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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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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&rsquos 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.
3
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 ArtiumThe purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe's late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.
South Africa
5
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.
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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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.
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.
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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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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Wallner, Lars. "The Forgotten Gothic of Christina Rossetti." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-73141.
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In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.
12
Quazi, Sobia. "The spectral figure unbound : a psychoanalytic reading of female gothic literature and film." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573015.
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This thesis examines the spectral figure in female gothic literature and film. I argue that the spectral figure is a trope, symbol and narrative device that recurs: throughout the female gothic genre, from early female gothic novels such as The Mysteries of Udolpho (Ann Radc1iffe, 1794) and Jane Eyre (Charlotte Bronte, 1847) to Rebecca (Daphne du Maurier, 1938). I also examine the representation of the spectral figure in film, in the adaptation of Rebecca (dir. Alfred Hitchcock, 1940) .and in contemporary Japanese horror film, which, I argue, is a powerful female gothic narrative. The spectral figure appears as a ghostly presence or even an absence at . the heart of the female gothic narrative that makes its presence strongly felt, and permeates the materiality of the text In the early female gothic works, the spectral figure is maternally connoted and appears mainly in relation to the heroine who textually operates as a "daughter". In contemporary female gothic narratives the locus of spectrality has shifted to the daughter-figure, who exists in relation to the now maternally characterized heroine. In both cases, the mother- daughter bond is foregrounded through the dynamics of the spectral figure. I argue that the reason these texts utilize the spectral figure lies in their interest in an important stage/aspect of female subjective development that is narratively signalled by such a figure. Thus the spectral figure and its issue of maternal absence can be best explored through the psychoanalytic theories of Sigmund Freud, Melanie Klein, Julia Kristeva and Donald . Winnicott. In utilizing their work, I am:. also making an intervention into psychoanalytic theories of female subjective development, since I build on the notion of maternal absence to point to the important cultural shift of the last few decades, one that has resulted in the appearance of a spectral daughter figure.
13
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.
14
Laredo, Jeanette A. "Reading the Ruptured Word: Detecting Trauma in Gothic Fiction from 1764-1853." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862792/.
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Using trauma theory, I analyze the disjointed narrative structure of gothic works from 1764-1853 as symptomatic of the traumatic experience. Gothic novels contain multiple structural anomalies, including gaps in experience that indicate psychological wounding, use of the supernatural to violate rational thought, and the inability of witnesses to testify to the traumatic event. These structural abnormalities are the result of trauma that characters within these texts then seek to prevent or repair via detection.
15
Kierstead, Joshua Anthony. "Noir of the past: anatomy of the historical film noir." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5791.
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This dissertation documents how a series of cynical 1940s Hollywood films set in historical eras served as a forum for Hollywood to reconcile the complex relationship between America and its European past. While these films are rarely discussed in the ongoing discourse surrounding film noir, this study posits that they function as “noirs of the past” by transposing the pessimism and trauma surrounding World War II to the distant American and European past in a narrative and stylistic manner consistent with film noir. Film noir is a branching term to describe a group of 1940s and 50s Hollywood crime melodramas that are known for their cynical worldviews and femme fatales. Produced during the war and postwar era, film noirs primarily depict squalid urban settings that underscore the broken promise that is the American Dream. However, this project maintains that many of these noirs also critique American society through historical settings that trace present-day class and gender problems back to the European aristocracy and its excesses.
Noirs of the past are universally ignored in debates surrounding historical films because they appear at first blush to have little interest in depicting historical events in a precise manner. This is for good reason: they openly resist historical accuracy by employing devices that highlight their artificiality. The noir of the past’s lack of historical verisimilitude further extends to character types, dialogue, costumes, and aesthetics that feel closer in spirit to the gloomy shadows of contemporary-set film noirs than the glossy and monumental historical films of the 1940s. Through their overlap of historical and contemporary 1940s signifiers, “noirs of the past” construct a sense of location and time that borrows from both the past and present to demonstrate the cyclical nature of events and figures across history.
16
Thomas, Katrin. "Raum und Identität der mutterlose Raum und die weibliche Identität in der female gothic novel ; (18. bis 20. Jahrhundert)." Trier Wiss. Verl. Trier, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2913665&prov=M&dok_var=1&dok_ext=htm.
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Hoskinson, Katie E. "An Ordinary Text with Extraordinary Affect: How Reading Twilight can Change the World." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1303915600.
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Maio, Patricia. "Discuss the central theme of gender and constructions of feminine and masculine roles in male female Gothic literature /." Title page and introduction only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09arm227.pdf.
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Skelley, Chelsea Atkins. "Re-visioning Katrina: Exploring Gender in pre- and post-Katrina New Orleans." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42432.
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I argue that to understand the gender dynamics of New Orleans, Hurricane Katrina, and the stormâ s aftermath, one must interrogate the cultural conflation of the black female body and the cityâ s legacy to explore what it means and how it situates real black women in social, cultural, and physical landscapes. Using a hybrid theoretical framework informed by Black feminist theory, ecocriticism, critical race feminism, and post-positivist realism, I explore the connections between New Orleansâ cultural and historical discourses that gender the city as feminine, more specifically as a black woman or Jezebel, with narratives of real black females to illustrate the impact that dominant discourses have on peopleâ s lives. I ground this work in Black feminism, specifically Hortense Spillersâ s and Patricia Hill Collinsâ s works that center the black female body to garner a fuller understanding of social systems, Kimberlé Crenshawâ s concept of intersectionality, and Evelyn Hammondsâ s call for a reclamation of the body to interrogate the ideologies that inscribe black women. In addition, I argue that black women should reclaim New Orleansâ metaphorical black body and interrogate this history to move forward in rebuilding the city. As an ecocritic and feminist, I understand the tension involved with reading a city as feminine and arguing for this reclamation, as this echoes colonial and imperialist discourses of conquering land and bodies, but I negotiate these tensions by specifically examining the discourse itself to expose the sexist and racist ideologies at work.Master of Arts
20
Klee, Márcia Morales. "Fantasmas da paisagem gótica feminina: tradição dialoga em Changing Heaven, de Jane Urquharta." reponame:Repositório Institucional da FURG, 2008. http://repositorio.furg.br/handle/1/2660.
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Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2008.Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-10-18T15:07:44Z No. of bitstreams: 1 marciaklee.pdf: 2550313 bytes, checksum: b427beaad001d7f4f2de4006e5d323d4 (MD5)
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O presente trabalho propõe o estudo de Changing Heaven – romance de Jane Urquhart publicado em Toronto, Canadá, pela editora Emblem Editions, em 1990. Com ele, pretendo demonstrar a relação existente entre o universo romanesco proposto por Urquhart e aquele da tradição gótica inglesa de autoria feminina, com a qual ela abertamente dialoga. Além disso, aproximo Changing Heaven da série anglo-canadense para o mesmo gênero, estabelecendo, entre eles, relações que visam a caracterizar a feição assumida por esta narrativa junto ao país de Urquhart. Por fim, discorro brevemente sobre de que forma Changing Heaven dialoga com ou revisa a linhagem/ancestralidade de romances góticos de autoria feminina. O conceito de gótico feminino utilizado aqui é aquele cunhado por Ellen Moers (1977). Para o estudo do gótico, embora muitas fontes tenham sido consultadas, vali-me principalmente das concepções de Eugenia DeLamotte e seu Perils of the night: a feminist study of the nineteenth century Gothic (1990). Neste estudo, defendo que a moldura gótica adotada por Urquhart em Changing Heaven permite-lhe sublinhar os temas da identidade, alteridade, memória e o processo de criação artística, bem como reafirmar sua escritura através do diálogo com o romance Wuthering Heights (1897), da inglesa Emily Brontë, a grande matriz narratológica por trás do seu romance.
The present work proposes a study of Jane Urquhart’s Changing Heaven, a novel first published in Toronto, Canada, by Emblem Editions Press in 1990. It aims at demonstrating the relation between the novelistic universe as conceived by Urquhart and that of the female Gothic English tradition, with which she overtly dialogs. Moreover, I bring Changing Heaven near the Anglo-Canadian series of the same genre so as to trace parallels that ultimately intend do explicit the features that shape this kind of narrative in Urquhart’s country. Last, I briefly go over on how Changing Heaven dialogs with or contributes to revise the lineage/tradition of female Gothic novels. The concept of female Gothic used here is the one coined by Ellen Moers (1977). For the study of the Gothic itself, even though many sources have been consulted, Eugenia Delamotte’s Perils of the night: a feminist study of the nineteenth century Gothic (1990) has proved to be especially relevant. In this work, the point made is that the Gothic frame used by Urquhart allows this writer to underline issues concerning identity, otherness, memory and the process of artistic creation, as well as to restate her own writing praxis through the dialog with the novel Wuthering Heights (1897), by Emily Brönte, the main intertext behind Urquhart’s novel.
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Markodimitrakis, Michail-Chrysovalantis. "Gothic Agents Of Revolt: The Female Rebel In Pan's Labyrinth, Alice's Adventures In Wonderland And Through The Looking Glass." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460074928.
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Moura, Caroline Navarrina de. "A walk with Catherine and Jane : the exposure of gothic conventions in Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172913.
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O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam.This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.
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Hallberg, Therese. "Mellan livet och döden : Den litterära gotikens närvaro i dokumentära skildringar av självskada." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30505.
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Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.
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Bornlöf, Julia. "Bloody Penny Picture Pose : A comparative study on the representation of sexuality and violence within the aesthetics of Victorian Gothic horror." Thesis, Stockholms universitet, Modevetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-175535.
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There is an ongoing fascination with the Victorian era as well as the genre of horror, and the characters originating from the first 18th century Gothic tales still appear in our Western popular culture today. The Victorian Gothic novels contain elements of romanticism and violence which often results in strong undertones of heated sexuality. I argue that it is one of the reasons for the genre’s wide popularity. This thesis examines the representation of femininity and female sexuality within a Victorian horror context by a comparative analyse of illustrations from British 19th century Penny Blood publications with contemporary fashion photographs. The images are analysed by applying Erwin Panofsky’s method of Iconography and with the theoretical framework of feminist visual culture, and historical theories on sexuality, biology and violence. The thesis shows how Gothic visualisations are interpreted and appropriated photographically today, where the latter is darker and more exaggerated than the former. Symbols of sexuality, female agency, dominance and submission are equally found in the Victorian and the contemporary material. However, the Victorian aesthetic has become a platform where a nude, sexual female body in a S&M situation can offer a spectrum of meanings and even symbols of feminism. It is a visual culture where women can fight back, taking revenge on their oppressor and looking fierce when doing so.
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Holmestrand, Wilma. "Kvinnlig vänskap i Gotisk Litteratur : En komperativ studie av Gillian Flynns Gone Girl och Daphne du Mauriers Rebecca." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101019.
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The aim of this essay is to investigate the meaning and importance of the female friendship within Ellen Moers tradition and theory regarding the female gothic. In this essay, I argue that the female friendship has played an important role in the portrayal of the Gothic fiction as socially critical of women’s position in the society, mainly by examining the two works Rebecca by Daphne du Maurier and Gone Girl by Gillian Flynn. The essay is also interested in how the female gothic has developed over time and whether the notion can be applied while analysing more contemporary gothic, and thus, considers the works’ different time periods.
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Andersson, Tamara. "Den ensamma sjöjungfrun : Om Carina Rydbergs jagberättande ur ett genreperspektiv." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-111626.
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The focus of this study is the two autobiographical novels Den högsta kasten (1997) and Djävulsformeln (2000) by Swedish author Carina Rydberg. Both novels generated lively public debate regarding how they ought to be read and understood, what genre they belonged to, and the ontological status of the narrating “I”. The aim is to investigate why the protagonist, Carina, is perceived as unintelligible by many readers and explore how she can be understood in relation to what constitutes an intelligible identity from a literary and cultural perspective. The novels, as well as their protagonist, are approached from the perspective of genre theory, the argument being that Carina’s unintelligibility is directly dependent on what genre she is read in relation to. In the first part of the thesis the ambiguities of autobiographical texts are discussed, and the narrative and protagonist are analyzed in relation to the autobiographical genre. In the second part of the thesis the consequences of reading the texts as examples of the Gothic with emphasis on monstrosity, the uncanny and sexual transgression are examined. The two readings demonstrate how interpretations of text and character are highly influenced by the reader's expectations connected to genre. Rydberg’s transgression of the norms of genre, gender, and identity leaves the reader with a contradictory set of genre-specific expectations, which in turn makes it difficult to understand and accept the protagonist. The main theme of both novels is Carina’s unsuccessful attempts to reconcile what she sees as two separate, essentially incompatible identities: woman and author. The final chapter includes a comparative study in which Rydberg’s novels are linked to works by other Swedish female writers, both past and contemporary, to demonstrate that the conflict of woman versus author is a common problem for female writers. The thesis closes with a discussion about the possibility of placing Rydberg in a specifically female literary tradition and demonstrate how a feminist analysis can make the unintelligible intelligible.
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Dann, Sierra. "“Big Little Lies:” Using Hegemonic Ideology to Challenge Hegemonic Ideology." Wittenberg University Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1623773842217318.
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Evans, Jessica R. "THE MALE MENTOR FIGURE IN WOMEN'S FICTION, 1778-1801." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/62.
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This dissertation follows the development of the mentor figure from Frances Burney’s Evelina published in 1778 to Maria Edgeworth’s Belinda in 1801. The mentor becomes a key figure for exploring women’s revolutionary ideas on female education and women’s roles in society. My dissertation contributes to discussions on mentoring, development of the Gothic mode, and debates over sensibility and sentimental fiction. It considers how the female mentee paradoxically both desires and criticizes her male mentor and his authority. Each author under discussion employed the mentor figure in a way that addressed their contemporary society’s issues and prejudices toward the treatment of women and the power of sensibility. Much of this treatment was traced to a conversation of reforming female education from an accomplishment-based pedagogy to a moral, intellectual-based instruction that was more masculine in nature (emphasizing a balance between sensibility and reason).
Frequently, the mentor provides general comments and recommendations about love to his female pupil, who is entering into the marriage market, but his advice often turns out to be wrong or misplaced since it does not fit the actual situation. He is a good spiritual guide but a poor romantic advisor. I assert that the mentor figure’s usual lack of romantic sentiment and his pupil’s ability to surpass him in matters of the heart reveal a tendency to subvert male authority. Throughout this discussion, questions related to gender arise. Women’s desire for their own agency and control over both their minds and bodies underpin much of women’s eighteenth-century fiction. My dissertation explores these complex relationships between male mentors and their female pupils.
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Abella, Villar Pablo. "Patronazgo regio castellano y vida monástica femenina: morfogénesis arquitectónica y organización funcional del monasterio cisterciense de Santa María la Real de Las Huelgas de Burgos (ca. 1187-1350)." Doctoral thesis, Universitat de Girona, 2016. http://hdl.handle.net/10803/392161.
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La presente tesis doctoral aborda el estudio del monasterio de Santa María la Real de Las Huelgas de Burgos desde su fundación a finales del siglo XII hasta mediados del siglo XIV. Se estructura en tres ámbitos temáticos. En primer lugar se analiza la historia del cenobio, tomando en consideración el lugar que ocupa en la rama femenina de la orden cisterciense, el contexto político en el que se enmarca su nacimiento y su dependencia con respecto al poder regio castellano-leonés. En segundo lugar se procede al examen de la arquitectura del complejo monástico, con el objetivo de definir su proceso crono-constructivo, para lo cual se toman en cuenta sus relaciones con los contextos edilicios francés, castellano-leonés y andalusí. Finalmente, en tercer lugar, son estudiados los cometidos funcionales de las distintas estancias monásticas.This thesis is devoted to the study of the Cistercian Abbey of Las Huelgas de Burgos from its foundation at the end of the 12th century to the mid 14th century. The text is organised around three thematic axes. Firstly, we analyse the history of the abbey, focusing on its place within the feminine branch of the Cistercian order, the political context in which the abbey was born, and its dependence upon the Castilian-Leonese monarchy. Secondly, we present an examination of the architectural features of the monastery complex and its relationships with the French, Castilian-Leonese and Andalusian architectural contexts, with the aim of establishing the chronological frame of the abbey. Thirdly, we develop a research on the functional purposes of the monastic rooms of Las Huelgas Abbey.
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Hanson, Helen. "Painted women : framing portraits in film noir and the gothic woman's film of the 1940s." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364751.
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Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.
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This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.
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Peteet, Julia Clare. "Andalusia." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-143237/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Jack Boozer, committee chair; Shirlene Holmes, Marian Meyers, committee members. Electronic text (138 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 28-30).
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Galiné, Marine. "Les représentations de la femme et du féminin dans un corpus gothique irlandais du dix-neuvième siècle : approche générique et genrée." Thesis, Reims, 2019. http://www.theses.fr/2019REIML011.
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Ce travail s’attache à explorer les différentes façons dont le féminin est construit dans un ensemble de textes appartenant au « mode gothique irlandais » et publiés entre 1798 et 1889. Les œuvres retenues ont été sélectionnées selon des critères génériques précis ayant pour objectif la constitution d’un corpus dépassant le canon traditionnellement étudié. Ces critères, rassemblés sous trois axes, sont dérivés d’une approche croisée de la théorie des genres de Gérard Genette et de la rhétorique herméneutique proposée par Richard Haslam. D’une part, il s’agit d’observer les différentes représentations des personnages féminins dans une perspective esthétique articulée autour des thèmes et personnages rencontrés dans ces récits. Dans un second temps, les processus de féminisation sont étudiés en tant qu’éléments narratifs indispensables à la composition des textes et à la création d’effets d’horreur et de terreur. Enfin, se pose la question de la présence d’une écriture dite « féminine », ou du féminin, et ce au niveau linguistique des œuvres. Pouvons-nous envisager le féminin comme élément constitutif du gothique irlandais au dix-neuvième siècle et si oui, de quelles manières ? Bien que cette étude privilégie les approches génériques et genrées, elle ne saurait négliger l’apport de théories psychanalytiques ainsi que de la perspective historiciste adoptée par la plupart des critiques du gothique irlandais. Grâce à l’étude croisée d’œuvres canoniques et de textes moins connus, écrits par des auteurs protestants comme catholiques, hommes et femmes, ce travail a pour objectif de mettre en lumière la spécificité du mode gothique irlandais dans le traitement du fémininThis work aims to explore the various ways in which femininity is constructed in a corpus of texts belonging to the ‘Irish gothic mode’ and published between 1798 and 1889. The literary works under study have been selected according to specific generic criteria with a view to constitute a corpus which would challenge the canon. Those criteria have been organised alongside three axes and take their cue from both Gérard Genette’s genre theory and Richard Haslam’s rhetorical hermeneutics. First, this work will focus on the representations of female characters in terms of thematic characterisation. Next, it will analyse the various processes of feminisation and the ways they participate in the composition of the narratives and in the creation of terror and horror effects. Finally, the question of « female writing », or « écriture féminine » will be addressed, and its potential linguistic imprint in the texts will be discussed. Can we pose the feminine as a constitutive element of nineteenth-century Irish gothic fiction? Even though a genre and gender approach underlies our analytical process, this work will also rely on psychoanalytical theoretical elements and on the new historicism standpoint which most Irish gothic scholars favour in their analyses. As our study conflates both canonical and lesser known texts, Protestant and Catholic narratives, but also female and male writers, it makes a point of highlighting the specificity of the Irish gothic mode in its treatment of the feminine
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Cannon, Mercy. "Embodying Nature: Medicine, Law, and the Female Gothic." 2005. http://trace.tennessee.edu/utk_graddiss/671.
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In this study, I analyze eight novels from the tumultuous decade ofthe 1790s: Ann Radcliffe's The Mysteries of Udolpho (1793) and The Italian (1798); Eliza Parsons' The Castle of Wolfenbach (1793) and Eleanor Sleath's The Orphan of the Rhine (1798); Regina Maria Roche's The Children of the Abbey (1796) and Clermont (1798); Eliza Fenwick's Secresy; or, the Ruin on the Rock (1796) and Mary Wollstonecraft's The Wrongs of Woman, or Maria (1798). The novels I examine are unified not only by the decade in which they were written, but also by the discursive fields that shape their presentation of the female body. My analysis, influenced by the poststructuralist work of Michel Foucault and by feminist studies, focuses on specific cultural fields that enable me to approach the female Gothic in its rich historical dimensions.
I illustrate that eighteenth-century medicine and law exerted considerable influence over the ways in which women perceived themselves, their bodies, their choices, their virtue. Because neither medical nor legal discourse is seamless, the Gothic novelists I examine are able to respond with their own versions of female physicality as they attempt to imagine women's agency. Exposing the ideological work of such dominant discourses, the novels in this study offer representations ofthe female subject that break down binaries of mind and body, as well as reason and emotion. Since the heroines reflect an embodied self that might participate in self-determination, I focus on particular medical and legal attempts to inscribe the female body. In turn, I demonstrate that the heroines often deploy a rhetoric ofjustice that empowers their struggles to overcome physical determinism.
I argue that female Gothic novelists were intimately aware that certain popular medical ideas created barriers between them and their claims to natural and legal rights. It is my claim that as medicine studies, explains, defines, cures, and confines the body, it shapes women's relationship to the legal discourse that offers or denies them political identity. In turn, I assert that the novelists' creation ofa recognizable female protagonist indicates their attempts to imagine a subject that can maintain physical, emotional, and moral integrity in the face of injustice. In the interstices between body and emotion, public and private, justice and love, these women construct the Gothic female self.
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Davids, Courtney Laurey. "Female Identity and Landscape in Ann Radcliffeâs Gothic Novels." Thesis, 2008. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_6931_1266275098.
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The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe&rsquo
s late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.
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Huang, Yi-chieh, and 黃怡潔. "Refashioning Female Selfhood: Parodic Gothic in Margaret Atwood's Lady Oracle." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/3c5wqu.
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碩士國立交通大學
外國文學與語言學研究所
96
Margaret Atwood’s Lady Oracle, a story centering upon Joan Foster, a Gothic writer of Romance, presents a parodic vision of the Gothic conventions. In this novel, Atwood revamps and probes the Gothic conventions to reflect how people, particularly women, are shaped by them and to look into the im/possibility of constructing female subjectivities within a patriarchal ideology. There are two layers of Atwood’s parody of the Gothic—the parody of Joan’s Gothic works and that of her real life. In “reality,” as a Gothic reader, Joan’s dependence on the Gothic fantasy makes her a Gothic heroine on the run. Such a comedic vision becomes a part of Atwood’s parody of the fixed feminine images in the Gothic conventions. On the other hand, Joan’s problems about her relationship with her mother and her various identities will not be solved until she rethinks and rewrites her own Gothic tales. As a Gothic writer, Joan goes through three phases of Gothic creation in which she finally finds the exit from the Gothic maze. She releases herself from the Gothic conventions by parodying her own Gothic romances and her self-reflecting parody also bestows meanings upon her multiple selves. Through the postmodernist reading, the nature of self-reflexivity is clearly revealed in Atwood’s parodic Gothic and it is also the self-reflexivity that endows Joan’s multiple selves with the power to free herself from the confinement of patriarchy. Hence, in Lady Oracle, Atwood parodies Joan’s life/ reality and her Gothic writing/fantasy to undermine the seemingly realistic conventions of the Gothic from within. She successfully examines how gender is constructed in the genre, and how these constructions can be challenged and changed.
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Boudreau, Brigitte. "Daughters of Lilith : transgressive femininity in Bram Stoker’s late gothic fiction." Thèse, 2014. http://hdl.handle.net/1866/11123.
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Jager, Michelle Caroline. "Irrelevant bodies." Thesis, 2018. http://hdl.handle.net/2440/113391.
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Vol. 1 Irrelevant bodies : Novel -- v. 2 Violent, antagonistic, morally ambiguous: anti-heroines and the female gothic : ExegesisThis creative writing thesis comprises a creative work, the novel ‘Irrelevant Bodies’, and its accompanying exegesis ‘Violent, Antagonistic, Morally Ambiguous: Anti-heroines and the Female Gothic.’ Both the novel and the exegesis are concerned with female protagonists that challenge the traditional image of the Gothic heroine as either a passive, virtuous woman or an heroic figure by interrogating their use of violence, their callousness and morally ambiguous motivations. ‘Irrelevant Bodies’ is a Female Gothic novel that explores the impact of a traumatic event and its repercussions on the identity and behaviour of the protagonist, Vera. It is concerned with examining and disrupting narrative expectations connected with gender, traumatic victimisation and self-harm. Vera’s disturbed and disturbing ‘coming of age’ narrative is interwoven with the core or linear narrative on which the novel hinges, that of Vera and her partner Oswald’s holiday at the farmhouse of her childhood vacations. The sections depicting the past reveal that her early life has been punctuated by a personally experienced trauma and the loss of a friend through tragic circumstances. The novel explores the protagonist’s progression from victim to villain over the course of the narrative. The exegesis analyses specific works of Female Gothic fiction that centre on a morally ambiguous female anti-heroine: Shirley Jackson’s We Have Always Lived in the Castle (1962); Lionel Shriver’s We Need to Talk about Kevin (2003); and my own creative work, ‘Irrelevant Bodies’, an original novel in the Female Gothic subgenre. As one of the key tenets of the mode, the Gothic heroine has shared a long and fraught relationship with the genre. Whether the text is male- or female-centred, the expectation in conventional texts is that the narrative will, in some sense, revolve around her suffering. The Female Gothic has been identified as a subgenre and critical area of study that devotes itself to the trials, torments and anxieties of the Gothic heroine. As such, one of the main critical points raised in relation to these narratives is that the subgenre promotes ‘victim feminism’ and vilifies men particularly when narratives revolve around a blameless, victimised heroine being threatened by a villainous male figure. Alternatively, works such as Charlotte Dacre’s Zofloya; or The Moor (1806) and Gillian Flynn’s Gone Girl (2012) have been accused of being ‘more “misogynist” than feminist’ due to their villainous femme fatales (Davison, ‘Knickers in a Twist’ 34). Following on from Carol Margaret Davison’s contestation that the Female Gothic should be determined by ‘the sex of the protagonist’ and her reading of Zofloya; or The Moor as a work of Female Gothic (‘Knickers in a Twist’ 34), the exegesis engages in close readings of each of the novels interrogating the choices made, motivations, feelings or actions exhibited by the ‘heroine’ of the narrative. It argues that the protagonists in these texts are corruptions of the traditional Gothic heroine and her female foil, the femme fatale, unsettling boundaries between ‘good’ and ‘bad’, victim and villain, ‘us’ and ‘them’. Through a close reading of the morally ambiguous figure of the anti-heroine the exegesis interrogates the fluidity and tenuous nature of such classifications as hero and heroine, victim and villain, within the contextualising and shifting nature of power.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2018
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Perng, Shu-chuan, and 彭淑娟. "Flight from the Red-room: Jane Eyre as a Revision of the Female Gothic." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/74188316284776201179.
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Smith, Julie Lynne. "Fashioning the gothic female body : the representation of women in three of Tim Burton's films." Diss., 2016. http://hdl.handle.net/10500/22190.
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This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other.English Studies
M.A. (English Studies)
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"Norse Romanticism: Subversive Female Voices in British Invocations of Nordic Yore." Master's thesis, 2013. http://hdl.handle.net/2286/R.I.17774.
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abstract: The mid-eighteenth century publication of national British folk collections like James MacPherson's Works of Ossian and Thomas Percy's Reliques of Ancient English Poetry, placed a newfound interest in the ancient literature associated with Northern/Gothic heritage. This shift from the classical past created a non-classical interest in the barbarism of Old Norse society, which appeared to closely resemble the Anglo-Saxons. In addition to this growing interest, Edmund Burke's seminal treatise, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, provided a newfound aesthetic interest in objects of terror. The barbaric obscurity and exoticism associated with the Norse culture provided the perfect figures to explore a Gothic heritage while invoking the terror of the sublime. This interest accounted for a variety of works published with Gothic themes and elements that included Old Norse pagan figures. Though a few scholars have attempted to shed light on this sub-field of Romanticism, it continues to lack critical attention, which inhibits a more holistic understanding of Romanticism. I argue that "Norse Romanticism" is a legitimate sub-field of Romanticism, made apparent by the number of primary works available from the age, and I synthesize the major works done thus far in creating a foundation for this field. I also argue that one of the tenets of Norse Romanticism is the newfound appreciation of the "Norse Woman" as a democratized figure, thus opening up a subversive space for dialogue in women's writing using the Gothic aesthetic. To illustrate this, I provide analysis of three Gothic poems written by women writers: Anna Seward's "Herva at the Tomb of Argantyr," Anne Bannerman's "The Nun," and Ann Radcliffe's "Salisbury Plains. Stonehenge." In addition, I supplement Robert Miles' theoretical reading of the Gothic with three philosophical essays on the empowerment of the imagination through terror writing in Anna Letitia Aikin (Barbauld) and John Aikin's "On the Pleasure Derived from Objects of Terror" and "On Romances" as well as Ann Radcliffe's "On the Supernatural in Poetry."Dissertation/Thesis
M.A. English 2013
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Hsu, Sophia Hwei-hsin, and 許蕙薪. "Nightmare Comes True — Social Confinement in Female Gothic Works: The Italian by Ann Radcliffe and The Butcher’s Wife by Ang Li." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/15048477709324854693.
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碩士輔仁大學
英國語文學系
92
This thesis aims to explore the social expectation and patriarchal confinement imposed upon women from the texts of Ann Radcliffe’s The Italian and Ang Li’s The Butcher’s Wife. In the introduction, the traditions of English Gothic and Chinese Gothic are discussed. In Chapter One, the gothic settings in The Italian and The Butcher’s Wife are examined to present the invisible imprisonment women experience in patriarchal society. In the second chapter, with the discussion of gothic relationship between men and women, the issue of how men manipulate women with the powers of sex, hunger, death, and economics will thus be explored. The gothic relationship between women will be the main focus of Chapter Three, in which the ideas of how absent mothers influence gothic heroines, and how gothic heroines are mistreated and are further excluded from the mainstream community by gothic mother substitutes will be analyzed. The concept that women are deeply confined and imprisoned within patriarchal ideology despite their efforts to strive for independence and freedom is not only the concern expressed by Ann Radcliffe and Ang Li, but is also the conclusion of this thesis.
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Musgrove, Kristie Leigh. "Lilith rising American gothic fiction and the evolution of the female hero in Sarah Wood's Julia and the illuminated baron, E.D.E.N. Southworth's The hidden hand, and Joss Whedon's Buffy The vampire slayer /." 2008. http://hdl.handle.net/10106/1096.
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Lopes, Elisabete Cristina Simões. "Desmontando narrativas e corpos : uma reflexão sobre o corpo no gótico feminino na obra poética de Sylvia Plath e Anne Sexton, e na obra fotográfica de Francesca Woodman e Cindy Sherman." Doctoral thesis, 2012. http://hdl.handle.net/10400.2/2372.
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Tese de Doutoramento em Literatura na especialidade de Literatura Norte-Americana apresentada à Universidade AbertaO objectivo desta investigação é o de examinar o modo como Sylvia Plath, Anne Sexton, Francesca Woodman e Cindy Sherman exploraram a representação do corpo da mulher, à luz do gótico, mais especificamente, dentro do enquadramento do gótico feminino. Consequentemente, a obra poética de Sylvia Plath e de Anne Sexton, tal como a obra fotográfica de Francesca Woodman e Cindy Sherman, são exploradas dentro das várias vertentes do gótico: feminino, materno, paterno, doméstico e marital. Elementos tradicionais do gótico, tais como as ruínas, os fantasmas, os monstros, o dopplegänger, o anjo ou a “madwoman” do período vitoriano, conjugam-se com elementos de carácter surrealista (os peixes, as luvas, os espelhos, os cadáveres esquisitos), de forma a ilustrar o modo como o corpo feminino estabelece um diálogo com a geografia do espaço. Neste contexto, é igualmente importante analisar de que forma essas mesmas representações comportam um pendor feminista e determinar como operam enquanto resposta e revisão relativamente ao paradigma patriarcal. No âmbito deste estudo, conceitos operacionais intrinsecamente ligados ao estudo do gótico, tais como o grotesco, o abjecto ou a estranheza, são convocados com o intuito de enriquecer esta análise, no seio da qual o corpo feminino se encontra em permanente flirt com a presença da morte.
This research aims at examining the way Sylvia Plath, Anne Sexton, Francesca Woodman and Cindy Sherman have carried out female’s body representation, in the light of the gothic, specifically within the female gothic setting. Therefore, both Sylvia Plath’s and Anne Sexton’s poetic oeuvre and Francesca Woodman’s and Cindy Sherman’s photography are explored within the various gothic types: female gothic, maternal gothic, paternal gothic, domestic gothic and marital gothic. In this analysis, traditional elements of the gothic, such as ruins, ghosts, monsters, dopplegängers, the angel and the madwoman of the Victorian epoch, combine with surrealist imagery (fishes, gloves, mirrors, cadavres exquis) in order to convey the ways in which the female body engages in a dialogue with the geography of space. In this context, it is important likewise to analyse the feminist essence inherent in those representations, and unveil to what extent they constitute an answer and revision regarding patriarchy. In this research, we resort to theoretical concepts intimately linked to the gothic genre, such as the grotesque, the abject and the uncanny, so as to illustrate a female body which appears constantly flirting with death.
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GALVANI, CHRISTIANE MESCH. "A FEMALE PERSPECTIVE ON THE MYSTICAL EXPERIENCE: MECHTHILD VON MAGDEBURG'S "EIN VLIESSENDES LIEHT DER GOTHEIT" IN A COMPLETE ENGLISH TRANSLATION, WITH ANNOTATIONS AND INTRODUCTION." Thesis, 1987. http://hdl.handle.net/1911/13218.
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This is a translation of the only complete manuscript of Mechthild von Magdeburg's work, which was discovered in 1861 in Einsiedeln by Carl Greith and transcribed and published by P. Gall Morel in 1869. Mechthild (1212-1298) dictated Books I to VI to her friend and confessor, Heinrich von Halle, who rearranged the sequence of the chapters and translated them into Latin, entitling the work Lux Divinitas in Corda Veritatis. The original Low German version of Books I to VII was translated into High German by Heinrich von Noerdlingen in 1344. Notwithstanding difficulties due to inconsistencies of orthography, ambiguities, illogical use of the negative and confusing diacritical marks made by the editor, this translation remains as faithful in both content and format to the text as possible. Lyrical passages, however, were translated into prose so as not to sacrifice Mechthild's meaning to the pursuit of assonance.