of Quether (1884), both which allow a particularly profitable examination of the influence of Baring-Gould’s roles on his fiction. In studying these texts I apply my theory of Gothic fiction as a particularly modern genre built upon a "Gothic threshold," a meeting point of extreme opposites which ambivalently contrasts and merges the categories of the modern and the medieval. In the first chapter I describe how Baring-Gould’s unique Hegelian-influenced Tractarian philosophy influenced his creation of the dialectical setting of Mehalah. I argue that because of this influence Mehalah should be recognized as a significant contribution to the literature of the Oxford Movement. In the second chapter I argue that Mehalah’s historical setting in the time of the French Revolution and the influence of Wuthering Heights reinforce Mehalah’s use of the “Gothic threshold” structure and contribute to its theme of ambivalent progress. In the third chapter I discuss the influence of Baring-Gould’s sermon-writing on Mehalah and consider connections between Baring-Gould’s role as parson and the novel’s botched marriage theme. In the final chapter I discuss Margery of Quether as an innovation in the Gothic and vampire tradition as perhaps the only Gothic work that directly dramatizes the Land Law debate and presents that debate as a "Gothic" contest. I argue that Margery channels Baring-Gould’s tensions as a landowner. In the conclusion I argue that Mehalah and Margery display Baring-Gould’s technique of constructing miniature Gothic battles that relate to larger confrontations, and that the ultimate terror presented in these works is the conclusion of the battle between ancient and modern forces.
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Lawn, Jennifer. "Trauma and recovery in Janet Frame's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25087.pdf.
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McLeod, Melissa. "Sounds of terror hearing ghosts in Victorian fiction /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11282007-112908/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Michael Galchinsky, committee chair; Calvin Thomas, Lee Anne Richardson, committee members. Electronic text (181 p.) : digital, PDF file. Description based on contents viewed Feb. 7, 2008. Includes bibliographical references (p. 174-181).
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Rivera, Alexandra. "Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1358.
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According to Michael Sean Bolton, the posthuman Gothic involves a fear of internal monsters that won't destroy humanity apocalyptically, but will instead redefine what it means to be human overall. These internal monsters reflect societal anxieties about the "other" gaining power and overtaking the current groups in power. The posthuman Gothic shows psychological horrors and transformations. Traditionally this genre has been used to theorize postmodern media and literary work by focusing on cyborgs and transhumanist medical advancements. However, the internal and psychological nature of posthumanism is fascinating and can more clearly manifest in a different Gothic setting, 1800s American Gothic Fiction. This subgenre of the Gothic melds well with the posthuman Gothic because unlike the Victorian Gothic, its supernatural entities are not literal; they are often figurative and symbolic, appearing through hallucinations. In this historical context, one can examine the dynamic in which the "human" is determined by a rational humanism that bases its human model on Western, white masculinity. Therefore, the other is clearly gendered and racialized. Margrit Shildrick offers an interesting analysis of the way women fit into this construction of the other because of their uncanniness and Gothic monstrosity. Three works of American Gothic fiction--George Lippard's The Quaker City, Edgar Allen Poe's "Ligeia," and Charlotte Perkins Gilman's "The Yellow Wallpaper" portray these gendered power dynamics present within the posthuman Gothic when applied to the American Gothic; the female characters are either forced by patriarchy into becoming monstrous, or they were never fully human in the first place.
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Levine, Jonathan David. "'One wiser, better, dearer than ourselves' : gothic friendship /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6643.
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Ogston, Linda C. "The clone as Gothic trope in contemporary speculative fiction." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21487.
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In February 1997, the concept of the clone, previously confined to the pages of fiction, became reality when Dolly the sheep was introduced to the world. The response to this was unprecedented, initiating a discourse on cloning that permeated a range of cultural forms, including literature, film and television. My thesis examines and evaluates this discourse through analysis of contemporary fiction, including Kazuo Ishiguro's Never Let Me Go (2005), Stefan Brijs's The Angel Maker (2008), Duncan Jones's Moon (2009), and BBC America's current television series Orphan Black, which first aired in 2013. Such texts are placed in their cultural and historical setting, drawing comparisons between pre- and post-Dolly texts. The thesis traces the progression of the clone from an inhuman science fiction monster, to more of a tragic "human" creature. The clone has, however, retained its fictional portrayal as "other," be that double, copy or manufactured being, and the thesis argues that the clone is a Gothic trope for our times. The roots of the cloning discourse often lie in Gothic narratives, particularly Mary Shelley's Frankenstein (1818), which is analysed as a canonical cloning text. Each chapter focuses on a source of fascination and fear within the cloning discourse: the influence of Gothic paternity on the figure of scientist; the notion of the clone as manufactured product, victim and monster; and the ethical and social implications of cloning. There is a dearth of critical analysis on the contemporary literary clone, with the most comprehensive study to date neither acknowledging the alignment of cloning and the Gothic nor demonstrating the impact of Dolly on fictional portrayals. My thesis addresses this, interweaving fiction, science and culture to present a monster which simultaneously embodies difference and sameness: a new monster for the twenty-first century.
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Leroux, Julie. ""Shocking his readers out of their complacence": gothic and fantasy tropes in H.G. Wells' «fin-de siècle» science fiction novels." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97160.
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The main goal of this thesis is to identify Gothic and fantasy tropes in four fin-de-siècle novels by H.G. Wells – The War of the Worlds, The Invisible Man, The First Men in the Moon and The Food of the Gods – and to examine their rhetorical effects within the framework of science fiction. More precisely, my project was inspired by Kelly Hurley's analysis of the thematic similarities shared by the science fiction and Gothic genres during the fin-de-siècle, and by Darko Suvin's definitions of science fiction and of the Gothic as being rhetorically antithetical. Through an analysis of how the two thematically compatible but rhetorically antithetical genres interact in the novels, I evaluate the potential responses that could be expected from readers, and compare these responses to the contemporary reception of the work. My research is based on the idea that Wells' novels promote a social message based on Darwinian theory and socialism, and that he uses the combination of SF and the Gothic in order to lead his complacent readers to intellectual conclusions by first drawing their attention through shock and terror. This study will seek to determine whether the author's use of the Gothic ultimately benefits the works by enhancing their social message, or if it results in the contrary effect.Ce mémoire vise à identifier les tropes gothiques et fantaisistes dans quatre romans de la fin-de-siècle par H.G. Wells – The War of the Worlds, The Invisible Man, The First Men in the Moon et The Food of the Gods – et d'examiner leur effet dans ces romans de science fiction au niveau rhétorique. Plus précisément, ce projet fut inspiré par l'analyse qu'a faite Kelly Hurley des ressemblances thématiques entre la science fiction et le gothique au tournant du vingtième siècle, et par l'argument de Darko Suvin selon lequel la science fiction et le gothique seraient antithétiques au niveau rhétorique. À travers une analyse de l'interaction entre ces deux genres compatibles au niveau thématique, mais théoriquement incompatibles au niveau rhétorique, j'évalue les réponses potentielles que l'on peut attendre des lecteurs de ces romans, et je compare ces réponses théoriquement possibles aux la réception contemporaine réelle de ces œuvres. Ma recherche repose sur l'idée que Wells tentait de promouvoir dans ses romans une réflexion sociale basée sur les théories darwiniennes et sur le socialisme, et qu'il utilisait la combinaison de la science fiction et du gothique afin de mener ses lecteurs vers des conclusions intellectuelles par le biais d'un éveil brusque causé par le choc et la terreur. Cette étude tente de déterminer si l'utilisation du gothique faite par l'auteur mène vraiment ses lecteurs à porter davantage attention aux thèmes contenus dans les romans, ou si, au contraire, ces tropes ne font qu'engendrer une réponse émotive chez le lecteur.
Books on the topic "English fiction English fiction Gothic literature"
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Haggerty, George E. Gothic fiction/Gothic form. University Park: Pennsylvania State University Press, 1989.
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Carter, Margaret L. Spectre or delusion?: The supernatural in Gothic fiction. Ann Arbor: UMI Research Press, 1987.
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Alien nation: Nineteenth-century Gothic fictions and English nationality. Philadelphia, Pa: University of Pennsylvania Press, 1997.
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Gothic bodies: The politics of pain in romantic fiction. Philadelphia: University of Pennsylvania Press, 1994.
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Mighall, Robert. A geography of Victorian Gothic fiction: Mapping history's nightmares. Oxford: Oxford University Press, 1999.
Find full textBook chapters on the topic "English fiction English fiction Gothic literature"
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Rainsford, Dominic. "Prose fiction." In Literature in English, 44–57. Second edition. | New York City : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429277399-6.
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Alexander, Michael. "Fiction." In A History of English Literature, 285–308. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_11.
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Forshaw, Barry. "Gothic Fiction: English Terror and Carnality." In British Gothic Cinema, 7–11. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137300324_2.
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Hadfield, Andrew. "Prose Fiction." In A Companion to English Renaissance Literature and Culture, 576–88. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch48.
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Khair, Tabish. "Gothic Remains in South Asian English Fiction." In The Gothic and the Everyday, 215–24. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137406644_12.
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Hadfield, Andrew. "Prose Fiction." In A New Companion to English Renaissance Literature and Culture, 423–36. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch70.
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Knight, Mark. "Sensation Fiction." In The Blackwell Companion to the Bible in English Literature, 577–86. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch41.
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Nayar, Pramod K. "Dementia in recent Indian fiction in English." In Dementia and Literature, 148–59. Milton Park, Abingdon, Oxon : Routledge, 2018. | Series: Routledge advances in the medical humanities: Routledge, 2017. http://dx.doi.org/10.4324/9781315207315-10.
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Srivastava, Neelam. "Minor Literature and the South-Asian Short Story." In South-Asian Fiction in English, 253–71. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40354-4_14.
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Konurbaev, Marklen E. "The Voices in Fiction." In The Style and Timbre of English Speech and Literature, 173–86. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137519481_11.
Full textConference papers on the topic "English fiction English fiction Gothic literature"
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Nurieva, Nailya, Tatyana Borisova, and Margarita Kulikova. "Application of Blended Learning in English Fiction Literature Course." In the 2nd International Conference. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3284497.3284504.
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Malá, Markéta. "English and Czech children’s literature: A contrastive corpus-driven phraseological approach." In Eighth Brno Conference on Linguistics Studies in English. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9767-2020-8.
Full textAbstract:
The paper explores the recurrent linguistic patterns in English and Czech children’s narrative fiction and their textual functions. It combines contrastive phraseological research with corpus-driven methods, taking frequency lists and n-grams as its starting points. The analysis focuses on the domains of time, space and body language. The results reveal register-specific recurrent linguistic patterns which play a role in the constitution of the fictional world of children’s literature, specifying its temporal and spatial characteristics, and relating to the communication among the protagonists. The method used also points out typological differences between the patterns employed in the two languages, and the limitations of the n-gram based approach.