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Relevant bibliographies by topics / Late Victorian gothic romance

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Academic literature on the topic 'Late Victorian gothic romance'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Late Victorian gothic romance"

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Jones, Anna Maria. "CONSERVATION OF ENERGY, INDIVIDUAL AGENCY, AND GOTHIC TERROR IN RICHARD MARSH'STHE BEETLE, OR, WHAT'S SCARIER THAN AN ANCIENT, EVIL, SHAPE-SHIFTING BUG?" Victorian Literature and Culture 39, no. 1 (2010): 65–85. http://dx.doi.org/10.1017/s1060150310000276.

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There is a familiar critical narrativeabout the fin de siècle, into which gothic fiction fits very neatly. It is the story of the gradual decay of Victorian values, especially their faith in progress and in the empire. The self-satisfied (middle-class) builders of empire were superseded by the doubters and decadents. As Patrick Brantlinger writes, “After the mid-Victorian years the British found it increasingly difficult to think of themselves as inevitably progressive; they began worrying instead about the degeneration of their institutions, their culture, their racial ‘stock’” (230). And thi

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Stewart, Jemma. "‘She shook her heavy tresses, and their perfume filled the place’: The Seductive Fragrance of ‘that awful sorceress’: H. Rider Haggard's femme fatale, Ayesha." Gothic Studies 22, no. 3 (2020): 246–65. http://dx.doi.org/10.3366/gothic.2020.0060.

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This paper explores perfume, scent, and floriography as an aspect of the archetype of the femme fatale, specifically in the context of the late-Victorian Gothic and its afterlives. As an expansion of the concept of a masculine-Gothic language of flowers, this article analyses H. Rider Haggard's Ayesha, a central character within his popular romance, She, by reviewing the significance of the artificially floral in her development. Perfume and floriography in She convey not only the aura of mystically seductive danger intrinsic to the creation of the femme fatale, but also suggest the longevity,

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Kennedy, Meegan. "THE GHOST IN THE CLINIC: GOTHIC MEDICINE AND CURIOUS FICTION IN SAMUEL WARREN'SDIARY OF A LATE PHYSICIAN." Victorian Literature and Culture 32, no. 2 (2004): 327–51. http://dx.doi.org/10.1017/s106015030400052x.

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IN 1856, WHEN MANY VICTORIAN PHYSICIANS WERE STRUGGLING TO DEFINE A MODEL OF CLINICAL MEDICINE, the reviewer of one collection of case histories voiced his dismay at the physician-author's preference for “dreadful incidents” and “cases exceptional and strange” (“Works” 473). Indeed, although physicians of the clinical era did not disguise their efforts to achieve a new kind of discourse, productive of a “realist” vision, few acknowledge how often the “clinical” case history of the nineteenth century also shares the romantic discourse of the Gothic, especially its interest in the supernatural a

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Miquel Baldellou, Marta. "Mary Reilly as Jekyll or Hyde : Neo-Victorian (re)creations of Feminity and Feminism." Journal of English Studies 8 (May 29, 2010): 119. http://dx.doi.org/10.18172/jes.154.

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In his article “What is Neo-Victorian Studies?” (2008), Mark Lewellyn argues that the term neo-Victorian fiction refers to works that are consciously set in the Victorian period, but introduce representations of marginalised voices, new histories of sexuality, post-colonial viewpoints and other generally ‘different’ versions of the Victorian era. Valerie Martin’s gothic-romance Mary Reilly drew on Stevenson’s novella to introduce a woman’s perspective on the puzzle of Jekyll and Hyde. Almost twenty-years after the publication of Martin’s novel, the newly established field of research in Neo-Vi

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Dupeyron-Lafay, Françoise. "Hilary Grimes, The Late Victorian Gothic." Cahiers victoriens et édouardiens, no. 76 Automne (October 20, 2012): 160–66. http://dx.doi.org/10.4000/cve.541.

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Vaninskaya, Anna. "The Late-Victorian Romance Revival: A Generic Excursus." English Literature in Transition, 1880-1920 51, no. 1 (2008): 57–79. http://dx.doi.org/10.2487/elt.51.1(2008)0015.

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Keithline, Anne. "Mistaken for Ghosts: The Gothic Trope of Catholic Superstition in Conrad and Ford’s ”Romance”." Lublin Studies in Modern Languages and Literature 43, no. 2 (2019): 87. http://dx.doi.org/10.17951/lsmll.2019.43.2.87-96.

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<p>A perennially fruitful activity in Gothic studies is to track the development of Gothic tropes as popular literature evolves. Joseph Conrad’s career, which spanned Victorianism and early Modernism, provides examples of the evolution of certain Gothic conventions between early- and late-career work. Conrad’s collaboration with Ford Madox Ford on <em>Romance</em> (1903) is an early example of Conrad’s exposure to, and use of, Gothic tropes, especially relating to Catholic ghost-seeing. This paper demonstrates similarities between <em>Romance</em>’s uses of the tr

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Rieger, Christy. "Chemical Romance: Genre andMateria Medicain Late-Victorian Drug Fiction." Victorian Literature and Culture 47, no. 2 (2019): 409–37. http://dx.doi.org/10.1017/s106015031800150x.

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Despite Macfie's vivid assertion, studies of Victorian medicine and literature have not paid special attention to the pharmaceutical field, perhaps because of its messy associations with trade or inferiority to more respected healing practices. After all, it is Doctor Lydgate's refusal to prescribe the expected drugs inMiddlemarchthat proves his commitment to evidence-based Parisian medicine. As I aim to demonstrate, however, pharmacy and its products have a distinct and two-edged history in late-Victorian England. Medical writers increasingly assert the scientific authority and physiological

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Mustafa, Jamil. "Penny Dreadful’s Queer Orientalism: The Translations of Ferdinand Lyle." Humanities 9, no. 3 (2020): 108. http://dx.doi.org/10.3390/h9030108.

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Cultural expressions of Orientalism, the Gothic, and the queer are rarely studied together, though they share uncanny features including spectrality, doubling, and the return of the repressed. An ideal means of investigating these common aspects is neo-Victorian translation, which is likewise uncanny. The neo-Victorian Gothic cable television series Penny Dreadful, set mostly in fin-de-siècle London, employs the character Ferdinand Lyle, a closeted queer Egyptologist and linguist, to depict translation as both interpretation and transformation, thereby simultaneously replicating and challengin

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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

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Dissertations / Theses on the topic "Late Victorian gothic romance"

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O'Dell, Benjamin Daniel. "Henry Jekyll, Sherlock Holmes, and Dorian Gray: Narrative Politics and the Representation of Character in Late-Victorian Gothic Romance." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1215048065.

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Bussing, Ilse Marie. "Haunted house in mid-to-late Victorian gothic fiction." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5534.

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This thesis addresses the central role of the haunted house in mid-to-late Victorian Gothic texts. It argues that haunting in fiction derives from distinct architectural and spatial traits that the middle-class Victorian home possessed. These design qualities both reflected and reinforced current social norms, and anxiety about the latter surfaced in Gothic texts. In this interdisciplinary study, literary analysis works alongside spatial examination, under the premise that literature is a space that can be penetrated and deciphered in the same way that buildings are texts that can be read and

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Goss, Theodora Esther. "The monster in the mirror: late Victorian Gothic and anthropology." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31561.

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Thesis (Ph.D.)--Boston University<br>The end of the nineteenth century witnessed a Gothic literary revival, which included the publication of Sheridan Le Fanu's Carmilla ( 1872), Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde ( 1886), Oscar Wilde's The Picture of Dorian Gray (1891), H.G. Wells' The Island of Doctor Moreau (1896), and Bram Stoker's Dracula (1897) within a twenty-five year period. The dissertation interprets such late nineteenth-century Gothic texts in light of the rise of Victorian anthropology and an anthropological paradigm based on Darwinian evolutionary th

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Grimes, Hilary. "Late Victorian Gothic : mental science, the uncanny and scenes of writing." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5343/.

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Writers, mental scientists and spiritualists at the fin-de-siècle were haunted by their impossible desire to contain the inchoate elements of the supernatural within the fixity of print. By examining technologies of writing such as the automatic writing of the spiritualist séances, discursive technologies like the telegraph and the photograph, different genres and late nineteenth-century technologies of mental science, this thesis will show that despite writers’ attempts to use technology as a way of translating the supernatural, these tools are incomplete and the supernatural remains only a p

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Bartlett, Mackenzie Amie. "Laughing to excess : Gothic fiction and the pathologisation of laughter in late Victorian Britain." Thesis, Birkbeck (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539701.

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This thesis places late Victorian medical, biological, and psychological studies of laughter alongside classic examples ofjin-de-siecle gothic fiction in order to consider the discursive links between laughter and pathology. Through an investigation of scientific and pseudoscientific texts that discuss laughter's physicality, as well as its psychological effects, spiritualistic properties, and sound qualities, I suggest that laughter occupied an important and hitherto unexamined role in the cultural history of late Victorian Britain. Stratified into normal and inappropriate forms of expression

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Benyon-Payne, Danielle Margaret Ramsey. "The suicide question in late-Victorian Gothic fiction : representations of suicide in their historical, cultural and social contexts." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/36617.

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This thesis explores late-nineteenth-century theories on suicide that emerged alongside a perceived ‘epidemic’ of suicides in Western societies, which brought the question of suicide into the public domain. Suicide was clearly a subject that fascinated and simultaneously horrified many Victorians and became a recurring theme in late-nineteenth-century Gothic fiction. However, it has received little critical attention, with the most extensive investigation into suicide in Victorian literature having been carried out by Barbara Gates in 1988. There has been no sustained investigation into the re

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Paquin, Marianne, and Marianne Paquin. "Shame and late Victorian gothic : The picture of Dorian Gray, The beetle, and The strange case of Dr Jekyll and Mr Hyde." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37625.

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Suite aux grands changements qui bousculèrent la société, la fin du dix-neuvième siècle fut une période de grande instabilité pour l’Angleterre. Les anxiétés créées par ces bouleversements se reflétèrent dans une prolifération de la littérature Gothique. Bien que le genre soit généralement étudié en relation avec la peur, ce mémoire soutient que le gothique tire son essence d’un large éventail d’émotions — et, tout particulièrement, de la honte. Étroitement liée à la notion de moralité, la honte est profondément ancrée dans les codes sociaux et les conventions. Dans une société aussi conservat

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Bufalari, Fernando Moreira. "O romance de sensação: um estudo sobre The Woman in White." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-25092018-152500/.

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The Woman in White (1859 60), de Wilkie Collins, foi a obra inaugural do subgênero vitoriano conhecido como romance de sensação, isto é, narrativas permeadas por crimes como bigamia e identidades falsas, ambientadas em lares ingleses que, à primeira vista, parecem estar acima de suspeitas, e que introduziam novos segredos e reviravoltas a cada página para prender a atenção do leitor. Feito um panorama das condições materiais que possibilitaram o surgimento desse subgênero, postula-se que o protagonista do romance de Collins, Walter Hartright, edita os relatos dos outros narradores, estruturan

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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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Housholder, Aaron J. "The (re)mystification of London : revelations of contested space, concealed identity and moving menace in late-Victorian Gothic fiction." 2012. http://liblink.bsu.edu/uhtbin/catkey/1697794.

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This project asserts that much of the cultural anxiety found in Gothic-infused late-Victorian fiction derives from literary revelations of the nested spaces, shifting identities, and spontaneous connections inherent to the late-Victorian metropolis. The three literary texts studied here – The Hound of the Baskervilles by Arthur Conan Doyle, Raffles: The Amateur Cracksman by E.W. Hornung, and The Thirty-Nine Steps by John Buchan – all depict London as fundamentally suitable for those who seek to evade the disciplinary gaze and to pursue menacing schemes of criminality and invasion. Doyle’s text

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Books on the topic "Late Victorian gothic romance"

1

The late Victorian Gothic: Mental science, the uncanny and scenes of writing. Ashgate, 2011.

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Rituals of dis-integration: Romance and madness in the victorian psychomythic tale. Garland Pub., 1993.

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Late Victorian Gothic Tales. Oxford University Press, USA, 2009.

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Luckhurst, Roger, ed. Late Victorian Gothic Tales. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199538874.001.0001.

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He was a man of fairly firm fibre, but there was something in this sudden, uncontrollable shriek of horror which chilled his blood and pringled in his skin. Coming in such a place and at such an hour, it brought a thousand fantastic possibilities into his head...' The Victorian fin de siècle: the era of Decadence, The Yellow Book, the New Woman, the scandalous Oscar Wilde, the Empire on which the sun never set. This heady brew was caught nowhere better than in the revival of the Gothic tale in the late Victorian age, where the undead walked and evil curses, foul murder, doomed inheritance and

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Roger, Luckhurst, ed. Late Victorian Gothic tales. Oxford University Press, 2005.

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Grimes, Hilary. Late Victorian Gothic: Mental Science, the Uncanny, and Scenes of Writing. Taylor & Francis Group, 2016.

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Rose, Ava. Not Quite a Duchess: A Sweet Victorian Gothic Historical Romance. Flourish Books, 2020.

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Gilbert, Anna. The Long Shadow: A Novel of Suspense in Victorian England. St Martins Pr, 1985.

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Two Temple Place: "a perfect gem" of late Victorian art, architecture and design. Two Temple Place, 2013.

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Miles, Robert. Gothic and Anti-Gothic, 1797–1820. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0013.

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This chapter discusses the Gothic from 1797 to 1820. The Gothic reached its apogee in the late 1790s, when it secured a third share of the novel market, after which it withered. From 1797 onward, the Gothic seems inseparable from an anti-Gothic shadow that materialized in myriad forms, from ad hoc animadversions found in the reviews mocking the genre's formulaic character, to full-blown parodies. While the quantity of novels advertising themselves as products of the ‘terror-system’ declined during the first two decades of the century, the Gothic migrated downmarket, sustaining itself, post-182

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Book chapters on the topic "Late Victorian gothic romance"

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Womack, Kenneth. "‘Withered, Wrinkled, and Loathsome of Visage’: Reading the Ethics of the Soul and the Late-Victorian Gothic in The Picture of Dorian Gray." In Victorian Gothic. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598737_9.

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Schmitt, Cannon. "The Gothic Romance in the Victorian Period." In A Companion to the Victorian Novel. Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996324.ch18.

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Giakaniki, Maria. "Haunted Domesticity in Late-Victorian Women’s Writing." In The Palgrave Handbook of Steam Age Gothic. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40866-4_17.

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"Introduction." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-1.

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"(Ghost)Writing Henry James: Mental Science, Spiritualism, and Uncanny Technologies of Writing at the Fin de Siècle." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-2.

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"Sensitive to the Invisible: Photography and the Supernatural in the Holmes Stories, Arthur Conan Doyle’s Spiritualism, and Francis Galton’s Composite Portraits." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-3.

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"Identities and Powers in Flux: Mesmerism, Hypnotism, and George Du Maurier’s Trilby>." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-4.

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"Ghostwomen, Ghostwriting." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-5.

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"Case Study: Vernon Lee, Aesthetics, and the Supernatural." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-6.

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"Balancing on Supernatural Wires: The Figure of the New Woman Writer in Sarah Grand’s The Beth Book and George Paston’s A Writer of Books." In The Late Victorian Gothic. Routledge, 2016. http://dx.doi.org/10.4324/9781315556314-7.

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