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Journal articles on the topic 'Gothic literature Space in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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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2

Russell, Lorena. "Queer Gothic and Heterosexual Panic in the Ass-End of Space." Gothic Studies 7, no. 2 (2005): 143–57. http://dx.doi.org/10.7227/gs.7.2.4.

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3

Barron, Lee. "Ultraviolent Gothic Visions: Lucio Fulci's ‘Gates of Hell’ Trilogy as Derridean Cinematic Haunted Spaces." Gothic Studies 22, no. 2 (2020): 197–213. http://dx.doi.org/10.3366/gothic.2020.0049.

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This article examines films produced by the Italian director Lucio Fulci between 1980 and 1981: City of the Living Dead/Paura nella città dei morti viventi (1980), The Beyond/L'aldilà (1981), and The House by the Cemetery/Quella villa accanto al cimitero (1981). Unofficially termed the Gates of Hell trilogy, the films stress a distinctive gothic sensibility brought together by the vivid and extreme subjects of decay and unflinching depictions of ultraviolent death and bodily destruction. The article explores the gothic motifs of the film series from the perspective of the work of Jacques Derri

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4

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

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

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5

Yiannitsaros, Christopher. "Unhomely Counties: Gothic Surveillance and Incarceration in the Villages of Agatha Christie." Gothic Studies 23, no. 1 (2021): 77–95. http://dx.doi.org/10.3366/gothic.2021.0079.

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This article examines the ways in which Agatha Christie's fictional villages may be interpreted as fundamentally gothic spaces. It makes the case that within the novels The Murder at the Vicarage (1930) and The Moving Finger (1943), outdoor spaces do not offer the potential release from captivity that is set out in more traditional gothic paradigms. Instead, exterior landscapes surrounding and connecting homes function as a continuation of domestic interiority, thus acting as able accomplices in a gothic transformation of ‘home’ into ‘prison’. By examining the shifting meanings of panoptic sur

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6

Holland, Alison T. "Identity in Crisis: The Gothic Textual Space in Beauvoir's "L'Invitee"." Modern Language Review 98, no. 2 (2003): 327. http://dx.doi.org/10.2307/3737814.

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7

Dunn, James A. "Charlotte Dacre and the Feminization of Violence." Nineteenth-Century Literature 53, no. 3 (1998): 307–27. http://dx.doi.org/10.2307/2903042.

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Charlotte Dacre's relatively neglected fictions create a unique space in the dialectic of violence that characterizes so much of British Romanticism. Her simultaneous attraction to and repulsion from violence is reflective of an era that apotheosized the sublime, which formed its imagination on the bloody Revolution in France and the increasingly visible brutalities of industrialism, and that made the Gothic its most popular literary commodity. But Dacre's peculiar contribution to this hermeneutic is to build through her four major novels a mythology by which violence emerges, most of all, fro

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8

Sepúlveda do Vale, Nathálya Suyane, and Cláudio Moura. "SPATIALITY IN GOTHIC LITERATURE: AN ANALYSIS OF THE FALL OF THE HOUSE OF USHER BY EDGAR ALLAN POE." REVISTA DE LETRAS - JUÇARA 4, no. 1 (2020): 421–35. http://dx.doi.org/10.18817/rlj.v4i1.2271.

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This paper aims at investigating the use of the literary space in Edgar Allan Poe's The Fall of the House of Usher (1839) through its relations regarding the characters and the plot; also, its role in the creation of a unique ambience based in the combination of gothic elements. It approaches the object by Bakthin’s (1981) theory of the chronotope in order to explain the literary effects achieved by its use as a fictional tool. Furthermore, this study closes with a comparison between the house and the protagonist Roderick Usher, proposing that the former might be also perceived as a character

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9

Ćwiklak, Nina. "Edgar G. Ulmer — Roger Corman — Stuart Gordon. Filmowe adaptacje opowiadania Edgara Allana Poego Czarny kot." Literatura i Kultura Popularna 25 (July 28, 2020): 429–44. http://dx.doi.org/10.19195/0867-7441.25.24.

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The article entitled Edgar G. Ulmer — Roger Corman — Stuart Gordon. Movie adaptations of Edgar Allan Poe’s short story “The Black Cat” is a comparative analysis of three adaptations of a gothic short story. The attempt at finding inspirations from romantic poetics in the works of film directors, created in different decades and answering the question of how is it possible to transfer assumptions of romantic literature into movie language, was made in this text. In the movie from 1934, Edgar G. Ulmer connects gothic poetics with modernism aesthetics. He also adds historical context, referring t

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10

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

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Ashok Malhotra, “The English ‘Self’ under Siege: A Comparison of a Memsahib’s Private Journals and her Novel The History of George Desmond” (pp. 1–34) This paper examines Mary Sherwood’s The History of George Desmond (1821) alongside and against the author’s private journals to demonstrate the ways in which the novel both aligned with and veered away from Sherwood’s own personal experiences as a memsahib living in colonial India. It argues that while the novel reflects her awareness of the agency of colonized Indians and the precarious predicament of the colonizer in the subcontinent, its depl

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11

Evans, Rebecca. "Geomemory and Genre Friction: Infrastructural Violence and Plantation Afterlives in Contemporary African American Novels." American Literature 93, no. 3 (2021): 445–72. http://dx.doi.org/10.1215/00029831-9361265.

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Abstract This essay argues that contemporary African American novels turn to the gothic in order to dramatize the uncanny infrastructural and spatial afterlives of the plantation through a literary strategy it identifies as geomemory: a genre friction between mimetic and gothic modes in which postplantation spaces in the US South are imbued with temporal slippages such that past and present meet through the built environment. Tracing the plantation’s environmental and infrastructural presence in the Gulf Coast and throughout the US South, this essay argues that the plantation’s presence is fun

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12

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

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‘A Nun’s dress is a very becoming one’, wrote Cornelius Cayley in 1772. Similarly, Philip Thicknesse, witnessing the clothing ceremony at the English Augustinian convent in Paris, observed that the nun’s dress was ‘quite white, and no ways unbecoming … [it] did not render her in my eyes, a whit less proper for the affections of the world’. This tendency to objectify nuns by focusing on the mysterious and sexualized aspects of conventual life was a key feature of eighteenth-century British culture. Novels, poems and polemic dwelt on the theme of the forced vocation, culminating in the dramatic

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13

Malenas Ledoux, Ellen. "DEFIANT DAMSELS: GOTHIC SPACE AND FEMALE AGENCY IN EMMELINE, THE MYSTERIES OF UDOLPHO AND SECRESY." Women's Writing 18, no. 3 (2011): 331–47. http://dx.doi.org/10.1080/09699082.2010.508889.

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14

Aguirre, Manuel. "Geometries of Terror: Numinous Spaces in Gothic, Horror and Science Fiction." Gothic Studies 10, no. 2 (2008): 1–17. http://dx.doi.org/10.7227/gs.10.2.2.

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15

Macfarlane, Karen E. "Here Be Monsters: Imperialism, Knowledge and the Limits of Empire." Text Matters, no. 6 (November 23, 2016): 74–95. http://dx.doi.org/10.1515/texmat-2016-0005.

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It has become a truism in discussions of Imperialist literature to state that the British empire was, in a very significant way, a textual exercise. Empire was simultaneously created and perpetuated through a proliferation of texts (governmental, legal, educational, scientific, fictional) driven significantly by a desire for what Thomas Richards describes as “one great system of knowledge.” The project of assembling this system assumed that all of the “alien” knowledges that it drew upon could be easily assimilated into existing, “universal” (that is, European) epistemological categories. This

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16

Riach, Graham K. "“Concrete fragments”: An interview with Henrietta Rose-Innes." Journal of Commonwealth Literature 55, no. 1 (2018): 111–20. http://dx.doi.org/10.1177/0021989418777021.

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South Africa has a long and rich tradition of short story writing, stretching from the early oral-style tale (MacKenzie, 1999), through the writing of the “fabulous fifties” (Driver, 2012; R. Gaylard, 2008), to the most recent post-apartheid texts. In this interview, Henrietta Rose-Innes describes her practice as a short story writer, noting how it differs from that of writing novels or poetry. For Rose-Innes, the short story offers a way to capture her view of the world; that is, in sudden, intense moments, rather than in wholly narrative terms. Combining a number of short stories into a coll

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17

Adriasola, Ignacio. "Modernity and Its Doubles: Uncanny Spaces of Postwar Japan." October 151 (January 2015): 108–27. http://dx.doi.org/10.1162/octo_a_00205.

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Screening the Japanese Gothic Actress M stands on a platform placed on the desks in a large auditorium, surrounded by students who stare despondently at her. She turns, seeking the camera over her shoulder; she pushes her white dress down as a fan makes it swell and rise above her knees. Dwarfed by the auditorium's heavy pointed arches, Actress M's pale, overexposed figure flickers like a photographic ghost. She has become Marilyn Monroe.

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18

Husain, Adrian A. "Counter-narratives." Nineteenth-Century Literature 76, no. 1 (2021): 33–56. http://dx.doi.org/10.1525/ncl.2021.76.1.33.

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Adrian A. Husain, “Counter-narratives: Wuthering Heights and the Intervals of the Brutalized Self” (pp. 33–56) This essay is concerned with meaning and genre and how these become accessible in our encounter with the critically strange. The focus is on a deconstruction and redefinition, by Emily Brontë in Wuthering Heights (1847), of “reality” as a given of domestic realism and a situating of the “real” in the interstices of Gothic romance and domestic realism. The essay contends that Brontë perceives the question of reality and the related question of genre as initially arising at the level of

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19

Hornung, A. ""Unstoppable" Creolization: The Evolution of the South into a Transnational Cultural Space; South to a New Place: Region, Literature, Culture; History and Memory in the Two Souths: Recent Southern and Spanish American Fiction; Reading Africa into American Literature: Epics, Fables, and Gothic Tales." American Literature 78, no. 4 (2006): 859–67. http://dx.doi.org/10.1215/00029831-2006-055.

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20

Watkiss, Joanne. "The horror of inheritance: poisonous lineage in Bret Easton Ellis' Lunar Park." Horror Studies 1, no. 2 (2010): 241–52. http://dx.doi.org/10.1386/host.1.2.241_1.

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Lunar Park presents the reader with a revisiting of the classic themes of Shakespeare's Hamlet. In this text, the son is presented with the spectre of the father after he has ignored the wishes outlined in his last Will and Testament. Ellis deliberately alludes to issues inherent to the gothic the invalid Will; the castle; themes of inheritance manufacturing a textual space that is repeatedly disturbed. Through the return of the father and the dislocation of linearity, the notion of fatherson inheritance becomes impossible. Through the recurrent emblem of poison in Hamlet, inheritance can be u

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21

Frederickson, Kathleen. "Getting the Goods in Little Dorrit." Nineteenth-Century Literature 75, no. 2 (2020): 159–83. http://dx.doi.org/10.1525/ncl.2020.75.2.159.

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Kathleen Frederickson “Getting the Goods in Little Dorrit: Quarantine’s Queer Logistics” (pp. 159–183) Most queer readings of Charles Dickens’s Little Dorrit (1857) have focused on Miss Wade as a figure of proto-sexological pathology. Flipping critical attention to Tattycoram instead allows us to reexamine sexuality and quarantine in economic terms. Dickens chooses quarantine over other possible spaces of touch and confinement because it flags Tattycoram’s entry into the plot around these economics of circulation—the ability to profit from the movement rather than the production of commodities

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22

Adelman, Richard. "Ruskin & Gothic Literature." Wordsworth Circle 48, no. 3 (2017): 152–64. http://dx.doi.org/10.1086/twc48030152.

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23

Katsouli Pantzidou, Lydia. "Jekyll, Hyde and the Victorian Construction of Criminal Working-Class Masculinities." ATHENS JOURNAL OF LAW 7, no. 2 (2021): 233–52. http://dx.doi.org/10.30958/ajl.7-2-6.

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Violent crime has long been associated with ideas of insane and/or intrinsically dangerous masculinities in the global north. Victorian Gothic literature, generated during a period when positivist discourse around dangerousness, madness and crime was gaining in authority and coherence, provides particularly useful insights into the narratives underpinning these associations. This paper focuses on the Strange Case of Dr Jekyll and Mr Hyde (1886), which, being a work of cautionary horror written during an era of powerful cultural fascination with violent urban crime is particularly rich in such

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24

Davison, Carol. "The handbook to gothic literature." Women's Writing 7, no. 1 (2000): 119–44. http://dx.doi.org/10.1080/09699080000200381.

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25

Chialant, Maria Teresa, and Linda Bayer-Berenbaum. "The Gothic Imagination: Expansion in Gothic Literature and Art." Yearbook of English Studies 16 (1986): 308. http://dx.doi.org/10.2307/3507831.

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26

Ньюман Джон. "The Linguistics of Imaginary Narrative Spaces in Daphne du Maurier’s Rebecca." East European Journal of Psycholinguistics 5, no. 2 (2018): 42–61. http://dx.doi.org/10.29038/eejpl.2018.5.2.new.

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Daphne du Maurier’s 1938 novel Rebecca provides rich opportunities for the study of imaginary narrative spaces and the language associated with such spaces. The present study explores the linguistics of the imaginary narrative spaces in Rebecca, drawing upon three lines of linguistic research consistent with a Cognitive Linguistic approach: (i) an interest in understanding and appreciating ordinary readers’ actual responses (rather than merely relying upon “expert” readers’ responses), (ii) the construction of worlds or “spaces”, and (iii) the application of ideas from Cognitive Grammar. The s

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27

Beidler, Peter G., and George E. Haggerty. "Gothic Fiction/Gothic Form." American Literature 62, no. 1 (1990): 122. http://dx.doi.org/10.2307/2926798.

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28

Talairach-Vielmas, Laurence. "Jarlath Killeen, Gothic Literature 1825-1914." Cahiers victoriens et édouardiens, no. 72 Automne (December 4, 2010): 250–53. http://dx.doi.org/10.4000/cve.2788.

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29

Loewen-Schmidt, Chad. "History of the Gothic: Gothic Literature 1764-1824 (review)." Eighteenth-Century Fiction 24, no. 1 (2011): 134–36. http://dx.doi.org/10.1353/ecf.2011.0038.

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30

Martin, Sara. "Gothic Scholars Don’t Wear Black: Gothic Studies and Gothic Subcultures." Gothic Studies 4, no. 1 (2002): 28–43. http://dx.doi.org/10.7227/gs.4.1.3.

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31

Emerson, Caryl. "The Gothic Muse and Meta-Gothic Moment: Afterword to Russian Gothic Forum." Russian Literature 106 (May 2019): 109–15. http://dx.doi.org/10.1016/j.ruslit.2019.06.006.

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32

Webb, Katharine. "Sources: Gothic Literature: A Gale Critical Companion." Reference & User Services Quarterly 46, no. 2 (2006): 89. http://dx.doi.org/10.5860/rusq.46n2.89.2.

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33

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

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34

Brantlinger, Patrick. "Anti-Semitism and British Gothic Literature (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 24, no. 4 (2006): 162–64. http://dx.doi.org/10.1353/sho.2006.0084.

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35

Napier, Elizabeth R. ": Gothic Fiction / Gothic Form. . George E. Haggerty." Nineteenth-Century Literature 45, no. 1 (1990): 91–94. http://dx.doi.org/10.1525/ncl.1990.45.1.99p0294n.

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36

Whatley, John. "Introduction: Gothic Cults and Gothic Cultures 1: Modern and Postmodern Gothic." Gothic Studies 4, no. 2 (2002): 91–98. http://dx.doi.org/10.7227/gs.4.2.1.

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37

Morris, David B. "Gothic Sublimity." New Literary History 16, no. 2 (1985): 299. http://dx.doi.org/10.2307/468749.

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38

Riggan, William, and William Gaddis. "Carpenters Gothic." World Literature Today 60, no. 4 (1986): 630. http://dx.doi.org/10.2307/40142835.

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39

REDFIELD, M. "Gothic Consciousness." Novel: A Forum on Fiction 39, no. 3 (2006): 432–35. http://dx.doi.org/10.1215/ddnov.039030432.

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40

Conkan, Marius. "Space in Literature and Literature in Space." Metacritic Journal for Comparative Studies and Theory 6, no. 1 (2020): 5–15. http://dx.doi.org/10.24193/mjcst.2020.9.01.

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41

Gentry, E. "The Biology of Horror: Gothic Literature and Film; Gothic Passages: Racial Ambiguity and the American Gothic." American Literature 78, no. 3 (2006): 635–37. http://dx.doi.org/10.1215/00029831-2006-037.

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42

Parker. "History of the Gothic: Gothic Literature 1825–1914, by Jarlath Killeen." Victorian Studies 54, no. 2 (2012): 332. http://dx.doi.org/10.2979/victorianstudies.54.2.332.

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43

Andrew, Joe, and Neil Cornwell. "The Gothic-Fantastic in Nineteenth-Century Russian Literature." Modern Language Review 97, no. 1 (2002): 247. http://dx.doi.org/10.2307/3735697.

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44

Hantke, Steffen, and Jack Morgan. "The Biology of Horror: Gothic Literature and Film." Rocky Mountain Review of Language and Literature 57, no. 1 (2003): 95. http://dx.doi.org/10.2307/1348041.

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45

Rodabaugh, Wendy L. "Teaching Gothic Literature in the Junior High Classroom." English Journal 85, no. 3 (1996): 68. http://dx.doi.org/10.2307/820110.

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46

Guy, J. M. "Victorian Hauntings: Spectrality, Gothic, the Uncanny and Literature." Notes and Queries 50, no. 1 (2003): 137–39. http://dx.doi.org/10.1093/nq/50.1.137-a.

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47

Williams, Anne. "Marie Mulvey-Roberts's The Handbook to Gothic Literature." Romanticism 7, no. 1 (2001): 113–15. http://dx.doi.org/10.3366/rom.2001.7.1.113.

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48

Galloway, David J., and Neil Cornwell. "The Gothic-Fantastic in Nineteenth-Century Russian Literature." Slavic and East European Journal 44, no. 3 (2000): 472. http://dx.doi.org/10.2307/309593.

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49

Guy, Josephine M. "Victorian Hauntings: Spectrality, Gothic, the Uncanny and Literature." Notes and Queries 50, no. 1 (2003): 137–39. http://dx.doi.org/10.1093/nq/500137a.

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50

Titarenko, S. D., and M. M. Rusanova. "GOTHIC TRADITION IN LITERATURE FROM THE PERSPECTIVE OF INTERMEDIAL ANALYSIS." Culture and Text, no. 44 (2021): 43–55. http://dx.doi.org/10.37386/2305-4077-2021-1-43-55.

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The article is devoted to the insufficiently studied problem of using intermedial analysis for studying the Gothic tradition in the literature of Russian symbolism (on the example of V. Brusov’s and F. Sologub’s works). We focus our attention on transition a visual image or a medieval art motive from one sign system to another. We analyze how medieval cultural categories correspond to the chronotope and figurative system in the Gothic novels of the 18th - early 19th century. It is concluded that the Symbolists refer to the visual images of the Gothic novel not only as elements of tradition, bu

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