Journal articles: 'English literature English literature English literature Gothic revival (Literature)'

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O’Sullivan, Keith M. C. "Research guide to Gothic literature in English." Reference Reviews 32, no. 7/8 (September 17, 2018): 24–25. http://dx.doi.org/10.1108/rr-06-2018-0094.

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Olsen, C. P. "The Catholic Revival in English Literature, 1845-1961." Literature and Theology 18, no. 4 (December 1, 2004): 496–98. http://dx.doi.org/10.1093/litthe/18.4.496.

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Bruce, Duane. "The Catholic Revival in English Literature, 1845-1961." Newman Studies Journal 1, no. 2 (2004): 116–17. http://dx.doi.org/10.5840/nsj20041229.

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Bosco, Mark. "The Catholic Revival in English Literature, 1845-1961 (review)." Comparative Literature Studies 43, no. 1 (2006): 200–202. http://dx.doi.org/10.1353/cls.2006.0026.

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Watkinson, Caroline. "English Convents in Eighteenth-Century Travel Literature." Studies in Church History 48 (2012): 219–31. http://dx.doi.org/10.1017/s0424208400001339.

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‘A Nun’s dress is a very becoming one’, wrote Cornelius Cayley in 1772. Similarly, Philip Thicknesse, witnessing the clothing ceremony at the English Augustinian convent in Paris, observed that the nun’s dress was ‘quite white, and no ways unbecoming … [it] did not render her in my eyes, a whit less proper for the affections of the world’. This tendency to objectify nuns by focusing on the mysterious and sexualized aspects of conventual life was a key feature of eighteenth-century British culture. Novels, poems and polemic dwelt on the theme of the forced vocation, culminating in the dramatic portrayals of immured nuns in the Gothic novels of the 1790s. The convent was portrayed as inherently despotic, its unnatural hierarchy and silent culture directly opposed to the sociability which, in Enlightenment thought, defined a civilized society. This despotic climate was one aspect of a culture of tyranny and constraint, which rendered nuns either innocent and victimized or complicit and immoral. Historians have noted that these stereotypes were remarkably similar to those applied to the Orient and have thus extended Said’s notion of ‘otherness’ - the self-affirmation of a dominant culture as a norm from which other cultures deviate – to apply not merely to oriental cultures but to those aspects of European culture deemed exotic. In so doing, they have challenged the notion that travel writing was an exact record of social experience and have initiated a more nuanced understanding of textual convention and authorial experience. For historians of eighteenth-century Britain this has led to an examination of the construction of anti-Catholicism within travel literature and its use as an ideology around which the Protestant nation could unite. Thus, Jeremy Black has noted that anti-Catholicism remained the ‘prime ideological stance in Britain’ and has claimed that encounters with Catholicism by British travellers in France ‘excited fear or unease … and, at times, humour or ridicule’. Likewise, Bryan Dolan and Christopher Hibbert have seen encounters with continental convents culminating in negative descriptions of rituals, relics and enclosed space.

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Malhotra, Ashok. "The English “Self” under Siege." Nineteenth-Century Literature 72, no. 1 (June 1, 2017): 1–34. http://dx.doi.org/10.1525/ncl.2017.72.1.1.

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Ashok Malhotra, “The English ‘Self’ under Siege: A Comparison of a Memsahib’s Private Journals and her Novel The History of George Desmond” (pp. 1–34) This paper examines Mary Sherwood’s The History of George Desmond (1821) alongside and against the author’s private journals to demonstrate the ways in which the novel both aligned with and veered away from Sherwood’s own personal experiences as a memsahib living in colonial India. It argues that while the novel reflects her awareness of the agency of colonized Indians and the precarious predicament of the colonizer in the subcontinent, its deployment of Gothic literary modes had the effect of accentuating racism and disorientation in the contact zone. This essay argues that while the memsahib’s private journals allowed space for moments when racial and class distinctions were temporarily eroded, the novel’s prescriptive genre constraints did not allow for such occurrences. It further argues that the novel’s admonitory function and use of Gothic literary tropes led Sherwood to raise problematic questions about the colonial endeavor, which are left unanswered by the narrative.

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Guy, Josephine M., and Matthew C. Brennan. "The Gothic Psyche: Disintegration and Growth in Nineteenth-Century English Literature." Modern Language Review 95, no. 3 (July 2000): 808. http://dx.doi.org/10.2307/3735518.

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Williams, Anne. "The Gothic Psyche: Disintegration and Growth in Nineteenth-Century English Literature (review)." Victorian Studies 42, no. 4 (2000): 674–75. http://dx.doi.org/10.1353/vic.1999.0033.

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Kiely, Robert. ": Gothic Manners and the Classic English Novel. . Joseph Wiesenfarth." Nineteenth-Century Literature 44, no. 4 (March 1990): 554–56. http://dx.doi.org/10.1525/ncl.1990.44.4.99p0278l.

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Spooner, C. "Gothic Histories: The Taste For Terror, 1764 to the Present." English 60, no. 230 (May 17, 2011): 258–61. http://dx.doi.org/10.1093/english/efr015.

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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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Kramnick, Jonathan Brody. "The Making of the English Canon." PMLA/Publications of the Modern Language Association of America 112, no. 5 (October 1997): 1087–101. http://dx.doi.org/10.2307/463485.

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This essay discusses the origins of the literary canon in mid-eighteenth-century England, looking in particular at the changing reputations of Shakespeare and Spenser. Situating the writing of English literary history within the context of the cultural market, print culture, and nationalism, I argue that the mid-century model of literary history both represents the dialectical outcome of previous decades of thinking through the problem of cultural change and puts in place the terms for the modern narrative of the literary canon. An earlier aesthetics of gendered and sociable refinement separated itself from a Gothic past later recovered as the singular moment of literary achievement. The Gothic account was then challenged by a rethinking of consumption as reading abstracted over time. Together, Gothic historicism and abstract reading formed the antithetical basis on which critics established the modern canonical account of English literary history.

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Van Mierlo, W. "The Last Minstrels: Yeats and the Revival of the Bardic Arts." English 59, no. 225 (February 11, 2010): 218–20. http://dx.doi.org/10.1093/english/efp058.

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Purinton, Marjean D., and Ellen Brinks. "Gothic Masculinity: Effeminacy and the Supernatural in English and German Romanticism." Studies in Romanticism 44, no. 4 (2005): 654. http://dx.doi.org/10.2307/25602028.

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Hambur, Fransiska Marsela. "HOW GROUP DISCUSSION AND CONTEMPORARY LITERATURE INCREASE STUDENTS’ MOTIVATION IN ENGLISH LITERATURE SUBJECTS: A CASE STUDY AT 4TH SEMESTER STUDENTS OF STIKUBANK UNIVERSITY IN 2017/2018 ACADEMIC YEAR." Dinamika Bahasa dan Budaya 13, no. 2 (October 30, 2018): 29–42. http://dx.doi.org/10.35315/bb.v13i2.6455.

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Foreign language teachers need to motivate their students to learn English. Literature can be a good means to achieve motivation in literature classes. There has recently been a revival of interest in literature as a practical, motivating and an effective resource available for language learning. Therefore, we can assume that literature and authentic literary materials, especially short stories can enhance students’ motivations. This study focuses on how students’ motivation can be lifted through the use of group discussion as class activities and contemporary literature as learning material. This study is a descriptive qualitative which used questionnaire as main instrument to find out how college students rate English Literature Course and how students can be motivated with certain group activities with certain learning material. The result of this study shows that students rated 82 out of 100 for English Literature Course using group discussion as class activity and contemporary literature as learning material. From this study, there is an obvious implication that college students may enjoy learning English Literature through the utilization of contemporary literature and group discussion. This study found that instead of reading short extracts presented in course books, or any classical short stories, contemporary literature were more suitable complete texts for students to become fluent and competent language users. By learning English through literature, the students’ knowledge and competence are enhanced not only through formal English lessons, but rather through informal cognitive ways, in where the students are invited to examine and analyze how human’s life are portrayed through vocabularies, grammatical structures, and sociocultural dimensions of language.

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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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Ker, Ian, and Duane Bruce. "The Catholic Revival in English Literature, 1845-1961: Newman, Hopkins, Belloc, Chesterton, Greene, Waugh." Newman Studies Journal 1, no. 2 (2004): 116–17. http://dx.doi.org/10.1353/nsj.2004.0023.

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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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Engelhardt, Carol Marie. "The Catholic Revival in English Literature, 1845-1961: Newman, Hopkins, Belloc, Chesterton, Greene, Waugh (review)." Victorian Studies 48, no. 2 (2006): 342–44. http://dx.doi.org/10.1353/vic.2006.0077.

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Wilson, Frances, and Cannon Schmitt. "Alien Nation: Nineteenth-Century Gothic Fictions and English Nationality." Modern Language Review 94, no. 1 (January 1999): 168. http://dx.doi.org/10.2307/3736020.

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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’.

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Wiltse, Lynne. "“But My Students All Speak English”: Ethical Research Issues of Aboriginal English." TESL Canada Journal 28 (September 1, 2011): 53. http://dx.doi.org/10.18806/tesl.v28i0.1081.

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In this article I explore ethical issues in relation to the topic of Aboriginal students who speak a dialect of English. Taking the form of a retrospective inquiry, I draw on data from an earlier study that examined Aboriginal English in the broader context of Aboriginal language loss and revival. Three interrelated ethical issues are discussed: the relationship between the dialect spoken by Aboriginal students and the ancestral language they no longer speak; the educational implications of Aboriginal English-speakers in the classroom; and insider-outsider issues of a non-Aboriginal English-speaking researcher working in the areas of Aboriginal education and language. I also review the recent literature in the field of Aboriginal English and outline changes that have occurred in classroom practice. Whereas in the past the common aim was to eliminate the home dialect, the goal of current programs is to add Standard English as an additional dialect to students’ repertoires of linguistic varieties. Suggestions are offered for educators interested in using a bi-dialectal approach in the classroom.

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Sperry, Eileen. "Kissing, By The Book The Poetry of Kissing in Early Modern Europe: From the Catullan Revival to Secundus, Shakespeare and the English Cavaliers. By Alex Wong." English: Journal of the English Association 67, no. 257 (2018): 190–93. http://dx.doi.org/10.1093/english/efy030.

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Williamson, Paul. "English Gothic Choir-Stalls, 1200-1400. Charles Tracy." Speculum 64, no. 3 (July 1989): 775–76. http://dx.doi.org/10.2307/2854252.

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Bergonzi, Bernard. "Book Review: The Catholic Revival in English Literature, 1845–1961: Newman, Hopkins, Belloc, Chesterton, Greene, Waugh." Theology 107, no. 840 (September 2004): 463–64. http://dx.doi.org/10.1177/0040571x0410700628.

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Bruhm, Steven. "Gothic Masculinity: Effeminacy and the Supernatural in English and German Romanticism. Ellen Brinks." Wordsworth Circle 35, no. 4 (September 2004): 183–84. http://dx.doi.org/10.1086/twc24045087.

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George, Sam. "Wolves in the Wolds: Late Capitalism, the English Eerie, and the Weird Case of ‘Old Stinker’ the Hull Werewolf." Gothic Studies 21, no. 1 (May 2019): 68–84. http://dx.doi.org/10.3366/gothic.2019.0008.

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British folklore reveals a history of werewolf sightings in places where there were once wolves. I draw on theories of the weird and the eerie and on the turbulence of England in the era of late capitalism in my analysis of the representation of werewolves in contemporary urban myths. Werewolves are deliberately excluded from Mark Fisher's notion of the ‘weird’, because they behave in a manner that is entirely expected of them. I contradict this by interrogating the werewolf as spectre wolf, bringing it within the realms of the weird. In examining the Hull Werewolf, I put forward the suggestion that he represents not only our belief in him as a wolf phantom, but our collective guilt at the extinction of an entire indigenous species of wolf. Viewed in this way, he can reawaken the memory of what humans did to wolves, and redeem the Big Bad Wolf of our childhood nightmares.

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Heldt, Julie. "The Catholic Revival in English Literature 1845-1961: Newman, Hopkins, Belloc, Chesterton, Greene, Waugh, by Ian Ker." Chesterton Review 30, no. 1 (2004): 102–6. http://dx.doi.org/10.5840/chesterton2004301/218.

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Prabakar, S., M. Nagarajan, and A. Thirumagal. "Scientometric Analaysis on the Literature Output on Unemployment." Asian Journal of Information Science and Technology 8, no. 2 (August 5, 2018): 48–53. http://dx.doi.org/10.51983/ajist-2018.8.2.451.

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The social problem of “Unemployment” has been taken as research topic for the scientometric study. The data has been downloaded from Web of Science and the span of years has been selected from 2008 to 2012. Hypotheses are assumed and appropriate statistical tool has been utilized to the test the hypotheses. The interpretation has been given along with relevant data in tabular form. It was identified that the majority of the communicating format of language in the research output is of English. The journal articles dominated all the other type of publications. The prediction of Alfred Lotka on author productivity was not suitable for this research work.The findings reveal that enormous literatures related to the “Unemployment” are published to alarm the policy makers about the up-coming danger. It is requested the policy makers of the global countries to lay new policies to see the human beings to be employable. It is suggested that the society to raise the standard of their employable skills to be worthy for being employable. It it also suggested to the respective educational authorities towards the revival in the curriculum of the educational system of global countries.

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Milligan, Barry. "Alien Nation: Nineteenth-Century Gothic Fictions and English Nationality. Cannon Schmitt." Modern Philology 97, no. 4 (May 2000): 615–18. http://dx.doi.org/10.1086/492901.

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Sophia Li, Chi-fang. "The Roaring Girl in Retrospect: the RSC Production of 1983." New Theatre Quarterly 30, no. 3 (August 2014): 274–97. http://dx.doi.org/10.1017/s0266464x14000517.

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With its second revival of The Roaring Girl now in the Royal Shakespeare Company's repertory, Chi-fang Sophia Li documents in this article the making of the first production, as directed by Barry Kyle in 1983. She reviews the other RSC productions that informed Kyle's directorial approach, and, using the Shakespeare Birthplace Trust Library's archival materials and a research interview, she attempts a reconstructive criticism of Kyle's project of ‘theatrical archaeology’, arguing that what Kyle did was adapt Dekker and Middleton's Jacobean angst about the radical economic changes of the first decade of King James's reign to articulate current anxieties about Thatcherite economic ‘reforms’. The revival became compellingly invested with Kyle's critical reflections on triumphalist capitalism and ‘Victorian values’. Chi-fang Sophia Li is Assistant Professor of the Department of Foreign Languages and Literature at National Sun Yat-sen University in Taiwan. She has also published in Shakespeare Bulletin, Notes and Queries, and English Studies (Routledge), and in Chinese in Review of English and American Literature.

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Conde-Parrilla, M. Ángeles. "Hiberno-English and identity in Joyce’s A Portrait." Language and Literature: International Journal of Stylistics 22, no. 1 (February 2013): 32–44. http://dx.doi.org/10.1177/0963947012469750.

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The present article addresses sociolinguistic issues in a literary context, namely regional variation in James Joyce’s A Portrait of the Artist as a Young Man, a relevant, though not fully analysed, aspect of this novel. By the end of the 19th century most of Ireland was predominantly English speaking, but taking on a foreign language meant for the Irish a form of exile from their own identity, place and history. Revivalist writers responded to such a tension by using Hiberno-English, until it eventually became established as a literary medium. As is clear from my analysis, dialectal usage powerfully contributes to the vivid realization of most characters in Joyce’s novel, reflecting their regional provenance and social background. The representation of the linguistic situation thus offered is realistic and extensive, but also innovative in the context of the Irish Literary Revival. More importantly, it illustrates the protagonist’s views on national identity, and his struggles to find his own voice in the midst of the polyphony prevalent in turn-of-the-century Dublin. As this article argues, the dialogical tension between hybrid Irish English and standard English is truly essential to a comprehensive reading of A (colonial) Portrait.

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Bozorova, Viloyat Muzafarovna. "The use of psychology in literary genres." International Journal on Integrated Education 3, no. 2 (February 5, 2020): 1–3. http://dx.doi.org/10.31149/ijie.v3i2.314.

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The issue of artistic psychology is not new to literary studies. Professor X.Umurov's observation that the depiction of human psychology from the literary literature is related to the emergence of German sentimentalism and the English Gothic novel; till now - artistic depiction of external events for the Aristotelian period - mimesis; and the "law of thought" came first in classism.

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Winick, Mimi. "Review: Evangelical Gothic: The English Novel and the Religious War on Virtue from Wesley to “Dracula.”, by Christopher Herbert." Nineteenth-Century Literature 75, no. 2 (September 2020): 251–55. http://dx.doi.org/10.1525/ncl.2020.75.2.251.

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Kardiansyah, M. Yuseano. "English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival." TEKNOSASTIK 15, no. 2 (October 18, 2019): 64. http://dx.doi.org/10.33365/ts.v15i2.100.

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A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.

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Kears, Carl. "Eric Mottram and Old English: Revival and Re-Use in the 1970s." Review of English Studies 69, no. 290 (January 10, 2018): 430–54. http://dx.doi.org/10.1093/res/hgx129.

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Alexander, Christine. ""That Kingdom of Gloo": Charlotte Brontë, the Annuals, and the Gothic." Nineteenth-Century Literature 47, no. 4 (March 1, 1993): 409–36. http://dx.doi.org/10.2307/2933782.

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While Charlotte Brontë has been hailed as a writer of the "New Gothic," hers is not an isolated revision of so-called "old" Gothic but one that sprang naturally from a variety of contemporary source material in the period. This article examines the Brontë juvenilia and its sources in order to show that this change was as much a continuum in the history of literature as a new departure. The article focuses on the periodical literature of the early nineteenth century, in particular the Annuals that were introduced to the English market in 1822 and that continued to print Gothic tales and fragments well into the 1850s. From the Annuals Brontë learned not only to imitate but to parody the Gothic form: her early writings show that the Gothic allowed her to indulge in the exotic, the licentious, and the mysterious while at the same time assuming that anti-Gothic stance that is so characteristic in her novels. Moreover, her use of the Gothic doppelgänger allowed her to probe the psychological contradictions of her heroes Percy and Zamorna. Here we see Brontë's first step toward examining those "terrors that lie deep in the human soul." The deliberately complicated narrative can also be read as Gothic: it is a maze distorter by rival narrators and constructed chiefly from literary and visual models with the intention to confuse and amuse not only her siblings but her imagined audience. The Gothic provided basic material in this "play": a set of conventions that could be used first as raw material, then as the chief ingredient of parody, and finally-though gradually-as a means to explore the riddles of our thought and feeling.

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Williams, Anne. "BOOK REVIEW: Matthew Brennan.THE GOTHIC PSYCHE: DISINTEGRATION AND GROWTH IN NINETEENTH-CENTURY ENGLISH LITERATURE. Columbia, SC: Camden House, 1997." Victorian Studies 42, no. 4 (July 1999): 674–75. http://dx.doi.org/10.2979/vic.1999.42.4.674.

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Băniceru, Ana Cristina. "Going Back to One’s Roots: The Revival of Oral Storytelling Techniques in The English Contemporary Novel." Romanian Journal of English Studies 9, no. 1 (December 1, 2012): 166–81. http://dx.doi.org/10.2478/v10319-012-0018-7.

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Abstract My paper examines the interplay between the sophisticated postmodernist techniques of intertextuality, parody, metafiction and a return to orality or better said of pseudo-orality, a simulated-oral discourse or what the Russian Formalists called “skaz”, brought about by much postcolonial, ethnic or feminist literature.

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Kastronic, Laura, and Shana Poplack. "Be that as it may: The Unremarkable Trajectory of the English Subjunctive in North American Speech." Language Variation and Change 33, no. 1 (March 2021): 107–34. http://dx.doi.org/10.1017/s095439452100003x.

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AbstractThe English subjunctive has had a checkered history, ranging from extensive use in Old English to near extinction by Late Modern English. Since then, the mandative variant was reported to have revived, while the adverbial subjunctive continued to diminish. American English is heavily implicated in these developments; it is thought to be leading the revival of the former but lagging in the decline of the latter. Observing that most references to these changes are based on the written language, we examine the diachronic trajectory of the subjunctive in North American English speech. Adopting a variationist perspective, we carried out systematic quantitative analyses of subjunctive use under hundreds of triggers. Results show that, despite the differences in their diachronic trajectories, today both types are not only extremely rare but heavily lexically constrained. We implicate violations of the Principle of Accountability in the disparities between the findings reported here and the consensus in the literature with respect to subjunctive use in North American English.

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Wise, Dennis Wilson. "Poul Anderson and the American Alliterative Revival." Extrapolation: Volume 62, Issue 2 62, no. 2 (June 1, 2021): 157–80. http://dx.doi.org/10.3828/extr.2021.9.

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Although Poul Anderson is best known for his prose, he dabbled in poetry all his life, and his historical interests led him to become a major—if unacknowledged— contributor to the twentieth-century alliterative revival. This revival, most often associated with British poets such as W. H. Auden, J. R. R. Tolkien, and C. S. Lewis, attempted to adapt medieval Germanic alliterative meter into modern English. Yet Anderson, a firmly libertarian Enlightenment-style writer, imbued his alliterative poetry with a rationalistic spirit that implicitly accepted (with appropriate qualifications) a narrative of historical progress. This article analyzes the alliterative verse that Anderson wrote and uncovers how the demands of the pulp market shaped what poetry he could produce.

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Runstedler, Curtis. "The Benevolent Medieval Werewolf in William of Palerne." Gothic Studies 21, no. 1 (May 2019): 54–67. http://dx.doi.org/10.3366/gothic.2019.0007.

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This article argues that the werewolf of the medieval romance displays behaviour comparable with modern studies of the wolf. In the dualistic medieval world of nature versus society, however, this seems inconsistent. How does the medieval werewolf exhibit realistic traits of the wolf? I examine the realistic lupine qualities of the werewolf Alphouns in the Middle English poem William of Palerne to justify my argument. Citing examples from his actions in the wilderness, I argue that Alphouns's lupine behaviour is comparable to traits such as cognitive mind-mapping and surrogate parental roles, which are found in contemporary studies of wolves in the wild. Recognising the ecology of the (were)wolf of the medieval romance helps us to understand better the werewolf's role as metaphor and its relationship to humans and society.

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O'Donnell, Kathleen Ann. "Translations of Ossian, Thomas Moore and the Gothic by 19th Century European Radical Intellectuals: The Democratic Eastern Federation." Lublin Studies in Modern Languages and Literature 43, no. 4 (December 30, 2019): 89. http://dx.doi.org/10.17951/lsmll.2019.43.4.89-104.

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This article will show how translated works by European radical writers of The Poems of Ossian by the Scot James Macpherson and Irish Melodies and other works by the Irishman Thomas Moore, were disseminated. Moore prefaced Irish Melodies with “In Imitation of Ossian”. It will also demonstrate how Celtic literature, written in English, influenced the Gothic genre. The propagation of these works was also disseminated in order to implement democratic federalism, without monarchy; one example is the Democratic Eastern Federation, founded in Athens and Bucharest. To what extent did translations and imitations by Russian and Polish revolutionary intellectuals of Celtic literature and the Gothic influence Balkan revolutionary men of letters?

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Newbold, R. F. "Sensitivity to Shame in Greek and Roman Epic, with Particular Reference to Claudian and Nonnus." Ramus 14, no. 1 (January 1985): 30–45. http://dx.doi.org/10.1017/s0048671x0000504x.

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English shame and German scham derive from the Gothic schama, ‘to hide, cover, conceal’. German Hemd (shirt) and English and French chemise are other derivatives. In some languages the word for ‘shame’ and the word for ‘wound’ are the same. A wound exposes and can thereby advertise vulnerabilty and a cause for shame. Hiding or covering may seek to guard against wounding, humiliating exposure. Shame is self-evidently an important human emotion. Insofar as animals are innocent of shame, experience of it is a mark of humanity. Much human behaviour is influenced by fear of shame and embarrassment. Living in the face and eyes, shame is very close to the experienced self. Self-image and self-esteem are heavily determined by one's susceptibility to shame. Experience of shame is impossible without a sense of individuation, without a sense of discreteness from the world and of being an object in the eyes of another. Study of shame sensitivity therefore offers many clues to an individual's or a culture's behaviour, sense of identity and relationship to the environment.

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Jorge, Richard. "(POST)COLONIAL DISCOURSE AND THE IRISH SELF IN THE WRITINGS OF J.S. LEFANU." International Journal of Language and Literary Studies 1, no. 3 (December 28, 2019): 71–84. http://dx.doi.org/10.36892/ijlls.v1i3.60.

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It is widely accepted that the relationships of dominance between the self and the other are concurrent to both the Gothic genre and postcolonial theory. In Gothic literature this relationship has traditionally been expressed through the dichotomy self vs. other, in which the self is the male protagonist while the latter is “everything else in that world” (Day 19), Gothic literature being, thus, an exploration of the formation of identity. In colonial Gothic this is brought under the axiom colonizer-colonized, and, therefore, characters are analysed as manifestations of a dichotomy which usually links first the other to the monstrous, who is subsequently presented as the colonized subject. The Irish case further complicates this simple binary relation. The running argument of the present paper is that far from being a dichotomy, the Irish case is better understood as a triangle in which two of its vertices are fixed—Catholics/Irish and English—while the third vertex, that of the Anglo-Irish, gradually shifts positions from the English to the Irish one, following a creolization process in which they are both victims and victimizers. The characters in the fictions of J.S. Le Fanu all epitomize this constrained relationship, displaying an array of roles who do not comfortably fit into either category, showing a pervading feeling of being ill-at-ease. As this paper shows, a deeper reading reveals these figures to be just the opposite of what the prototypical colonialist figure ought to be—weak and feeble, terrorized rather than terrorizer, in awe of the other instead of subduing it.

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Renshaw, Daniel. "Monsters in the Capital: Helen Vaughan, Count Dracula and Demographic Fears in fin-de-siècle London." Gothic Studies 22, no. 2 (July 2020): 148–64. http://dx.doi.org/10.3366/gothic.2020.0046.

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This article examines the confluence of fears of demographic change occasioned by Jewish migration to Britain between 1881 and 1905 with two key gothic texts of the period – Arthur Machen's The Great God Pan (1894) and Bram Stoker's Dracula (1897). The descriptions of the activities of the demonic protagonists Helen Vaughan and Count Dracula in London will be compared with contemporary depictions of Jewish settlement by leading anti-migrant polemicists. Firstly, it will consider the trope of settlement as a preconceived plan being put into effect directed against ‘Anglo-Saxon’ English society. Secondly, it will look at ideas of the contested racial inferiority or superiority of the ‘other’. Thirdly, the article will examine the imputed chameleonic natures of both gothic monsters and Jews rising up the metropolitan social scale. The article will conclude by comparing the way Machen's and Stoker's protagonists deal with their opponents with posited ‘solutions’ for the Eastern European immigration ‘problem’.

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Norden, Larisa L., and Valeria S. Miller. "THE IRISH RENAISSANCE IN FACES." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 133–41. http://dx.doi.org/10.47026/1810-1909-2021-2-133-141.

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The end of the XIX – beginning of the XX centuries is the efflorescence period of national culture in Ireland. In historiography, this time was named the Irish Renaissance. Its bright representatives and organizations promoted national ideas, tried to restrain verbal aggression from the English language, to revive self-consciousness of their compatriots, developed sports, literature, theater, musical culture, and opposed the British way of life. The Irish Renaissance was not homogeneous. Some of its representatives tried to be politically neutral, tried to show their non-involvement in the existing political situation. The other held positions of active cultural nationalism. They believed that the Irish should revive their culture, cultivate their national identity, using a solid language base. They promoted the advantages of the Gaelic lifestyle as opposed to the English one. Still others proceeded from realistic attitudes, they saw narrow-mindedness of the Irish society, they were not afraid to point out its vices, and convinced in the need to include their homeland in the cultural space of the West. In addition to the multiplicity of options, the Irish Renaissance was an elitist phenomenon, since most of the society lived in poverty, did not have the opportunity to get a good education, and cared more about «daily bread». The most vivid appeals to the spiritual Revival of the nation were made in the theater and literature, the flourishing of which is associated with the names of W.B. Yeats, Lady Augusta Gregory, D. Joyce, D.M. Sing and others. To a large extent, the Irish Renaissance was a kind of reaction to modernism. It is quite possible to say that in Ireland there was a strong confrontation between the archaic and the modern. The important features of cultural Irish Renaissance were its anti-British orientation, the desire to emphasize national identity. The Hiberno-English version of English had similarities to Irish in some grammatical idioms, the inhabitants of the Emerald Isle, perhaps subconsciously, used the grammatical structures of their native language when speaking English. This linguistic tradition also influenced the Irish literature, which differed in various ways from the English literature.

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Lewis, Suzanne. "The English Gothic illuminated Apocalypse,lectio divina, and the art of memory." Word & Image 7, no. 1 (January 1991): 1–32. http://dx.doi.org/10.1080/02666286.1991.10435811.

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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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Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (November 2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.

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The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.

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Journal articles on the topic 'English literature English literature English literature Gothic revival (Literature)'

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