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Dissertations / Theses on the topic 'Gothic revival (Literature)'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Davison, Carol Margaret. "Gothic Cabala : the anti-semitic spectropoetics of British Gothic literature." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34941.

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The figure of the Wandering Jew in British Gothic literature has been generally regarded as a static and romantic Everyman who signifies religious punishment, remorse, and alienation. In that it fails to consider the fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism, this reading has overlooked the significance of this figure's specific ethno-religious aspect and its relation to the figure of the vampire. It has hindered, consequently, the recognition of the Wandering Jew's relevance to the "Jewish Question," a vital issue in the construction of British national identity. In this dissertation, I chronicle the "spectropoetics" of Gothic literature---how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel. I trace this "spectropoetics" through medieval anti-Semitism, and consider its significance in addressing anxieties about the Crypto-Jew and the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature---the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution, a cataclysmic event to which many Gothic works responded. In the light of this complex of concerns, I examine the role of the Wandering Jew in five Gothic works---Matthew G. Lewis's The Monk (1795), William Godwin's St. Leon (1799), Charles Robert Maturin's Melmoth the Wanderer (1820), Joseph Sheridan Le Fanu's "Carmilla" (1872), and Brain Stoker's Dracula (1897). In my conclusion, I delineate the vampiric Wandering Jew's "eternal" role in addressing nationalist concerns by examining his symbolic preeminence in Nazi Germany.

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2

Tennant, Colette. "Margaret Atwood's transformed and transforming Gothic /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487757723997751.

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3

Shlyak, Tatyana. "Secret as a key to narration : evolution from English Gothic to the Gothic in Dostoyevsky /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6667.

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4

Andrews, Elizabeth. "Devouring the Gothic : food and the Gothic body." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/375.

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At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.

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5

Cohenour, Gretchen M. "Eighteenth-century Gothic novels and gendered spaces : what's left to say? /." View online ; access limited to URI, 2008. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3314452.

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6

Denison, Sheri Ann. "Walking through the shadows ruins, reflections, and resistance in the postcolonial Gothic novel /." Open access to IUP's electronic theses and dissertations, 2009. http://hdl.handle.net/2069/160.

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7

Levine, Jonathan David. "'One wiser, better, dearer than ourselves' : gothic friendship /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6643.

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8

Warren, Treena Kay. "Negative traits : the uncanny, bizarre and horrific in nineteenth century photographs." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78234/.

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9

Stasiak, Lauren Anne. "Victorian professionals, intersubjectivity, and the fin-de-siecle gothic text /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/9491.

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10

Wozniak, Heather Anne. "Brilliant gloom the contradictions of British gothic drama, 1768-1823 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692743101&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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11

Michaud, Marilyn. "Republicanism and the American Gothic." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/110.

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Republicanism and the American Gothic is a comparative study of British and American literature and culture in the 1790s and 1950s. As the title indicates, this thesis explores the republican tradition of the British Enlightenment and the effect of its translation and migration to the American colonies. Specifically, it examines in detail the transatlantic influence of seventeenth and eighteenth century libertarian and anti-authoritarian thought on British and American Revolutionary culture. It argues that whether radical or orthodox, Whig or Tory, the quarrel surrounding the movement from subject to citizen nourishes Gothic aesthetics on both sides of the Atlantic. In America, particularly, the discourse of republicanism articulates not only the nation’s revolutionary goals, but defines national consciousness. This thesis further argues that republicanism is also a panic-ridden ideology, animated by fears of corruption, degeneration, and tyranny, and therefore supplies fertile ground for the development of a Gothic tradition in America. This dissertation then examines the continuing relevance of republican values and discourse in Cold War America. It suggests that the aesthetic, moral, and political imperatives that characterized republicanism in the late eighteenth century re-emerge in the post-war era as an antidote to the contemporary crisis in liberal subjectivity. In the Cold War, Gothic tales featuring doubles, vampires, and conspirators, not only dramatize contemporary fears of communism, conformity, and the rise of mass culture, but also engage with the nation’s historical fears of deception, corruption, degeneration, and tyranny. While grounded in the Gothic novel, this thesis is informed by the theory of republicanism that arose in the post-war years and which came to challenge many of the long held views of American revolutionary history. This thesis attempts to explore the influence of this historical approach on Cold War discourse generally, and on Gothic fiction specifically.

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12

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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13

Knight, Robert C. A. "Pursuing the fugitive figure : a genealogy of gothic fugitivity /." View thesis, 1999. http://handle.uws.edu.au:8081/1959.7/27799.

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14

Mahato, Susmita. "Gothic pathologies : disease and discourse in nineteenth-century narrative /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102178.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 196-203). Also available for download via the World Wide Web; free to University of Oregon users.

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15

Wright, Angela. "The claustral gaze : visions of imprisonment in the gothic novel and French melodrama." Thesis, University of Aberdeen, 2002. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=158599.

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This thesis provides a critique of the gaze in Gothic novels and French melodramas between 1790 and 1825. After situating itself historically in relation to the eighteenth century's prioritization of vision, the thesis then progresses in chapters two to seven to textual examinations of visual critiques provided by Gothic novelists. It examines the following authors: Sophia Lee; Ann Radcliffe; Matthew Lewis; the Marquis de Sade; Charles Maturin; James Hogg, and William Godwin. The thesis contends that these Gothic novelists demonstrate the function of the gaze in its most violent and reductive light. In the novels examined, the thesis posits that vision is used as a tool of power, rather than one of education and enlightenment. An examination is made of the imprisoning function of the gaze with reference to psychoanalytical essays on the gaze written by Sigmund Freud and Jacques Lacan. These essays help to promote the theory that the Gothic novels studied all portray some form of transgressive gazing: the punishment for this lies in the characters' temporary transition into some form of inanimate image. Whether this be a portrait, a statue, or a dramatic tableau, the transition is indicative of the regressive gaze to the past that the characters have been using. The eighth and final chapter of the thesis turns the focus from Gothic novels to French melodramas. This is done to represent the failure of French melodramatists to regulate the visual responses of their audiences. By examining their critical projects, and the results of them, the thesis concludes by demonstrating the practice, and failure, of the gaze.

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16

Loots, Maria Johanna. "Gotiese elemente in François Bloemhof se debuutroman, Die nag het net een oog /." Link to the online version, 2007. http://hdl.handle.net/10019/436.

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17

Francis, Kurt T. "Gothic Elements in Selected Fictional Works by Nathaniel Hawthorne." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503867/.

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Gothicism is the primary feature of Nathaniel Hawthorne's fiction, and it is his skill in elevating Gothicism to the level of high art which makes him a great artist. Gothic elements are divided into six categories: Objects, Beings, Mental States, Practices and Actions, Architecture and Places, and Nature. Some devices from these six categories are documented in three of Hawthorne's stories ("Young Goodman Brown," "The Minister's Black Veil," and "Ethan Brown") and three of his romances (The Scarlet Letter, The House of the Seven Gables, and The Marble Faun). The identification of 142 instances of Hawthorne's use of Gothic elements in the above works demonstrates that Hawthorne is fundamentally a Gothic writer.

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18

Roberts, Suzanne L. "The ecogothic pastoral ideologies in the gendered Gothic landscape /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3316380.

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19

Spear, Peta. "Libertine : a novel & A writer's reflection : the Libertine dynamic : existential erotic and apocalyptic Gothic /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.143230/index.html.

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20

Huang, Cherry. "Jane Austen's attitudes towards the 'masculine' and 'feminine' Gothic in Northanger Abbey (1818)." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586642.

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21

Spear, Peta. "Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/26115.

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This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.

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22

Goss, Sarah Judith. "The agony of consciousness : history and memory in nineteenth-century Irish gothic novels /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102166.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.

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23

Duggett, Thomas J. E. "Wordsworth's Gothic politics : a study of the poetry and prose, 1794-1814." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/361.

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24

Mighall, Robert. "The brigand in the laboratory : a study of the discursive exchange between Gothic fiction and nineteenth-century medico-legal science." Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683119.

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25

Hinds, Elizabeth Jane Wall. "The hero in time the American gothic fiction of Charles Brockden Brown, Edgar Allan Poe and Herman Melville /." Access abstract and link to full text, 1989. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8923184.

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26

Tsang, Wai-ho, and 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.

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9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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27

Craig, Steven. "'Our Gothic bard' : Shakespeare and appropriation, 1764-1800." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3067.

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In recent years, Gothic literary studies have increasingly acknowledged the role played by Shakespeare in authorial acts of appropriation. Such acknowledgement is most prominently stated in Gothic Shakespeares (eds. Drakakis and Townshend, 2008) and Shakespearean Gothic (eds. Desmet and Williams, 2009), both of which base their analyses of the Shakespeare-Gothic intersection on the premise that Shakespearean quotations, characters and events are valuable objects in their own right which mediate on behalf of the 'present' concerns of the agents of textual appropriation. In light of this scholarship, this thesis argues the case for the presence of 'Gothic Shakespeare' in Gothic writing during the latter half of the eighteenth century and, in doing so, it acknowledges the conceptual gap whereby literary borrowings were often denounced as acts of plagiarism. Despite this conceptual problem, it is possible to trace distinct 'Gothic' Shakespeares that dismantle the concept of Shakespeare as a singular ineffable genius by virtue of a textual practice that challenges the concept of the 'genius' Shakespeare as the figurehead of genuine emotion and textual authenticity. This thesis begins by acknowledging the eighteenth-century provenance of Shakespeare's 'Genius', thereby distinguishing between the malevolent barbarian Gothic of Shakespeare's own time and the eighteenth-century Gothic Shakespeares discussed under the term 'appropriation'. It proceeds to examine the Shakespeares of canonical Gothic writers (Horace Walpole, Ann Radcliffe and Matthew Lewis) as well as their lesser-known contemporaries (T.J. Horsley Curties and W.H. Ireland). For instance, Walpole conscripts Hamlet in order to mediate his experience of living in England after the death of his father, the first Prime Minister Robert Walpole. The thesis then argues for the centrality of Shakespeare in the Gothic romance's undercutting of the emergent discourses of emotion (or 'passion'), as represented by the fictions of Radcliffe and Lewis, before moving on to consider Curties's attempted recuperation - in Ethelwina; or, the House of Fitz-Auburne (1799) - of authentic passion, which is mediated through the authenticity apparatus of Edmond Malone's 1790 editions of Shakespeare's plays. It concludes with W.H. Ireland's dismantling of Malone's ceoncept of the 'authentic' Shakespeare through the contemporary transgressions of literary forgery and the evocation of an illicit Shakespeare in his first Gothic romance, The Abbess, also published in 1799.

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Jenkins, Jennifer Lei. "Failed mothers and fallen houses: Gothic domesticity in nineteenth-century American fiction." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186122.

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This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.

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29

Leffler, Yvonne. "I skräckens lustgård : skräckromantik i svenska 1800-talsromaner /." Göteborg : Göteborgs Universitet, 1991. http://catalogue.bnf.fr/ark:/12148/cb35523795h.

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30

Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.

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The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.

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Loots, Maria Johanna. "Gotiese elemente in Francois Bloemhof se debuutroman, Die nag het net een oog." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2316.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007.
In this thesis I examine the Gothic elements in François Bloemof’s debut novel, Die nag het net een oog (1991). There are two reasons this novel can be seen as an exemplary text in Afrikaans: firstly, it contributes to a genre of which there are very few examples in Afrikaans, namely the Gothic novel. Secondly, it leads to a reevaluation of texts of C.J. Langenhoven, C. Louis Leipoldt and Marius Gie (pseudonym of Martha C Gieseke). Apart from a discussion of the Gothic novel in general and specifically Bloemhof’s novel, this thesis also examines his large oeuvre, constant focus on renewal and his position in the Afrikaans literary system. The Gothic novel is generally regarded as a form of popular literature. This aspect, together with the history, function, development and characteristics of the Gothic novel, is also looked at in the thesis in an attempt to contribute to the minimal theoretization on this subject in Afrikaans. Lastly I will discuss the Gothic elements in Bloemhof’ s debut novel. Die nag het net een oog has many of the characteristics of the earlier Gothic novels, but Bloemhof renews them by crossing over conventional boundaries. The heroine being the rescuer instead of the rescuee, is one such example. The study is concluded with short summarizing comments and suggestions for further study.

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Gao, Dodo Yun. "Terror' and 'horror' in the 'masculine' and 'feminine' Gothic : Matthew Lewis's The Monk ( 1796) and Ann Radcliffe's The Italian (1797)." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586630.

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Wu, He Fang. "Fear and pity in the Castle of Otranto." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586641.

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34

Buys, Helga Minnette. "Die gruwel en die Gotiese in drie hedendaagse tekste : Die nag het net een oog - Francois Bloemhof, Drif - Reza de Wet, Een hart van steen - Renate Dorrestein." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52778.

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Thesis (MA)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: This thesis contains the results of an investigation into the elements of the horror story and the Gothic novel in three contemporary works. The investigation was conducted within the theoretical framework of the original historical Gothic novel of the eighteenth century, in comparison with contemporary theorization on the Gothic, with specific reference to the study of Eddy Bertin, and to some extent Hendrik van Gorp and Fred Botting. Four conventions of the Gothic genre were identified, and were applied to an Afrikaans novel and drama, as well as a Dutch novel, to establish to which extent the Gothic manifests itself in these contemporary texts. The study focussed on The night only has one eye (1991) by Francois Bloemhof, Crossing/ Passion (1994) by Reza de Wet and A heart of stone (1999) by Renate Dorrestein. From these texts, which were read within a Gothic framework, it could be deduced that there is a deviation from the conventional Gothic texts within both the Afrikaans and the Dutch texts. This deviation especially occurs with regard to characterization, with specific reference to the female character. The authors use the traditional Gothic characters as a point of departure, but bring about renewal in the texts by making them part of a wider philosophical field. The portrayal of the themes of good versus evil, space and tension, also shows a deviation from the Gothic conventions. An important finding in this study is that the Gothic genre in its pure form can not successfully be traced in contemporary literature. The three texts under discussion show the occurrence of allogamy between the different sub-categories of horror. A further important conclusion is that these three texts cannot be merely categorized as Popular literature because of the renewal it brings regarding the traditional Gothic conventions.
AFRIKAANSE OPSOMMING: Hierdie tesis bevat die resultate van 'n ondersoek na elemente van die gruwelverhaal en die Gotiese roman in drie kontemporêre tekste. Die ondersoek is gedoen binne die teoretiese raamwerk oor die genre van die oorspronklike historiese Gotiese roman van die agtiende eeu, in vergelyking met die hedendaagse teoretisering oor die Gotiek, met spesifieke verwysing na die navorsing van Eddy Bertin, en in 'n mindere mate Hendrik van Gorp en Fred Botting. Vier konvensies van die Gotiese verhaaltipe is geïdentifiseer en toegepas op 'n Afrikaanse roman en drama, asook 'n Nederlandse roman, om vas te stel in watter mate en op watter wyse die Gotiek gemanifesteer word in dié hedendaagse tekste. Die navorsing fokus op Die nag het net een oog (1991) van Francios Bloemhof, Drif (1994) van Reza de Wet en Een hart van steen (1999) van Renate Dorrestein. Dié tekste vertoon al drie duidelik Gotiese kenmerke, maar vertoon daarbyook opvallende afwykings van die tradisionele verskyningsvorme van die Gotiek. Dit geld veral vir karakterisering - meer spesifiek die vroulike karakter en die verhouding tussen die twee geslagte. Die outeurs gebruik die tradisionele Gotiese tipe karakters as vertrekpunt, maar bring vernuwing deur die tekste deel te maak van 'n wyer filosofiese veld. Die tekste se hantering van ander konvensies op die terrein van die tematiese (die goeie versus die bose), ruimte en spanning wyk ook af van die historiese Gotiek. 'n Belangrik aspek wat in die ondersoek na vore kom, is dat die Gotiek as verhaaltipe selde nog in sy suiwer vorm in literatuur aangetref word. Die drie tekste onder bespreking toon in watter aansienlike mate kruisbestuiwing plaasvind tussen die onderskeie sub-kategorieë van die riller. Laastens word daar aangevoer dat die Gotiese en gruwel-elemente binne dié drie tekste op so 'n vernuwende wyse geproblematiseer en uitgedaag word, dat dit nie sonder meer as triviaalliteratuur beskou kan word nie.

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Koonce, Elizabeth Godke. "SENSATION FICTION AND THE LAW: DANGEROUS ALTERNATIVE SOCIAL TEXTS AND CULTURAL REVOLUTION IN NINETEENTH-CENTURY BRITAIN." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1155670056.

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Wurtz, James F. "A very strange agony modernism, memory, and Irish gothic fiction /." 2005. http://etd.nd.edu/ETD-db/theses/available/etd-06032005-151104/.

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Mustafa, Jamil M. "Mapping the late-Victorian subject : psychology, cartography, and the Gothic novel /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934096.

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Knight, R. C. A., University of Western Sydney, and School of Communication and Media. "Pursuing the fugitive figure : a genealogy of gothic fugitivity." 1999. http://handle.uws.edu.au:8081/1959.7/27799.

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The main assertion of this thesis is that both 19th century and contemporary Gothic literary texts are characterised by fugitivity, embodied by the fugitive ‘figure’ which through its ambiguity is re-deploying the distinction proposed by Ross Chambers – inescapably both narrative and textual. The fugitive figure is intimately related to desire and its textual mobilisation. This mobilisation simulates the paradoxical experience of the sublime in which the pursuer of the fugitive figure is left speechless before the feared and desired unnamable other. Anne Rice’s ‘The vampire chronicles’ are discussed, as are ‘Frankenstein’, ‘The strange case of Dr Jekyll and Mr Hyde’ and ‘Dracula’. Analysis of these texts constitutes a ‘genealogy’, conceived and executed in poststructuralist terms, consisting of a deconstructive analysis inflected by psychoanalytic inputs. The genealogy is applied to indicate the importance of the family structure and its potential for dissolution in Gothic texts, and recreates a search for origins, which is a recurring theme in Gothic writing. The fugitive figure, through its embodiment of insatiable desire, is beyond either narrative or tropaic apprehension. It is in continual metamorphosis and invites pursuit in its different guises. However, although it appears as the objectified pursued, it actually arises from within the pursuer, so any attempt to arrest the disruptive flow it signifies is, although unavoidable and necessary, a self-deceptive act doomed to failure. This failure is registered simultaneously at narrative and textual levels.
Doctor of Philosophy (PhD)

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Friesen, Gail Frances. "Versions of the Gothic in Margaret Atwood's fiction." Thesis, 1990. https://eprints.utas.edu.au/19613/1/whole_FriesenGailFrances1993_thesis.pdf.

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This thesis discusses chronologically, the adaptation and transformation of the Gothic in four of Margaret Atwood's novels, namely Surfacing, Lady Oracle, Bodily Harm and The Handmaid's Tale. Atwood's versions of the gothic run the gamut from serious to comical but even while parodying the conventions of the gothic, and exposing the 'perils of gothic thinking', Atwood never loses sight of the underlying seriousness of the subject. While there are elements of the female gothic experience throughout the four novels, each presents a specific gothic focus. Atwood concentrates on the psychological victimisation of the individual in Surfacing and Lady Oracle, but on the more literal victimisation by society in Bodily Harm and The Handmaid's Tale. The heroines who are psychologically imprisoned within a negative self image in the first two novels are literally imprisoned in the later novels. And whereas the heroines of Surfacing and Lady Oracle transform the ordinary world into a gothic one through the power of the imagination, the heroines of Bodily Harm and The Handmaid's Tale are subjected to the much more horrifying reality of political oppression. Atwood's exploration of the complex issue of victimisation illustrates a basic ambivalence towards the gothic, for while it might be one of the best ways of embodying female fears, it is ultimately a destructive model. Essential to Atwood's discussion is the question of complicity. In varying degrees, Atwood's heroines are responsible for their predicaments. There are echoes of Atwood's ideas about Canadian identity in her heroines — an identity shaped by the dominating landscape. The early heroine of Surfacing, cold, detached, motherless and searching, is transformed through the novels that follow into a stronger, more resilient and determined figure.

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Knight, R. C. A. "Pursuing the fugitive figure : a genealogy of gothic fugitivity." Thesis, 1999. http://handle.uws.edu.au:8081/1959.7/27799.

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Abstract:

The main assertion of this thesis is that both 19th century and contemporary Gothic literary texts are characterised by fugitivity, embodied by the fugitive ‘figure’ which through its ambiguity is re-deploying the distinction proposed by Ross Chambers – inescapably both narrative and textual. The fugitive figure is intimately related to desire and its textual mobilisation. This mobilisation simulates the paradoxical experience of the sublime in which the pursuer of the fugitive figure is left speechless before the feared and desired unnamable other. Anne Rice’s ‘The vampire chronicles’ are discussed, as are ‘Frankenstein’, ‘The strange case of Dr Jekyll and Mr Hyde’ and ‘Dracula’. Analysis of these texts constitutes a ‘genealogy’, conceived and executed in poststructuralist terms, consisting of a deconstructive analysis inflected by psychoanalytic inputs. The genealogy is applied to indicate the importance of the family structure and its potential for dissolution in Gothic texts, and recreates a search for origins, which is a recurring theme in Gothic writing. The fugitive figure, through its embodiment of insatiable desire, is beyond either narrative or tropaic apprehension. It is in continual metamorphosis and invites pursuit in its different guises. However, although it appears as the objectified pursued, it actually arises from within the pursuer, so any attempt to arrest the disruptive flow it signifies is, although unavoidable and necessary, a self-deceptive act doomed to failure. This failure is registered simultaneously at narrative and textual levels.

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Rasmus, Ryen Christopher. "Hill House, not sane : Shirley Jackson's subversion of conventions and conventionality in The haunting of Hill House /." 2009. http://hdl.handle.net/10288/1160.

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Boyd, J. Caleb Sandahl Carrie. "Southernness, not otherness the community of the American South in new southern gothic drama /." 2004. http://etd.lib.fsu.edu/theses/available/etd-04092004-120214.

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Thesis (Ph. D.)--Florida State University, 2004.
Advisor: Dr. Carrie Sandahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed June 15, 2004). Includes bibliographical references.

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Vokey, Krista R. "Tingles of terror : the neo-gothic fiction of Margaret Atwood and Jane Urquhart /." 1994. http://collections.mun.ca/u?/theses,212669.

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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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Bell, Vivienne Ann. "William Godwin and Frankenstein : the secularization of Calvinism in Godwin's philosophy and the sub-Godwinian Gothic novel; with some remarks on the relationship of the Gothic to Romanticism." Thesis, 1993. http://hdl.handle.net/2440/110456.

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Spear, Peta, University of Western Sydney, and School of Communication and Media. "Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic." 1998. http://handle.uws.edu.au:8081/1959.7/26115.

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This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.
Doctor of Philosophy (PhD)

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