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Dissertations / Theses on the topic 'English literature English literature English literature Gothic revival (Literature)'
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1
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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Shlyak, Tatyana. "Secret as a key to narration : evolution from English Gothic to the Gothic in Dostoyevsky /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6667.
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Wozniak, Heather Anne. "Brilliant gloom the contradictions of British gothic drama, 1768-1823 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692743101&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Stasiak, Lauren Anne. "Victorian professionals, intersubjectivity, and the fin-de-siecle gothic text /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/9491.
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Kulperger, Shelley. "Disorienting geographies, unsettled bodies : Anglo-Canadian female Gothic / by Shelley Kulperger." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18401.pdf.
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Huang, Cherry. "Jane Austen's attitudes towards the 'masculine' and 'feminine' Gothic in Northanger Abbey (1818)." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586642.
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Wright, Angela. "The claustral gaze : visions of imprisonment in the gothic novel and French melodrama." Thesis, University of Aberdeen, 2002. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=158599.
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This thesis provides a critique of the gaze in Gothic novels and French melodramas between 1790 and 1825. After situating itself historically in relation to the eighteenth century's prioritization of vision, the thesis then progresses in chapters two to seven to textual examinations of visual critiques provided by Gothic novelists. It examines the following authors: Sophia Lee; Ann Radcliffe; Matthew Lewis; the Marquis de Sade; Charles Maturin; James Hogg, and William Godwin. The thesis contends that these Gothic novelists demonstrate the function of the gaze in its most violent and reductive light. In the novels examined, the thesis posits that vision is used as a tool of power, rather than one of education and enlightenment. An examination is made of the imprisoning function of the gaze with reference to psychoanalytical essays on the gaze written by Sigmund Freud and Jacques Lacan. These essays help to promote the theory that the Gothic novels studied all portray some form of transgressive gazing: the punishment for this lies in the characters' temporary transition into some form of inanimate image. Whether this be a portrait, a statue, or a dramatic tableau, the transition is indicative of the regressive gaze to the past that the characters have been using. The eighth and final chapter of the thesis turns the focus from Gothic novels to French melodramas. This is done to represent the failure of French melodramatists to regulate the visual responses of their audiences. By examining their critical projects, and the results of them, the thesis concludes by demonstrating the practice, and failure, of the gaze.
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Goss, Sarah Judith. "The agony of consciousness : history and memory in nineteenth-century Irish gothic novels /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102166.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.
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Mighall, Robert. "The brigand in the laboratory : a study of the discursive exchange between Gothic fiction and nineteenth-century medico-legal science." Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683119.
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Wu, He Fang. "Fear and pity in the Castle of Otranto." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586641.
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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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Koonce, Elizabeth Godke. "SENSATION FICTION AND THE LAW: DANGEROUS ALTERNATIVE SOCIAL TEXTS AND CULTURAL REVOLUTION IN NINETEENTH-CENTURY BRITAIN." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1155670056.
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Cartwright, Amy. "The future is Gothic : elements of Gothic in dystopian novels." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/1346/.
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This thesis explores the relationship between the Gothic tradition and Dystopian novels in order to illuminate new perspective on the body in Charlotte Perkins Gilman’s Herland (1915), Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), Anthony Burgess’ A Clockwork Orange (1962), Margaret Atwood’s The Handmaid’s Tale (1985) and Michel Houellebecq’s Atomised (1999). The key concerns are those of the Labyrinth, Dark Places, Connectedness and the Loss of the Individual, Live Burials, Monsters and Fragmented Flesh. A thematic approach allows for the novels to be brought together under common Gothic themes in order to show not only that they have such tendencies, but that they share common ground as Gothic Dystopias. While the focus is on bodily concerns in these novels, it is also pertinent to offer a discussion of past critical perspectives on the Dystopia and this is undertaken in Chapter One. Chapter Two looks at the narrative structure of the novels and finds similarities in presentation to Gothic novels, which leads to exploration of the position of the body in such a narrative of the unseen. The third chapter looks to the spaces inhabited by characters in the novels to examine their impact on the threat faced by these individuals. The Gothic convention of doubling is the focus of Chapter Four, which finds not only doubling operating in Dystopian novels, but the more complex relationship of triangles of doubling holding characters, fixing them in relation to those around at the expense of selfhood. Chapter Five takes Eve Kosofsky Sedgwick’s musings on the Gothic as its point of departure and finds that Dystopian bodies occupy a very similarly trapped position. Chapter Six identifies two types of monsters that inhabit the Gothic Dystopian space: those people who transform between the human and the monstrous, and those individuals who form a larger monster based on power that lives parasitically on transgressive bodies. The final chapter displays the impact of the Gothic Dystopia on individual bodies: ‘Fragmented Flesh’. The destruction of a coherent whole, a body with defined and sustainable boundaries, is the outcome of the novels where fear, repression, and the hidden combine to leave little space for cohesion and identification in the Gothic Dystopia.
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Alshatti, Aishah. "Appropriations of the Gothic by Romantic-era women writers." Thesis, Connect to e-thesis, 2008. http://theses.gla.ac.uk/232/.
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Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Department of English Literature, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Corr, Christopher Joseph. "English literary culture and the Irish literary revival : the provenance of the aesthetic of modern Irish literature in English, 1865-1900." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260997.
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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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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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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.
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Slagle, Judith Bailey. "Gothic Interactions: Italian Gothic Translations of Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3222.
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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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Vassilieva, Elena. "John Fowles and the Gothic tradition." Thesis, Kingston University, 2004. http://eprints.kingston.ac.uk/21820/.
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This thesis examines the elements of the Gothic tradition in John Fowles's fiction and traces the transformation of the male protagonist throughout the entire range of Fowles's novels. The work also investigates the relationship between the discourses of the literary Gothic and Jungian psychoanalysis and argues in favour of a strong conceptual link between them. Taking advantage of the fact that John Fowles was interested in Carl Jung's ideas, the thesis argues that Jungian psychology throws light on the evolution of Fowles's texts and reveals that each hero performs a phase in a distinct pattern of development and maturation as conceptualised by Jung (Fowles, 1998: 371). In addition, Jungian discourse interacts with the Gothic tradition and complements the presence of elements of the Gothic discourse in Fowles's novels. The thesis inscribes Fowles's dialectical approach to writing into the history of the literary Gothic tradition as well as into the scope of postmodern texts. Central to the thesis theoretically is the Jungian concept of individuation. Apart from the separate quests in individual novels, Fowles's fiction can be defined as displaying one continuous individuation process. The Fowlesian male character takes part in one long meta-quest which begins with his being too hedonistic and immature (Clegg, Nicholas), then becoming rational and conscious (Charles, David), and finally reaching a state of 'synthesis' in which the two parts of the psyche are reconciled (Daniel Martin). In the first two stages, the forces which become repressed as a result of the over-development of one of the sides of the psyche, tend to produce a Gothic effect in relation to the male character as they fight for the right to be accepted and recognised. In the last phase of his writing career, Fowles shifts his focus to the process of female individuation. In 'A maggot' the writer's attention finally switches from the masculine experiences and pains of development to interest in female versions of the quest for knowledge.
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Behr, Kate E. "The perfect gentleman : the representation of men in the English Gothic novel, 1762-1820." Thesis, University of Oxford, 1993. https://ora.ox.ac.uk/objects/uuid:57c69640-90ab-4b4e-87a9-5f0c42e649f0.
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This thesis examines the representation of male character stereotypes as manifestations of a formula in late eighteenth-century popular fiction. In order to establish the presence of the formula, I have inspected a wide spectrum of both familiar and lesser-known works. Much recent criticism has focused on the passive figure of the heroine as one expression of female anxiety within the texts. In contrast, this thesis draws attention to the critically unseen, active figures surrounding her threatened perfection, by establishing, first, a common representation or role within the formula for each stock character and, second, the source and possible effect of these stereotypes. In Chapters One and Two, the parameters for this approach are set up and the influences of other genres on characterization in the Gothic romance are considered. Chapter Three establishes the eighteenth-century ideal of masculinity through an investigation of contemporary conduct literature. These standards are then applied to stock male figures in succeeding chapters. Chapters Four, Five and Six consider the primary male figures of hero, father and villain, revealing that the ideal of masculine perfection affects all these stereotypes. The nature of heroism is questioned in the person of the hero; the father - an exemplum of gentlemanly perfection - is made absent within the text; and the villain reinforces this ideal by perverting it. Chapter Seven considers the representation of the victim figure and the way in which the stereotype of masculinity indirectly victimizes male figures. In Chapter Eight, three groups of secondary male characters are considered and their relationship to the primary male characters examined. This analysis of male stereotypes has, therefore, provided one approach to an understanding of Gothic conventions.
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Van, Der Westhuizen Nadia. "Manipulation and subversion in the Gothic fairy tales of Tanith Lee." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/41038/.
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Despite the great diversity of Tanith Lee's work - from science fiction short stories to epic historical novels - certain underlying themes and references consistently appear. This thesis examines Lee's applications of such themes and subtexts, arguing that her work is primarily Gothic regardless of which other genre coventions she uses. By offering a detailed assessment of her fairy tale retellings, this study demonstrates the prevalence of the themes, images and effects that have come to define the Gothic. Lee has developed several subversive narrative strategies that enable her to explore the relations between fairy tales and the Gothic, so the thesis focuses on the cultural significance of each genre's characteristic features in order to show how Lee manipulates conventions, and, in so doing, either reinforces or subverts societal norms. Lee's adaptations are assessed alongside traditional fairy tale variations and compared with a number of key Gothic texts, and the cultural and historical influence of both genres is discussed. Each chapter also briefly reviews significant developments in Gothic and fairy tale scholarship over the last few decades, which allows a more complex and nuanced understanding of the relationship between the two genres, as well as providing a context for the analysis which follows. With few exceptions scholars have ignored this author, preferring instead less genre-driven fairy tale retellings. This limited inquiry has resulted in a deficit of criticism on Tanith Lee, and the exact nature of the relationship between the fairy tale and the Gothic is still not well articulated. This thesis attempts to address that omission by examining the ways in which tale types and genre motifs are reworked in Lee's fiction, and by engaging with an under-explored intersection of folklore and popular culture.
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LaFreniere, andrea Mary. "The Shaping of Consciousness: Conventional Adventure Language and Gothic Imagery in James' "Daisy Miller" and "The Portrait of a Lady"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625606.
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Sandner, David. "The fairy way of writing : fantastic literature from the romance revival to romanticism, 1712-1830 /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978599.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 322-334). Also available for download via the World Wide Web; free to University of Oregon users.
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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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Quinn, Caroline. "Dueling Dualities: The Power of Architecture in American Gothic Literature." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/897.
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This article seeks to establish the importance of gothic convention and architecture’s role in Poe’s “The Fall of the House of Usher” and Southworth’s The Hidden Hand. By examining these stories’ dualities this article analyzes Poe and Southworth’s projects behind setting up dual spaces. Specific to Poe, this article follows architecture’s effect on mental health. Specific to Southworth, this article investigates her criticism of binaries and convention and how she uses architecture to shape her analysis.
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Pearson, Rachel. "Politics and power in the Gothic drama of M.G. Lewis." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/350637/.
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Matthew Lewis's 1796 novel The Monk continues to attract critical attention, but the accusation that it was blasphemous has overshadowed the rest of his writing career. He was also a playwright, M.P. and slave-owner. This thesis considers the need to reassess the presentation of social power, primarily that of a conservative paternalism, in Lewis's dramas and the impact of biographical issues upon this. As Lewis's critical reputation is currently built upon knowledge of him as a writer of „Gothic' works, this thesis considers a range of his „Gothic' plays. The Introduction explores the current academic understanding of Lewis and provides a rationale for the plays chosen. Chapter One explores how The Monk prefigures Lewis's dramas through its theatrical elements and Lewis's reaction to violence on the continent in the 1790s. The remainder of the thesis examines Lewis's deployment of three conventions of Gothic drama in order to explore social power. Chapter Two discusses the presentation of the Gothic villain as one who usurps and abuses power through a focus on The Castle Spectre. Chapter Three considers Lewis's Gothic heroes in Adelmorn, the Outlaw; Rugantino, or, the Bravo of Venice and Venoni; or, the Novice of St. Mark's against his actions in Parliament and the trial by Court-Martial of his uncle General Whitelocke. Lewis uses these plays to advocate the qualities of mercy, benevolence and courage in those with jurisdiction over others. Chapter Four considers Lewis's use of Gothic spectacle in two 1811 plays, One O' Clock! or, the Knight and the Wood Daemon and Timour the Tartar, which return to a focus on usurpation. Factors considered include the use of Renaissance influences and Lewis's rift with his father. Finally, the Coda examines Lewis's attempts to put his theory of paternal power into practice when he inherited two Jamaican estates.
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Dabek, Diana I. "Misinterpreted experiences : the tension between imagination and divine revelation in early 19th century Anglo American Gothic fiction." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/2649.
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The purpose of this study was to analyze the ways in which 19th century Gothic fiction novelists Charles Brockden Brow and James Hogg explore the themes of religious enthusiasm and divine revelation. A close look at these texts reveals a common interest in the tension between the imagination and reality. By analyzing the philosophical and theological roots of these issues it becomes clear that Wieland and Confessions of a Justified Sinner mirror the anxieties of 19th century Anglo American culture. Questions regarding voice and authority, the importance of testimony, and religious seduction are common to both novels. I maintain that these authors comment on the obscure nature of human rationale by presenting readers with narrators that exhibit traits of delusion and spiritual awakening.
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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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De, Bruin-Molé Megen. "Frankenfiction : monstrous adaptations and Gothic histories in twenty-first-century remix culture." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/106947/.
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In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture.
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Kielstra, Julia Paulman. "Subterranean adventures : attitudes toward the land as influenced by the sciences in selected English, Irish, and American gothic novels 1789-1911." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389761.
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Hilton, Laura Jayne. "The Gothic double in the contemporary graphic novel." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/928/.
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This thesis examines the role of the Gothic double as articulated within the contemporary graphic novel. Discussing representations, interpretations and subversions of the Gothic double, the analysis will apply a synthesised theoretical framework of the psychoanalytical double and literary double to five key works from three canonical creators: Neil Gaiman, Frank Miller and Alan Moore. The discussion will be divided into three sections in order to focus on three recurring motifs in the image-text hybrid of the contemporary graphic novel. Firstly, a discussion of superheroes, SF and the Gothic double aims to explore how works such as The League of Extraordinary Gentlemen and Batman: The Dark Knight Returns combine innovative approaches to the superhero with direct reference to SF and the motif of the Gothic double. Section two offers a reading of how Neil Gaiman’s A Game of You subtly explores complex issues of gender and sexuality in relation to the Gothic double. Section three discusses the urban Gothic, exploring the dualistic presentation of the city in both From Hell and Sin City alongside an interpretation of how each text approaches the issue of prostitution. Throughout, the discussion will approach these graphic novels as literary works and will focus on the analysis of narrative elements including structure, characterisation and, of course, genre.
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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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Malan, Adrianne Gardner. "Libertas Reborn: A Legend of Florence and Leigh Hunt's Literary Revival." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1963.pdf.
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Gooding, Ava E. "McCarthy's Outer Dark and Child of God as Works of Appalachian Gothic Fiction." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/79.
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In both Outer Dark and Child of God, McCarthy does a masterful job of blending the elements of Appalachian Gothic to present a novel that is darkly suspenseful and grimly thought-provoking. Outer Dark focuses on the complex incestuous relationship between a brother and sister and their interaction with others. The novel follows the two on a journey through the wilderness where they must cope with the unknown qualities of that wilderness, as well as the guilt stemming from their own behaviors. In Child of God, McCarthy explores the grotesque nature of a life lived in isolation and poverty in the mountains. This novel focuses more on an individual descent into the gruesome depths that illustrate the main character’s depravity. In these two novels McCarthy examines the darker side of life in Appalachia, and forces readers to question the purpose and meaning for the characters’ lives and actions.
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Cragwall, Jasper Albert. "Lake Methodism." 24-page ProQuest preview, 2007. http://proquest.umi.com/pqdweb?index=0&did=1335357971&SrchMode=1&sid=5&Fmt=14&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1220030683&clientId=10355.
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West, Melissa Ann. "Hauntings in the church counterfeit Christianity through the fin de siécle Gothic novel /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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Liu, Tryphena Y. "Monsters Without to Monsters Within: The Transformation of the Supernatural from English to American Gothic Fiction." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/632.
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Because works of Gothic fiction were often disregarded as sensationalist and unsophisticated, my aim in this thesis is to explore the ways in which these works actually drew attention to real societal issues and fears, particularly anxieties around Otherness and identity and gender construction. I illustrate how the context in which authors were writing specifically influenced the way they portrayed the supernatural in their narratives, and how the differences in their portrayals speak to the authors’ distinct aims and the issues that they address. Because the supernatural ultimately became internalized in the American Gothic, peculiarly within female bodies, I focus mainly on the relationship between the supernatural and the female characters in the texts I examine. Through this historical exploration of the transformation of the supernatural, I argue that the supernatural became internalized in the American Gothic because it reflected national anxieties: although freed from the external threat of the patriarchal English government, Americans of the young republic still faced the dangers of individualism and the failure of the endeavor to establish their own government.
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Panopoulou, Maria. "Reconsidering the relationship between early Gothic literature and the Greek classics : the cases of William Beckford and Matthew G. Lewis." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7733/.
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The view that Gothic literature emerged as a reaction against the prominence of the Greek classics, and that, as a result, it bears no trace of their influence, is a commonplace in Gothic studies. This thesis re-examines this view, arguing that the Gothic and the Classical were not in opposition to one another, and that Greek tragic poetry and myth should be counted among the literary sources that inspired early Gothic writers. The discussion is organised in three parts. Part I focuses on evidence which suggests that the Gothic and the Hellenic were closely associated in the minds of several British literati both on a political and aesthetic level. As is shown, the coincidence of the Hellenic with the Gothic revival in the second half of the eighteenth century inspired them not only to trace common ground between the Greek and Gothic traditions, but also to look at Greek tragic poetry and myth through Gothic eyes, bringing to light an unruly, ‘Dionysian’ world that suited their taste. The particulars of this coincidence, which has not thus far been discussed in Gothic studies, as well as evidence which suggests that several early Gothic writers were influenced by Greek tragedy and myth, open up new avenues for research on the thematic and aesthetic heterogeneity of early Gothic literature. Parts II and III set out to explore this new ground and to support the main argument of this thesis by examining the influence of Greek tragic poetry and myth on the works of two early Gothic novelists and, in many ways, shapers of the genre, William Beckford and Matthew Gregory Lewis. Part II focuses on William Beckford’s Vathek and its indebtedness to Euripides’s Bacchae, and Part III on Matthew Gregory Lewis’s The Monk and its indebtedness to Sophocles’s Oedipus Tyrannus. As is discussed, Beckford and Lewis participated actively in both the Gothic and Hellenic revivals, producing highly imaginative works that blended material from the British and Greek literary traditions.
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Wilkerson, Virginia Lee. "Vestiges of the vampire : rediscovering the monstrous in contemporary lesbian poetry." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=201684.
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The majority of this thesis consists of my creative work in poetry, accompanied by researched information and concepts that serve to contextualize and illuminate the poems themselves and my creative process. Key areas of scholarship that underlie my poetry include the tropes and motifs of Gothic literature from the Romantic era to the present; the progression of women’s writing, particularly writing by women identifying as lesbian; and the conflation of female writers and characters with the concept of the ‘monstrous’ and transgressive. Also informing the two research chapters are some of the basic concepts about abjection and depression developed by philosopher and theorist Julia Kristeva. The collection of my poems contains both narrative and lyric poems. The final chapter, following on from my collection of sixty-eight poems, outlines my creative progress as I developed my particular poetic aesthetic. It is heavily informed by my growing acquaintance and comfort level with my own darkness and depression reflected in Gothic tropes, lesbian fiction, and aspects of Kristevan theory. The progression of my craft as a writer led me to strive for an effective expressive balance between the abstractions of the French Symbolists and Surrealists and a more ‘Imagistic’ focus on accurate, concrete imagery.
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Sandström, Veronica. "The room will set you free : A Feminist Reading of Clive Barker’s The Hellbound Heart." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-14027.
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The enclosed room is in classic Gothic novels closely connected to its female characters, and often works as a mean to suppress them. Clive Barker, however, while working within the Gothic genre, uses the enclosed room in novel ways in The Hellbound Heart, creating a type of Gothic female character that is different from the classical stereotype. By comparing the enclosed room and the female characters in Barker’s The Hellbound Heart to the classical model, in particular as represented by Charlotte Brontë’s Jane Eyre, this essay will show how Barker uses the room in a new way: he breaks away from the classic motif of the room as a means of female sexual oppression and instead depicts female characters taking charge of the room and therefore of themselves and their own sexuality.
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Williams, Anna. "My Gothic dissertation: a podcast." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7046.
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In My Gothic Dissertation, I perform an intertextual analysis of Gothic fiction and modern-day graduate education in the humanities. First, looking particularly at the Female Gothic, I argue that the genre contains overlooked educational themes. I read the student-teacher relationships in Ann Radcliffe’s The Mysteries of Udolpho (1794), Mary Shelley’s Frankenstein (1818, 1831), and Charlotte Brontë’s Villette (1853) as critiques of the insidious relationship between knowledge and power. Part literary critic and part literary journalist, I weave through these readings reports of real-life ‘horror stories’ of graduate school, arguing that the power imbalance between Ph.D. advisors and their students can be unexpectedly ‘Gothic’ as well. Drawing on research from the science of learning—developmental psychology, sociology, and pedagogical theory—I advocate for more a student-centered pedagogy in humanities Ph.D. training.
Following in the footsteps of A.D. Carson and Nick Sousanis, I have produced My Gothic Dissertation in a nontraditional format—the podcast. Mixing voice, music, and sound, I dramatize scenes from the novels and incorporate analysis through my narration. The real-life “Grad School Gothic” stories are drawn from personal interviews. Much of the science of learning is drawn from personal interviews with researchers as well, though some material comes from recorded presentations that have been posted to public, online venues such as YouTube. The creative/journalistic style of reporting is heavily influenced by programs such as This American Life, Invisibilia, and Serial, with the dual aims of engaging a broad audience and expanding our modes of scholarly communication beyond the page.
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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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Scott, Joline L. "Shells." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1285194565.
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Hoover, Hannah. "From Byronic to Gothic Blood Sucker: Subversion toward a Non-Gendered Identity." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3886.
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Analyzing Emily Bronte’s Wuthering Heights and linking trends of the Byronic hero that have merged into a variety of genres reveal that the hero is a mode of subversive gender expression, which has evolved within the Gothic through feminine desire. Delving into Bram Stoker’s Dracula will provide unique insight into the audience’s desires/expressions of gender. Finding the transition point from the monster vampire of Dracula to Stephanie Meyer’s desirous, sparkling boy-next-door in Twilight will track the trajectory of gender and sexual norms through time. From the foundational adaptation of the Byronic hero in Wuthering Heights to the repressed vampiric desire of Dracula, to queer desire/domestication within Anne Rice’s Interview with the Vampire, ending with sparkling vampires of Twilight, we can invite the Byronic hero, which already supports rejection of societal expectations, into a genderless space, becoming a champion of desire absent from the constraints of gender and sexuality conformity.
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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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Hewitt, Natalie A. ""Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/77.
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This dissertation examines Shakespeare’s role as the most significant precursor to the Gothic author in Britain, suggesting that Shakespeare used the same literary conventions that Gothic writers embraced as they struggled to create a new subgenre of the novel. By borrowing from Shakespeare’s canon, these novelists aimed to persuade readers and critics that rather than undermining the novel’s emergent, still unassured status as an acceptable literary genre, the nontraditional aspects of their works paid homage to Shakespeare’s imaginative vision. Gothic novelists thereby legitimized their attempts at literary expression. Despite these efforts, Gothic writers did not instantly achieve the type of acceptance or admiration that they sought. The Gothic novel has consistently been viewed as a monstrous, immature literary form—either a poor experiment in the history of the novel or a guilty pleasure for those who might choose to read or to write works that fit within this mode. Writers of Gothic fictions often claim that their works emulate Shakespeare’s dramatic pathos, but they do not acknowledge that the playwright also had to navigate similar opposition to his own creative expression. While early Gothic novelists had to contend with skeptical readers and reviewers, Shakespeare had to negotiate the religious, political, and ideological limitations that members of the court, the church, and the patronage system imposed upon his craft. Interestingly, Shakespeare often succeeded in circumventing these limitations by employing the literary techniques and topoi that we recognize today as trademarks of Gothic fiction—spectacle, sublime, sepulcher, and the supernatural. Each of these concepts expresses subversive intentions toward authoritative power. For Shakespeare and the Gothic novelists, the dramatic potential of these elements corresponds directly to their ability to target the sociocultural fears and anxieties of their audience; the results are works that frighten as well as amuse. As my dissertation will show, these authors use similar imagery to surreptitiously challenge the authority figures and institutions that sought to prescribe what makes a work of fiction socially acceptable or worthy of critical acclaim.
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Lawrence, Jennifer Thomson. "The Third Person in the Room: Servants and the Construction of Identity in the Eighteenth-Century Gothic Novel." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04172008-130053/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. Malinda Snow, committee chair; Murray Brown, Tanya Caldwell, committee members. Electronic text (223 p.) : digital, PDF file. Description based on contents viewed July 11, 2008. Includes bibliographical references (p. 215-223).
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Cagliyan, Murat. "Gothic Elements In Sir Arthur Conan Doyle'." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612835/index.pdf.
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The aim of this thesis is to analyse the use of Gothic elements in Sir Arthur Conan Doyle&rsquos Sherlock Holmes stories. It begins with an overview of Gothic and detective fiction, pointing out the Gothic novels published in the late Victorian period, and referring to the Gothic influence on Poe, Dickens, and Collins who are important writers in the development of detective fiction. In this way, it is revealed that the presence of Gothic elements in the Sherlock Holmes stories is part of the writing fashion of the era. The thesis then analyses the Holmes stories which present significant Gothic elements in terms of terror, horror and the supernatural. In addition, it examines the whole Holmes canon in an endeavour to find out the Sherlock Holmes character&rsquo
s similarity to the Byronic hero who often appears in Gothic fiction. As a result, this study shows that Gothic elements contribute to the Sherlock Holmes stories in two ways. Firstly, they add to the depiction of minor characters, the setting, and the atmosphere of these stories. Secondly, they manifest themselves in the portrayal of the character of Holmes himself. Thus, the use of Gothic elements enables Doyle to create suspenseful and surprising stories with a strikingly memorable detective figure.