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Journal articles on the topic 'Gothic language Writing, Gothic'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Han, Bing, and Mo Guo. "Gothic Writing Technique and Yin-Yang Theory in The Fall of the House of Usher." Journal of Language Teaching and Research 11, no. 2 (2020): 288. http://dx.doi.org/10.17507/jltr.1102.18.

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In both theoretical and practical senses, Gothic writing techniques and Yin-Yang theory share many similarities. To some extent, Gothic writing techniques can be explained by Yin-Yang theory and their application in Gothic fictions can be transferred to corresponding regulations in Yin-Yang theory. This paper mainly looks into the similarities and dissimilarities of them, specifically in Edgar Allen Poe’s The Fall of the House of Usher. This paper studies this two terms from a philosophical perspective.

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2

Aspin, Philip. "‘Our Ancient Architecture’: Contesting Cathedrals in Late Georgian England." Architectural History 54 (2011): 213–32. http://dx.doi.org/10.1017/s0066622x00004056.

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Recent research has transformed our understanding of the late eighteenth and early nineteenth centuries as a phase in the wider process of the Gothic Revival. While historical writing on the Gothic Revival had previously tended to see the significance of the period between 1790 and 1820 largely in terms of its academic contribution to the later development of Victorian Gothic Revival architecture, emphasizing especially the role of antiquarian scholarship in providing a basis of archaeological accuracy upon which subsequent architects could draw, more diverse angles have been opened up within the last couple of decades. Research by Simon Bradley, Chris Brooks and others has illuminated debates on the origins of the Gothic style itself and the patriotic language underpinning them, and has added greatly to our understanding of the associations between Gothic and ‘Englishness’. Rosemary Hill has investigated the ambiguous and problematic religious connotations of Gothic. Simon Bradley has authoritatively anatomized the increasingly enthusiastic take-up of Gothic by the Anglican Church in the first few decades of the nineteenth century, and has uncovered a rich prehistory of ecclesiological principles before the foundation of the Camden Society and all its powerfully misleading retrospective propaganda.

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Xu, Lingling. "An Analysis of The Falls from the Perspective of Gothic." Theory and Practice in Language Studies 6, no. 8 (2016): 1602. http://dx.doi.org/10.17507/tpls.0608.12.

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This research studied the Gothic traditions in The Falls from its themes, languages and mysterious setting. Though Joyce Carol Oates may refuse to be characterized as a Gothic writer, more often than not she is regarded as such for the all-encompassing violence and deaths in her works. She treats the Gothic traditions as an appropriate way to obtain her writing objectives. Instead of sticking to the old Gothic conventions rigidly, she revises it in creative and ingenious ways. This research also focuses on its mysterious setting. In traditional Gothic fictions, the scenes are often set in gloomy places like the dark subterranean castles, the outlandish and desolate houses, and the confined decaying abbey. However, the Gothic novels develop with times and acquire new features. In The Falls, Oates places her story against the modern scenic spot Niagara Falls, which is the symbol of supernatural power and seduces people to do many unimaginably queer things. To conclude, The Falls has a kinship with the Gothic traditions in terms of its themes, languages and settings. With this Gothic tradition in The Falls, Oates successfully arouses readers’ interest and exposes the darkness of the society.

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4

Kramnick, Jonathan Brody. "The Making of the English Canon." PMLA/Publications of the Modern Language Association of America 112, no. 5 (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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5

Galiné, Marine. "The 1798 Rebellion: Gender Tensions and Femininity in the Irish Gothic." Review of Irish Studies in Europe 2, no. 2 (2018): 105–18. http://dx.doi.org/10.32803/rise.v2i2.1897.

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The year 2018 marks the 220th anniversary of the Irish rebellion of 1798. As Susan B. Egenolf points out, this short-lived but devastating conflict between Irish insurgents and Loyalist soldiers was felt as an attack on domesticity, as rebels and loyalists alike 'invade[d] private homes'. Several scholars have already discussed the (re)writing of such a traumatic event in Protestant women's narratives, shedding light on how these women filtered their emotions with the languages of chivalry, sensibility, and the gothic. Indeed, the gothic is generally seen as a polymorphous prism through which one can apprehend anxieties, tensions and violence. This paper seeks to confront the dynamics of genre and gender through the depiction of violence (be it domestic or national) in Irish Gothic texts using the 1798 rebellion as a contextual backdrop. In Maturin's The Milesian Chief (1812) and Mrs Kelly's The Matron of Erin (1816), the (Protestant) female gothic heroine exposes her body to private and public religious and political violence.

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6

Čapaitė, Rūta. "Boguslavo Radvilos autografas XVII a. lotyniškojo kursyvo kontekste." Lietuvos istorijos metraštis 2020/2 (December 2, 2020): 5–40. http://dx.doi.org/10.33918/25386549-202002001.

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THE AUTOGRAPH OF BOGUSLAVAS RADVILA IN THE CONTEXT OF THE 17TH-CENTURY ROMAN CURSIVE The article dwells on the autograph of Boguslavas Radvila (Bogusław Radziwiłł) (1620–1669). The earliest autograph of the duke in the analysed material is detected in two letters in the Polish language dating back to 1622, and one letter in the same language dating back to 1623, written in his name by an adult to Kristupas II Radvila (Krzysztof Radziwiłł). The assumption is that the validation ręką swą in the letters of 1622 and the subscription, signature and validation in the letter of 1623 were made by the young duke while his hand was being held by an adult. The slightly different ductus of Boguslavas’ ‘autograph’, as observed in the letters, suggests that this might have been two different adults. It still remains unclear whether Boguslavas, who grew up in his mother’s German household and only spoke German, was taught to write in the German Gothic Cursive. While in the custody of his uncle Kristupas II Radvila, from 1629 to 1633, Boguslavas Radvila was taught to write, and used four different version of Italian Humanist Bastard. Based on the chronology, these versions are conditionally referred to as the first, the second, the third and the fourth. Letters in Polish to his uncle dating from 1629 and 1630 were written in the first and second versions. Letters to his uncle in Latin dating from 1630–1633 were written or signed (if they were written by somebody else) in the third and fourth versions. For a child’s hand, most letters are written calligraphically. The abundance of decorative elements suggests that Boguslavas was increasingly in control of the quill, and that he had talent. In addition, it points to the fact that when teaching a nobleman to write, the focus was on calligraphy. It still remains unclear why the letters in Latin were written in different versions of Humanist Bastard to those in Polish. The cautious assumption can be made that this was due to the preference of the duke’s teachers for those particular versions of testeggiata cursive. Consistent changes in Radvila’s autograph from a child’s to an adult’s hand could not be traced. Undoubtedly, the autograph was influenced by his studies between 1637 and 1648, and his visits to countries (Germany, the Netherlands, France and England) where the national script was Gothic Cursive, though Italian Humanist Bastard and French Humanist Bastard were also used. By 1641, the duke’s hand had already changed. The autograph was half-cursive, and included Gothic forms of d and z which had not been used in childhood. By 1645, Boguslavas Radvila’s hand had been fully trained, and the autograph had fully formed in the shape of cursive ductus. The choice of cursive was subject to the language of the text. Accuracy when writing was also an important factor. Based on the nature of the cursive used, four versions of the nobleman’s autograph can be distinguished: a Humanistic, a Mixed one, and two Gothic, one German Gothic and the other French Gothic. Texts in Polish and Latin (insertions in the text) were written either in Humanistic or in Mixed Cursive. Italian Humanistic Bastard served as the basis for the Humanistic autograph. However, quite a few of its characteristic features had paled, had been modified, or substituted with elements of French Humanistic Bastard, Gothic or Gothicised characters. The more accurate the duke was, the more elements of Italian Humanistic Bastard could be detected in his autograph. Occasionally, some features of French Humanistic Bastard can be identified (a letter or two). When writing in a fast and casual manner, the number of Gothic and Gothicised elements increased, which made the cursive Mixed. Texts in French were written in Gothic French Cursive. When the duke was not accurate enough, the number of Humanistic elements in his French Gothic autograph increased. This was Mixed Cursive with elements of French Gothic Cursive. Texts in German were written in German Gothic Cursive, under the influence of Humanistic Cursive. This is obvious in the ductus and occasional Humanistic form of the letters. Boguslavas Radvila’s autograph was subject to change: it either became neater or more casual. The calligraphic, or close to calligraphy, and casual, at times almost illegible, version of his cursive can be distinguished. Differences in the autograph can be explained by the duke’s attitude when writing, and by his physical well-being. Boguslavas Radvila’s autograph is evidence of the two types of Roman Cursive that were used at that time. At the same time, the duke joins the ranks of those who mastered two different cursives.

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Sawczuk, Tomasz. "Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics." Text Matters, no. 10 (November 24, 2020): 223–35. http://dx.doi.org/10.18778/2083-2931.10.14.

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An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre. The narrative frame offered by purported textual artifacts has always aligned well with the genre’s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre. The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk Delabastita’s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking.

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Lasa Álvarez, Begoña. "The insecure and the irrational: the southern european other in "The tradition of the castle; or, Scenes in the Emerald Isle" (1824) by Regina Maria Roche." Journal of English Studies 12 (December 20, 2014): 71. http://dx.doi.org/10.18172/jes.2824.

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A section of "The tradition of the Castle; or Scenes in the Emerald Isle" (1824), a novel by Regina Maria Roche, is set in the European Continent, which enacts a cultural confrontation between Britain and the Southern Other. Additionally, the South of Europe and particularly Spain is employed as a displaced scenario where the British could project their anxieties and accordingly face the conflicts of their own society. By using popular fiction and popular imagery, such as those provided by travel writing and the Gothic, Roche warns her readers about insecurity and irrationality beyond their borders – namely, war and political and religious intolerance – and about mistakes they should not make in order to reinforce their national identity and maintain their status quo.

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9

Petersen, Christian T. "Bibliographia Gotica: A Bibliography of Writings on the Gothic Language. Fifth Supplement: Corrections and Additions to the Middle of the Nineties." Mediaeval Studies 59 (January 1997): 301–56. http://dx.doi.org/10.1484/j.ms.2.306448.

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10

Arseguet Crisol, Sarah, and María Luisa Renau. "Practicing your English writing skills in a community learning through an Edublog." EDMETIC 4, no. 1 (2015): 9. http://dx.doi.org/10.21071/edmetic.v4i1.2897.

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<p style="margin: 0cm 0cm 0pt;"><span style="font-family: 'Century Gothic',sans-serif; font-size: 11pt; mso-ansi-language: EN-US;" lang="EN-US">In this research, we combine digital competence, in this case the use of a blog and cultural competence in order to practice the writing skills. Through the blog we want to challenge the traditional teaching methods as Vygotsky’ social development theory and we propose a change of roles. Students do not write anymore only for the teacher, but also for their classmates and even for anyone who reads the blog. In addition, not only the teacher gives feedback to them as well as their classmates. Results show that students enjoyed this change of roles and find it interesting and motivating. This research is divided in an introduction from social interaction to Edublogs to understand better what it means. In the method section, we explain the didactic unit and the blog. The results and discussion indicate that students prefer not only working with the blog than with traditional materials, but using the blog to practice the writing skills motivates students to learn. Finally, we show the efficacy of using the blog in the classroom to create a community of learning.</span></p>

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11

Hlavacska, András, and Fruzsina Krizsai. "Functions of the Diary in Bram Stoker’s "Dracula"." Język. Komunikacja. Informacja, no. 13 (May 12, 2019): 145–58. http://dx.doi.org/10.14746/jki.2018.13.10.

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Most papers analysing Bram Stoker’s Dracula concentrate on the Gothic tradition in which it is embedded, although another interesting feature of the novel is that it includes diary entries, logs, letters and other types of texts. Focusing on the complex issue of the novel’s genre, we use an interdisciplinary methodology based on Bakhtin’s theoretical work and the principles of functional pragmatics to highlight the importance of these text types, especially that of the diary, and to detect some of the special features of the genre. Diaries are not only texts produced in the scope of the narrative but they also function as a mental shelter, a moral obligation, and a weapon. We analyse metapragmatic reflections as signs of metapragmatic awareness belonging to the language act of writing or reading a diary. Finally, we underline the dynamic relation of the genre as an abstract category and as a concrete instance of that category in a text.

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Arseguet Crisol, Sarah. "Practicing your English writing skills in a community learning through an Edublog." EDMETIC 4, no. 1 (2015): 9. http://dx.doi.org/10.21071/edmetic.v4i1.2896.

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<p style="margin: 0cm 0cm 0pt;"> </p><p style="margin: 0cm 0cm 0pt;"> </p><p style="margin: 0cm 0cm 0pt;"><span style="font-family: 'Century Gothic',sans-serif; font-size: 11pt; mso-ansi-language: EN-US;" lang="EN-US">In this research, we combine digital competence, in this case the use of a blog and cultural competence in order to practice the writing skills. Through the blog we want to challenge the traditional teaching methods as Vygotsky’ social development theory and we propose a change of roles. Students do not write anymore only for the teacher, but also for their classmates and even for anyone who reads the blog. In addition, not only the teacher gives feedback to them as well as their classmates. Results show that students enjoyed this change of roles and find it interesting and motivating. This research is divided in an introduction from social interaction to Edublogs to understand better what it means. In the method section, we explain the didactic unit and the blog. The results and discussion indicate that students prefer not only working with the blog than with traditional materials, but using the blog to practice the writing skills motivates students to learn. Finally, we show the efficacy of using the blog in the classroom to create a community of learning.</span></p><p style="margin: 0cm 0cm 0pt;"> </p><p style="margin: 0cm 0cm 0pt;"> </p>

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13

Romero Ruiz, Mª Isabel. "Bodies that Fester in the Holds of the “Coffin Ships”: Postcolonial Neo-Victorianism, Vulnerability and Resistance in Joseph O’Connor’s Star of the Sea (2003)." Miscelánea: A Journal of English and American Studies 63 (June 30, 2021): 151–71. http://dx.doi.org/10.26754/ojs_misc/mj.20215877.

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The presence of Empire in the Victorian period and its aftermath has become a new trope in neo-Victorian studies, introducing a postcolonial approach to the re-writing of the Victorian past. This, combined with the metaphor of the sea as a symbol of British colonial and postcolonial maritime power, makes of Joseph O’Connor’s novel Star of the Sea a story of love, vulnerability and identity. Set in the winter of 1847, it tells the story of the voyage of a group of Irish refugees travelling to New York trying to escape from the Famine. The colonial history of Ireland and its long tradition of English dominance becomes the setting of the characters’ fight for survival. Parallels with today’s refugees can be established after Ireland’s transformation into an immigration country. Following Judith Butler’s and Sarah Bracke’s notions of vulnerability and resistance together with ideas about ‘the other’ in postcolonial neo-Victorianism, this article aims to analyse the role of Empire in the construction of an Irish identity associated with poverty and disease, together with its re-emergence and reconstruction through healing in a contemporary globalised scenario. For this purpose, I resort to Edward Said’s and Michael Hardt and Antonio Negri’s ideas about imperialism and new imperialism along with Elizabeth Ho’s concept of ‘the Neo-Victorian-at-sea’ and some critics’ approaches to postcolonial Gothic. My main contention throughout the text will be that vulnerability in resistance can foster healing.

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Flint, Kate. "Blood, Bodies, and The Lifted Veil." Nineteenth-Century Literature 51, no. 4 (1997): 455–73. http://dx.doi.org/10.2307/2933855.

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The Lifted Veil (1859) is a text concerned with the interplay between science and the imagination. It is informed by The Physiology of Common Life, the work that G. H. Lewes published in the same year, and in many ways is in a dialogue with this work, asking that if we could look into someone's mind with the same power that a physician can examine the body, would we choose to exercise this specular power? The essay shows how George Eliot employs some of the same language that Lewes uses in his scientific writing, especially in the context of the circulation of blood and the circulation of feeling. Blood is crucial to this novella, and its wider nineteenth-century implications are also raised. In particular, the blood transfusion scene in The Lifted Veil is shown not to be a piece of mere Gothic melodrama but to be rooted in contemporary debate about transfusion. Historical specificity is reinforced through showing that Meunier, the doctor, had an actual prototype in the figure of Brown-Séquard. Examining these aspects of the novella raises questions about gender and authority. It is argued that, despite the dialogue with Lewes's work that occurs in The Lifted Veil, George Eliot gives even greater priority than Lewes does to the role of the imagination and to the provocative nature of that which cannot be revealed by science.

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15

FELDMAN, JESSICA R. "““A Talent for the Disagreeable””: Elizabeth Stoddard Writes The Morgesons." Nineteenth-Century Literature 58, no. 2 (2003): 202–29. http://dx.doi.org/10.1525/ncl.2003.58.2.202.

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ABSTRACT Jessica R. Feldman, ““A Talent for the Disagreeable””: Elizabeth Stod-dard Writes The Morgesons (pp.202––229) Critics have tended to read Elizabeth Stoddard's bewildering first novel, The Morgesons (1862), as a Bildungsroman——anautobiographical portrait of the artist as a young woman in early-nineteenth-century New England——or as an instance of female Gothic, proto-regionalism, or sentimentalism. Such interpretations, often focusing on the narrative arc of Cassandra Morgeson's self-empowerment, tend to ignore the novel's less comforting messages along with its painful, mysteriously awkward, even pathological atmosphere. Aspects of the novel that cannot be restated simply as plot——the structures of its words and sentences, its tone, patterns of imagery, rat-a-tat dialogue——Stoddard has thrust into a prominence that we have not adequately studied. When we begin to explore these formal elements in relation to the artistic environment in which Stoddard wrote The Morgesons, we can see that the novel analogically tracks her troubling personality and her contemporary situation in New York City. She was, for better and for worse, a woman writing among the male ““Genteel Poets,”” a group that was itself quite conflicted and that both helped and hindered her. Moreover, finding a form sufficient to express that complex situation required her to experiment with prose in ways that look forward to high Modernist works of the early twentieth century. Only through an experimental novel of layered and fragmented tales, voiced in language that insists on its own materiality, could Stoddard find adequate self-expression.

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Richter, David, George E. Haggerty, and Kenneth W. Graham. "Gothic Fiction/Gothic Form." Modern Language Review 86, no. 1 (1991): 174. http://dx.doi.org/10.2307/3732119.

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17

Crochunis, Thomas. "Writing Gothic Theatrical Spaces." Gothic Studies 3, no. 2 (2001): 156–69. http://dx.doi.org/10.7227/gs.3.2.4.

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18

Snædal, Magnús. "Gothic." Studia Linguistica Universitatis Iagellonicae Cracoviensis 128, no. -1 (2011): 145–54. http://dx.doi.org/10.2478/v10148-011-0019-z.

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19

Mankhi, AZhar Hameed. "Rebellion against Patriarchy: The Employment of the Gothic tradition in Angela Carters' selected stories." لارك 1, no. 8 (2019): 43–54. http://dx.doi.org/10.31185/lark.vol1.iss8.921.

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The purpose of this paper is to closely analyze Angela Carter's(1940-1992) representations of femininity in selected examples of her writings with the aim of demonstrating her very special approach to the portrayal of women . It reflects on Carter‟s use of the Gothic and her relation to this literary mode It focuses on the use of the Gothic characters and themes in Carter's works to explore one of the main issues of the century: the role of women in society and the relationship between the sexes. It deals with the literary mode of the Gothic which has not lost its fascination over the centuries .The use of Gothicism characterizes her as a sophisticated writer, capable of mixing different literary devices to create an original and powerful kind of writing. She uses Gothic as a foil to reflect upon depiction of feminity . In this paper , I will therefore bring one important aspect of Carter's writing which has fascinated me most about her works: the female Gothic mode of her writing Gothic literature has fascinated readers of all ages, men and women alike. Interestingly, the Gothic as a literary mode is as "shadowy and nebulous" as the atmospheres it describes. For Botting ,"Gothic literature depicts feelings and characters in their extremes, thus alluding strongly to the reader's imagination and his or her emotions"1

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20

Bridgwater, Patrick. "Kleist and Gothic." Oxford German Studies 39, no. 1 (2010): 30–53. http://dx.doi.org/10.1179/007871910x502523.

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21

Wolfe, Brendan. "Greek Diminutives in Gothic." Transactions of the Philological Society 117, no. 2 (2019): 256–65. http://dx.doi.org/10.1111/1467-968x.12156.

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Noad, Benjamin E. "Gothic Truths in the Asylum." Gothic Studies 21, no. 2 (2019): 176–90. http://dx.doi.org/10.3366/gothic.2019.0021.

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This article suggests that Victorian Gothic prose fictions privilege the voices of madness, where, operating in the historical lunatic asylum, truth is encrypted. It begins by expanding upon the relevant background contexts of the nineteenth century, with focus upon the medicalisation of madness, and goes on to offer fresh critical interpretations of false confinement in two pinnacles of nineteenth-century Gothic fiction: the penny dreadful, The String of Pearls (1846–7), and Bram Stoker's Dracula (1897). The article argues that Gothic writing simultaneously registers and articulates the silence of a madness that has been perceived to threaten rational speech; Gothic subverts the view of the mental asylum as guarantor of truth by demonstrating that this functional site is, by contrast, the generator of falsehoods.

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23

Cook, Daniel. "Walter Scott's Late Gothic Stories." Gothic Studies 23, no. 1 (2021): 43–59. http://dx.doi.org/10.3366/gothic.2021.0077.

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While ‘Wandering Willie's Tale’, above all of Walter Scott's shorter fictions, has often been included in Gothic anthologies and period surveys, the apparently disposable pieces that appeared in The Keepsake for 1829, renegades from the novelist's failed Chronicles of the Canongate series, have received far less attention. Read in the unlikely context of a plush Christmas gift book, ‘My Aunt Margaret's Mirror’ and ‘The Tapestried Chamber’ repay an audience familiar with the conventions of a supernatural short story. But to keep readers interested, The Author of Waverley, writing at the end of a long and celebrated career in fiction, would need to employ some new gimmicks. As we shall see, the late stories are not literary cast-offs but recastings finely attuned to a bespoke word-and-image forum.

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Gordon, Lynn D., and Helen L. Horowitz. "Female Gothic: Writing the History of Women's Colleges." American Quarterly 37, no. 2 (1985): 299. http://dx.doi.org/10.2307/2712904.

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Castricano, Jodey. "Cryptomimesis: The Gothic and Jacques Derrida's Ghost Writing." Gothic Studies 2, no. 1 (2000): 8–22. http://dx.doi.org/10.7227/gs.2.1.2.

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Casaretto, Antje. "Evidence for Language Contact in Gothic." NOWELE Volume 58/59 (June 2010) 58-59 (June 1, 2010): 217–37. http://dx.doi.org/10.1075/nowele.58-59.05cas.

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27

Coleman, Robert. "EXPONENTS OF FUTURITY IN GOTHIC." Transactions of the Philological Society 94, no. 1 (1996): 1–29. http://dx.doi.org/10.1111/j.1467-968x.1996.tb01175.x.

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Gadpaille, Michelle. "Emigration Gothic: A Scotswoman’s Contribution to the New World." ELOPE: English Language Overseas Perspectives and Enquiries 3, no. 1-2 (2006): 169–82. http://dx.doi.org/10.4312/elope.3.1-2.169-182.

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Ellen Ross (1816?–1892) emigrated from Scotland to Montreal at mid-century and wrote two Gothic novels, in one of which – Violet Keith, An Autobiography (1868) – she used the Canadian setting as a fantastic Gothic locale in which to explore areas of social and sexual transgression. Drawing on earlier traditions of European Gothic, including Sir Walter Scott’s mythologized Scottish landscape, and on an emerging North American genre of convent exposes, Ross’s writing accommodates female protest, distances it from reality and allows its dissipation in conventional denouements. If female Gothic can be read as an analogue of realistic women’s problems, then perhaps this analogy can be extended to encompass emigration and immigrant life. The paper analyzes Ross’s motifs of loss, imprisonment, solitude, surveillance and deliverance and considers the possibility that Gothic motifs in her work both conceal and express features of the immigrant’s psychic battle with the transition to the New World.

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29

Simpkins, Scott. "Tricksterism in the Gothic Novel." American Journal of Semiotics 14, no. 1 (1997): 11–23. http://dx.doi.org/10.5840/ajs1998141/43.

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30

Leppänen, Ville. "Gothic evidence for the pronunciation of Greek in the fourth century AD." Journal of Historical Linguistics 6, no. 1 (2016): 93–113. http://dx.doi.org/10.1075/jhl.6.1.04lep.

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Abstract The Gothic Bible offers valuable secondary evidence for the pronunciation of Greek in the fourth century AD. However, inferences based on such data may result in a vicious circle, as the interpretation of Gothic is, to a great extent, dependent on the historical details of contemporary Greek. I show that a circular argument can be avoided by using a novel method, which is based on the comparison of transcription correspondences of Greek loan words and biblical names occurring in the Greek original and the Gothic version. I test the method by applying it to three example cases. The first concerns the aspirated stops φ, θ, χ: Gothic evidence confirms the fricativization of these stops. The second case concerns the potential fricativization of voiced stops β, δ, γ: the results are inconclusive, which is an important finding, since this shows that Gothic cannot be used as evidence for the fricativization of these stops. The third case concerns front vowels: Gothic evidence confirms the coalescence of αι and ε on the one hand, and ει and ῑ on the other, while it also indicates that η was not (yet) pronounced as [iː] in the fourth century AD.

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Fertig, David. "Null Subjects in Gothic." American Journal of Germanic Linguistics and Literatures 12, no. 1 (2000): 3–21. http://dx.doi.org/10.1017/s1040820700002778.

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Several kinds of systematic deviations from the Greek original, including simple insertions and omissions of subject pronouns and transformations of nonfinite or impersonal Greek constructions into personal finite clauses, provide evidence concerning the distribution of null and overt referential subject pronouns in Gothic. While the evidence leaves no doubt that Gothic was a null-subject language, it also reveals a tendency, not found in Ancient Greek, toward the use of overt subjects for nontopic antecedents. This Gothic pattern is reminiscent of what a number of researchers have found recently in some other null-subject languages such as Italian, but Gothic appears to occupy an intermediate position between Ancient Greek and Italian.*

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Pagliarulo, Giuseppe. "On the Etymology of Gothic Alew." Journal of Germanic Linguistics 31, no. 2 (2019): 201–12. http://dx.doi.org/10.1017/s1470542718000132.

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Gothic alew ‘oil’ is ultimately derived from Latin oleum. Its phonological features, however, seem hardly reconcilable with those of the Latin word. This has prompted scholars to postulate that the Latin word was not borrowed directly into Gothic but rather via a third language: continental Celtic, Illyrian or Raetic. This article examines the weaknesses of these theories and proposes that the unexpected features of the Gothic item may be explained in terms of proper Gothic or Latin developments, making direct derivation of alew from oleum the most plausible and parsimonious hypothesis.

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Taylor, Gary. "Shakespeare’s Early Gothic Hamlet." Critical Survey 31, no. 1-2 (2019): 4–25. http://dx.doi.org/10.3167/cs.2019.31010202.

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This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).

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Ratkus, Artūras. "THE GREEK SOURCESOF THE GOTHIC BIBLE TRANSLATION." Vertimo studijos 2, no. 2 (2017): 37. http://dx.doi.org/10.15388/vertstud.2009.2.10602.

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Almost all of what we know about the structure and properties of Gothic comes from the Gothic translation of the New Testament from Greek. No analysis of Gothic syntax is therefore feasible without reference to the Greek original. This is problematic, however, as the autograph that was used in translating the Bible into Gothic does not exist, and the choice of the Greek edition of the New Testament for comparative study is a matter of debate. The article argues that, in spite of the general structural affinity of the Gothic text to the Greek, the numerous observed deviations from the Greek represent authentic properties of Gothic—it has been argued in the literature, based on such deviations, that Gothic is an SOV language. A comparison of the Gothic Bible and different versions of the Greek New Testament gives a taxonomy of structural and linguistic differences. Based on this, I argue that the correct version of the Greek Bible to use when analysing the structural properties of Gothic is the Byzantine text form, represented by the Majority Text of the New Testament.

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Arong, Marie Rose B. "Nick Joaquin’s Cándido’s Apocalypse: Re-imagining the Gothic in a Postcolonial Philippines." Text Matters, no. 6 (November 23, 2016): 114–26. http://dx.doi.org/10.1515/texmat-2016-0007.

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Nick Joaquin, one of the Philippines’ pillars of literature in English, is regrettably known locally for his nostalgic take on the Hispanic aspect of Philippine culture. While Joaquin did spend a great deal of time creatively exploring the Philippines’ Hispanic past, he certainly did not do so simply because of nostalgia. As recent studies have shown, Joaquin’s classic techniques that often echo the Hispanic influence on Philippine culture may also be considered as a form of resistance against both the American neocolonial influence and the nativist brand of nationalism in the 1950s and 1960s. Despite the emergence of Gothic criticism in postcolonial writing, Joaquin’s works have rarely received the attention they deserve in this critical area. In this context, this paper explores the idea of the Gothic in Joaquin’s writing and how it relates to Joaquin being the “most original voice in postcolonial Philippine writing.” In 1972, the University of Queensland Press featured Joaquin’s works in its Asian and Pacific writing series. This “new” collection, Tropical Gothic (1972), contained his significant early works published in Prose and Poems (1952) plus his novellas. This collection’s title highlights a specific aspect of Joaquin’s writing, that of his propensity to use Gothic tropes such as the blending of the real and the fantastic, or the tragic and the comic, as shown in most of the stories in the collection. In particular, I examine how his novella (Cándido’s Apocalypse) interrogates the neurosis of the nation—a disconnection from the past and its repercussions on the present/future of the Philippines.

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Palmer, P. "Scottish Women's Gothic and Fantastic Writing: Fiction since 1978." Contemporary Women's Writing 6, no. 3 (2012): 286–87. http://dx.doi.org/10.1093/cww/vps016.

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Richter, David H. "Gothic Writing 1750-1820: A Genealogy (review)." Eighteenth-Century Fiction 6, no. 4 (1994): 398–400. http://dx.doi.org/10.1353/ecf.1994.0009.

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Royle, Nicholas. "Cryptomimesis: The Gothic and Jacques Derrida's Ghost Writing (review)." MFS Modern Fiction Studies 49, no. 2 (2003): 400–401. http://dx.doi.org/10.1353/mfs.2003.0037.

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Shields, Ken. "Sound change, child language, and Gothic Atta." Mankind Quarterly 30, no. 4 (1990): 329–35. http://dx.doi.org/10.46469/mq.1990.30.4.3.

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McVeigh, Margaret. "Telling Big Little Lies: Writing the Female Gothic as extended metaphor in Complex Television." Journal of Screenwriting 11, no. 1 (2020): 63–80. http://dx.doi.org/10.1386/josc_00013_1.

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This article investigates the writing of the Female Gothic as extended metaphor in the Complex TV series Big Little Lies (2017). It builds on my earlier work, ‘Theme and complex narrative structure in HBO’s Big Little Lies 2017’ (2019), wherein I applied Porter et al.’s (2002) structuralist narrative tool, the ‘Scene Function Model’, to investigate the way narrative and theme is progressed in complex interweaving stories via the writing of core or ‘kernel’ narrative scenes. Herein, I further investigate storytelling in series TV by proposing the ‘satellite’ narrative scene as a means by which the screenwriter may conceptualize and deploy metaphor to create viewer engagement. First, I consider David E. Kelley’s series screenplay, Big Little Lies, as a blueprint for HBO’s televised series. Specifically, I apply theories of Complex TV, Gothic Television and Domestic Noir to consider how Kelley deploys the Female Gothic as extended metaphor to inform formal narrative elements including the pre-titles sequences and flashbacks repeated across episodes.

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Richter, David, and Jacqueline Howard. "Reading Gothic Fiction: A Bakhtinian Approach." Modern Language Review 91, no. 2 (1996): 459. http://dx.doi.org/10.2307/3735039.

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Pierce, Marc. "Prosody and Sievers' Law in Gothic." Beiträge zur Geschichte der deutschen Sprache und Literatur (PBB) 125, no. 2 (2003): 223–41. http://dx.doi.org/10.1515/bgsl.2003.223.

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Jurík, Mirón. "Gothic Christians in Constantinople: the Arians." Graeco-Latina Brunensia, no. 1 (2021): 81–93. http://dx.doi.org/10.5817/glb2021-1-6.

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Townshend, Dale. "Transgression, writing and violence in romantic Gothic Fiction, 1794–1820." Journal of Literary Studies 13, no. 1-2 (1997): 151–89. http://dx.doi.org/10.1080/02564719708530166.

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McCullough, Laura Jo, Vladimir Odoevsky, and Neil Cornwell. "The Salamander and Other Gothic Tales." Slavic and East European Journal 38, no. 1 (1994): 170. http://dx.doi.org/10.2307/308555.

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Thomason, Olga. "Notes on spatial semantics of Gothic prepositions." Indogermanische Forschungen 113, no. 2008 (2008): 284–98. http://dx.doi.org/10.1515/9783110206630.284.

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Choi, Eun-Jin. "Language of the Gothic Woman:Jane Campion's The Piano." International Journal of Contents 7, no. 3 (2011): 60–64. http://dx.doi.org/10.5392/ijoc.2011.7.3.060.

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Novitskaya, Irina V. "Formation of abstract nouns in the Gothic language." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2003): 96–103. http://dx.doi.org/10.17223/18137083/2/9.

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Elbert, Monika. "Poe's Gothic Mother and the Incubation of Language." Poe Studies 24, no. 1-2 (1991): 22–33. http://dx.doi.org/10.1111/j.1754-6095.1991.tb00051.x.

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FIEROBE, C. "Review. The Gothic Sublime. Mishra, Vijay." French Studies 50, no. 2 (1996): 205. http://dx.doi.org/10.1093/fs/50.2.205.

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