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Relevant bibliographies by topics / Female Gothic

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Academic literature on the topic 'Female Gothic'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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Journal articles on the topic "Female Gothic"

1

Millsap-Spears, Carey. "‘Does he know you like I know you?’: Barbara Kean’s bisexual appeal, the Male Gothic and Gotham’s woman problem." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 19–33. http://dx.doi.org/10.1386/qsmpc_00042_1.

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This article discusses how the FOX television series Gotham (2014–19) fits the overall definition of a traditional Male (Horror) Gothic text and how disruptive female characters, like Barbara Kean, push against these seemingly strict Gothic boundaries. Through the development of the bisexual character Barbara Kean, the conservative, Male Gothic foundation is ultimately questioned in the US television series. Gotham’s portrayal of Barbara not only propagates bisexual stereotypes, but it also speaks to the larger discussion of bisexual aversion and eventual erasure present in many media texts. Additionally, Gotham employs the depraved bisexual trope, in which bisexual characters, like Barbara, are shown to be duplicitous. Barbara Kean, however, transgresses the boundaries of the Male Gothic tradition and thrives within the narrative structure of Gotham.

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Fitzgerald, Lauren. "Female Gothic and the Institutionalization of Gothic Studies." Gothic Studies 6, no. 1 (May 2004): 8–18. http://dx.doi.org/10.7227/gs.6.1.2.

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Clery, E. J. "Varieties of Female Gothic (review)." Eighteenth Century Fiction 19, no. 4 (2007): 463–67. http://dx.doi.org/10.1353/ecf.2007.0018.

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Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film." Text Matters, no. 6 (November 23, 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.

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Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real (socio-)economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession.

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Shapira, Yael. "Female Gothic Histories: Gender, History and the Gothic by Diana Wallace." Partial Answers: Journal of Literature and the History of Ideas 15, no. 1 (2017): 189–92. http://dx.doi.org/10.1353/pan.2017.0011.

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6

Williams, Anna. "Grad School Gothic: The Mysteries of Udolpho and the Academic #MeToo Movement." Gothic Studies 22, no. 2 (July 2020): 115–30. http://dx.doi.org/10.3366/gothic.2020.0044.

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In the age of #MeToo, the Female Gothic rises from the critical crypt once again. Examining the educational narrative of Emily St. Aubert in Ann Radcliffe's The Mysteries of Udolpho, I argue that the Female Gothic has always vividly portrayed emotional invalidation – a term borrowed from cognitive psychologist Marsha Linehan – as a tool to silence righteous, yet naïve, voices and perpetuate imbalances of social power. As the recent #MeToo movement in academic culture demonstrates, the fourth-wave feminist critique of workplace discrimination targets not only sexual misconduct, but also intellectual misconduct. I propose that, often, discrimination in academic spaces uses the very same tool portrayed in the Female Gothic. In this paper, I look to the Female Gothic as well as to feminist pedagogical theory to offer solutions to the problem of emotional invalidation in the Grad School Gothic.

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Smith, Andrew, and Diana Wallace. "The Female Gothic: Then and Now." Gothic Studies 6, no. 1 (May 2004): 1–7. http://dx.doi.org/10.7227/gs.6.1.1.

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Hoeveler, Diane Long. "The Construction of the Female Gothic Posture: Wollstonecraft's Mary and Gothic Feminism." Gothic Studies 6, no. 1 (May 2004): 30–44. http://dx.doi.org/10.7227/gs.6.1.4.

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López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.

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In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.

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Robert-Foley, Lily. "Haunted readings of female gothic short stories." Short Fiction in Theory & Practice 7, no. 2 (October 1, 2017): 177–92. http://dx.doi.org/10.1386/fict.7.2.177_1.

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Dissertations / Theses on the topic "Female Gothic"

1

Drew, Lorna Ellen. "The mysteries of the gothic, psychoanalysis/feminism/the female gothic." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1993. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23880.pdf.

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2

Aktari, Selen. "Abject Representations Of Female Desire In Postmodern British Female Gothic Fiction." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612288/index.pdf.

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The aim of this dissertation is to study postmodern British Female Gothic fiction in terms of its abject representations of female desire which subvert the patriarchal definition of female sexuality as repressed and female identity as the object of desire. The study analyzes texts from postmodern Female Gothic fiction which are feminist rewritings of the traditional Gothic narratives. The conventional Gothic plot is based on the Oedipal development of identity which excludes the (m)other and deprives the female from autonomous subjectivity. The feminist rewritings of the conventional Gothic plot have a subversive aim to recast the Oedipal identity formation and they embrace the (m)other figure in order to blur the strict boundaries between the subject and the object. Besides, these rewritings aim to destroy the image of the victimized heroine within the imprisoning conventional Gothic structures and transgress the cultural, social and sexual definitions of women constructed by patriarchal sexual politics. The study bases its analyses on Jean Rhys&rsquo
s Wide Sargasso Sea, Angela Carter&rsquo
s The Bloody Chamber and Other Stories, and Emma Donoghue&rsquo
s Kissing the Witch: Old Tales in New Skins as examples in which patriarchal definition of the female desire as passive is destroyed and the female desire as active is promoted by the adoption of abject representations, which challenge the strictly constructed hierarchical relationships between men and women. Basing its argument on Julia Kristeva&rsquo
s psychoanalytical theories, which re-vision the traditional psychoanalytical theories, this study puts forward that by the emergence of postmodernism, which has overtly provided a ground for the marginalized discourses to get into dialogue with the oppressive ones, the abject representations of female desire have gained a positive characteristic that can liberate female body from the control and authority of the male-dominated ideology. Thus, one can chronologically follow the positive development of abject representations of female sexuality in Rhys&rsquo
s, Carter&rsquo
s and Donoghue&rsquo
s works which promote a liberation for the Gothic heroines from patriarchal psychoanalytical identity development, which render female desire active and female body expressive, which rehistoricize female sexuality from a feminist lens and which call for a new world order built upon an egalitarian basis that destroys hierarchically constructed gender roles. As a result, postmodern British Female Gothic Fiction is proved to be offering a utopian ideal of an egalitarian society, but although utopian and radical, not an impossible one to be realized.

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Cope-Crisford, Maya. "Deviance and Desire: Embodiments of Female Monstrosity in Nineteenth-Century Female Gothic." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1460401165.

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Davids, Courtney Laurey. "Female identity and landscape in Ann Radcliffe's Gothic Novels." Thesis, University of the Western Cape, 2008. http://hdl.handle.net/11394/2800.

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Magister Artium
The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe's late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.
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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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6

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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7

Rae, Angela Lynn. "The haunted bedroom: female sexual identity in Gothic literature, 1790-1820." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002294.

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This thesis explores the relationship between the Female Gothic novel of the late eighteenth and early nineteenth century and the social context of women at that time. In the examination of the primary works of Ann Radcliffe, Mary Wollstonecraft and Mary Shelley, this study investigates how these female writers work within the Gothic genre to explore issues related to the role of women in their society, in particular those concerned with sexual identity. It is contended that the Gothic genre provides these authors with the ideal vehicle through which to critique the patriarchal definition of the female, a definition which confines and marginalizes women, denying the female any sexual autonomy. The Introduction defines the scope of the thesis by delineating the differences between the Female Gothic and the Male Gothic. Arguing that the Female Gothic shuns the voyeuristic victimisation of women which characterizes much of the Male Gothic, it is contended that the Female Gothic is defined by its interest in, and exploration of, issues which concern the status of women in a patriarchy. It is asserted that it is this concern with female gender roles that connects the overtly radical work of Mary Wollstonecraft with the oblique critique evident in her contemporary, Ann Radcliffe’s, novels. It is these concerns too, which haunt Mary Shelley’s texts, published two decades later. Chapter One outlines the status of women in the patriarchal society of the late eighteenth century, a period marked by political and social upheaval. This period saw the increasing division of men and women into the “separate spheres” of the public and domestic worlds, and the consequent birth of the ideal of “Angel in the House” which became entrenched in the nineteenth century. The chapter examines how women writers were influenced by this social context and what effect it had on the presentation of female characters in their work, in particular in terms of their depiction of motherhood. Working from the premise that, in order to fully understand the portrayal of female sexuality in the texts, the depiction of the male must be examined, Chapter Two analyses the male characters in terms of their relationship to the heroines and/or the concept of the “feminine”. Although the male characters differ from text to text and author to author, it is argued that in their portrayal of “heroes and villains” the authors were providing a critique of the patriarchal system. While some of the texts depict male characters that challenge traditional stereotypes concerning masculinity, others outline the disastrous and sometimes fatal consequences for both men and women of the rigid gender divisions which disallow the male access to the emotional realm restricted by social prescriptions to the private, domestic world of the female. It is contended that, as such, all of the texts assert the necessity for male and female, masculine and feminine to be united on equal terms. Chapter Three interprets the heroine’s journey through sublime landscapes and mysterious buildings as a journey from childhood innocence to sexual maturity, illustrating the intrinsic link that exists between the settings of Gothic novels and female sexuality. The chapter first examines the authors’ use of the Burkean concept of the sublime and contends that the texts offer a significant revision of the concept. In contrast to Burke’s overtly masculinist definition of the sublime, the texts assert that the female can and does have access to it, and that this access can be used to overcome patriarchal oppression. Secondly, an analysis of the image of the castle and related structures reveals that they can symbolise both the patriarchy and the feminine body. Contending that the heroine’s experiences within these structures enable her to move from innocence to experience, it is asserted that the knowledge that she gains, during her journeys, of herself and of society allows her to assert her independence as a sexually adult woman.

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8

Fields, Yvonne. "Trapped: Spatial Confinement as a Metaphor for Female Subjugation in Two Representative Nineteenth-Century Novels." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/160.

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From early eighteenth-century literature to contemporary Gothic literature, the existence of Gothic conventions is evident. These Gothic conventions include family secrets, ruins or isolated mansions, hidden passageways, and bad weather. During an era when women were viewed as inferior and were expected to conform to the domestic expectations of their male counterparts, some female writers took it upon themselves to use their writing as a way to voice and illustrate the conditions that women endured. A thorough examination of Gothic Trappings in Charlotte Brontë’s Jane Eyre and Hannah Crafts’ The Bondswoman’s Narrative shows representations of various spaces that essentially confined women resulting in their silence. When analyzing the position of women during the nineteenth-century and the spaces that they were confined to, it becomes evident that the genre of Gothic literature serves as a device to challenge the restrictions placed on women in patriarchal society.

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9

Macfie, Suan E. "#Demonic', #deranged' and radical women : sexual politics, spirituality and the female gothic, 1880-1900." Thesis, Birkbeck (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320954.

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10

Palumbo, Alice Marie. "The recasting of the Female Gothic in the novels of Margaret Atwood." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41571.pdf.

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Books on the topic "Female Gothic"

1

Wallace, Diana, and Andrew Smith, eds. The Female Gothic. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457.

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2

Gary, Kelly, ed. Varieties of female gothic. London: Pickering & Chatto, 2002.

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3

The female gothic: New directions. New York: Palgrave Macmillan, 2009.

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4

Dead secrets: Wilkie Collins and the female gothic. New Haven: Yale University Press, 1992.

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5

Femicidal fears: Narratives of the female gothic experience. Albany: State University of New York Press, 2001.

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6

The female thermometer: Eighteenth-century culture and the invention of the uncanny. New York: Oxford University Press, 1995.

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7

Wilson, Jacqueline. Midnight. London: Random House Publishing Group, 2008.

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Wilson, Jacqueline. Midnight. London: Corgi Yearling, 2004.

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9

1967-, Craciun Adriana, ed. Zofloya; or, The Moor: A romance of the fifteenth century. Peterborough, Ont: Broadview Press, 1997.

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Dacre, Charlotte. Zofloya, or, The Moor. Oxford: Oxford University Press, 1997.

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Book chapters on the topic "Female Gothic"

1

Horner, Avril, and Sue Zlosnik. "Female Gothic." In Teaching the Gothic, 107–20. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625358_8.

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2

Fitzgerald, Lauren. "Female Gothic and the Institutionalisation of Gothic Studies." In The Female Gothic, 13–25. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_2.

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Wallace, Diana, and Andrew Smith. "Introduction: Defining the Female Gothic." In The Female Gothic, 1–12. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_1.

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Smith, Andrew. "Children of the Night: Shirley Jackson’s Domestic Female Gothic." In The Female Gothic, 152–65. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_10.

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der Lippe, Anya Heise-von. "Others, Monsters, Ghosts: Representations of the Female Gothic Body in Toni Morrison’s Beloved and Love." In The Female Gothic, 166–79. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_11.

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Bohata, Kirsti. "‘Unhomely Moments’: Reading and Writing Nation in Welsh Female Gothic." In The Female Gothic, 180–95. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_12.

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Davison, Carol Margaret. "Monstrous Regiments of Women and Brides of Frankenstein: Gendered Body Politics in Scottish Female Gothic Fiction." In The Female Gothic, 196–214. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_13.

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Wallace, Diana. "‘The Haunting Idea’: Female Gothic Metaphors and Feminist Theory." In The Female Gothic, 26–41. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_3.

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Miles, Robert. "‘Mother Radcliff’: Ann Radcliffe and the Female Gothic." In The Female Gothic, 42–59. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_4.

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Wright, Angela. "Disturbing the Female Gothic: An Excavation of the Northanger Novels." In The Female Gothic, 60–75. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245457_5.

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