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Dissertations / Theses on the topic 'Literary gothic'
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Hugo, Esthie. "Gothic urbanism in contemporary African fiction." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20691.
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This project surveys representations of the African city in contemporary Nigerian and South African narratives by focusing on how they employ Gothic techniques as a means of drawing the African urban landscape into being. The texts that comprise my objects of study are South African author Henrietta Rose-Innes's Nineveh (2011), which takes as its setting contemporary Cape Town; Lagoon (2014) by American-Nigerian author Nnedi Okorafor, who sets her tale in present-day Lagos; and Zoo City (2010) by Lauren Beukes, another South African author who locates her narrative in a near-future version of Johannesburg. I find that these fictions are bound by a shared investment in mobilising the apparatus of the Gothic genre to provide readers with a unique imagining of contemporary African urbanity. I argue that the Gothic urbanism which these texts unfold enables the ascendance of generative, anti-dualist modes of reading the contemporary African city that are simultaneously real and imagined, old and new, global and local, dark and light - modes that perform as much a discourse of the past as a dialogue on the future. The study concludes by making some reflections on the future-visions that these Gothic urban-texts elicit, imaginings that I argue engender useful reflection on the relationship between culture and environment, and thus prompt the contemporary reader to consider the global future - and, as such, situate Africa at the forefront of planetary discourse. I suggest that Nineveh, Lagoon and Zoo City produce not simply a Gothic envisioning of Africa's metropolitan centres, but also a budding Gothic aesthetic of the African Anthropocene. In contrast to the 1980's tradition of Gothic writing in Africa, these novels are opening up into the twenty-first century to reflect on the future of the African city - but also on the futures that lie beyond the urban, beyond culture, beyond the human.
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Esther, Ana. "The uniqueness of Mary Shelley's Frankenstein in the gothic literary tradition." reponame:Repositório Institucional da UFSC, 1993. https://repositorio.ufsc.br/xmlui/handle/123456789/157797.
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Previous issue date: 1993<br>A literatura gótica inglesa, cujo florescer abrangeu as últimas décadas do Século XVIII até a primeira metade do Século XIX, é geralmente alvo de um evidente menosprezo embora a grande aceitação por parte do público leitor da época. Provavelmente, algumas das razões para tal preconceito estejam relacionadas com as características um tanto quanto formulísticas do gênero bem como com os exageros ali contidos. Estes fatores, entre outros, talvez tenham ocasionado o descaso do público moderno para com a maioria das traduções góticas. Porém, o romance Frankenstein: ou o Moderno Prometeu (1818) da escritora inglesa Mary Shelley parece ter desafiado todo e qualquer preconceito quanto ao seu gênero literário e não apenas sobrevive ainda mas é, inclusive, considerado por muitos atualmente como um mito moderno. A longevidade desta obra sui generis poderia ter sido investigada sob vários ângulos diferentes e decidiu-se examiná-la sob a perspectiva do fato de Frankenstein pertencer ao gênero gótico. Para tanto fez-se imperativa a leitura de outras obras representantes do goticismo como forma de possibilitar uma análise contrastiva que pudesse apresentar as razões para a singularidade de Frankenstein dentro da literatura gótica. Em seguida realiza-se uma análise contrastiva entre Frankenstein e esses romances.
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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 theory. Before the 1860s, the study of human beings had been dominated by the discipline of ethnology; however, the ethnological paradigm, based on a Biblical understanding of human history, began to fracture with the discovery of prehistoric human remains at Brixham Cave (1858) and the publication of Darwin's On the Origin of Species (1859). Those events brought the Biblical framework into question and created a sense of cultural trauma reflected in both scientific and popular debates on the origins of humanity. The anthropological paradigm, articulated in the writings of anthropologists such as Sir John Lubbock, Edward Burnett Tylor, and James Ferguson McLennan, managed the traumatic implications of Darwinian evolutionary theory by creating a hierarchical ladder of biological and cultural evolution that affirmed the primacy of human over animal, and civilized over savage. It also, by implication, supported the colonial enterprise by placing the European at the top of that ladder. Late nineteenth-century Gothic fiction posed a fundamental challenge to the optimistic progressionism of the anthropological paradigm and the hierarchical oppositions on which it was based by implying that Englishmen and women were not as different from the animal or savage as they believed, and that evolution itself was not always upward. By doing so, it re-traumatized what the anthropological paradigm attempted to contain, and pointed toward a more diverse and egalitarian definition of the human. The Gothic has often been seen as a conservative genre: the dissertation argues that understanding the ways in which late nineteenth-century Gothic fiction challenged the anthropological paradigm can reveal its disruptive, iconoclastic potential.
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Hewitt, Natalie A. ""Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/77.
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This dissertation examines Shakespeare’s role as the most significant precursor to the Gothic author in Britain, suggesting that Shakespeare used the same literary conventions that Gothic writers embraced as they struggled to create a new subgenre of the novel. By borrowing from Shakespeare’s canon, these novelists aimed to persuade readers and critics that rather than undermining the novel’s emergent, still unassured status as an acceptable literary genre, the nontraditional aspects of their works paid homage to Shakespeare’s imaginative vision. Gothic novelists thereby legitimized their attempts at literary expression. Despite these efforts, Gothic writers did not instantly achieve the type of acceptance or admiration that they sought. The Gothic novel has consistently been viewed as a monstrous, immature literary form—either a poor experiment in the history of the novel or a guilty pleasure for those who might choose to read or to write works that fit within this mode. Writers of Gothic fictions often claim that their works emulate Shakespeare’s dramatic pathos, but they do not acknowledge that the playwright also had to navigate similar opposition to his own creative expression. While early Gothic novelists had to contend with skeptical readers and reviewers, Shakespeare had to negotiate the religious, political, and ideological limitations that members of the court, the church, and the patronage system imposed upon his craft. Interestingly, Shakespeare often succeeded in circumventing these limitations by employing the literary techniques and topoi that we recognize today as trademarks of Gothic fiction—spectacle, sublime, sepulcher, and the supernatural. Each of these concepts expresses subversive intentions toward authoritative power. For Shakespeare and the Gothic novelists, the dramatic potential of these elements corresponds directly to their ability to target the sociocultural fears and anxieties of their audience; the results are works that frighten as well as amuse. As my dissertation will show, these authors use similar imagery to surreptitiously challenge the authority figures and institutions that sought to prescribe what makes a work of fiction socially acceptable or worthy of critical acclaim.
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Roma, Rebecca Looser Devoney. "Gothic mutability the flux of form and the creation of fear /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6566.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on Dec. 18, 2009). Thesis advisor: Dr. Devoney Looser. Includes bibliographical references.
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Larcher, Sabine. "Mentally Garrisoned Imagination : A Canadian (Postcolonial) Gothic Literary Approach to Fred Stenson’s The Trade." Thesis, Högskolan Dalarna, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35973.
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Ogston, Linda C. "The clone as Gothic trope in contemporary speculative fiction." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21487.
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In February 1997, the concept of the clone, previously confined to the pages of fiction, became reality when Dolly the sheep was introduced to the world. The response to this was unprecedented, initiating a discourse on cloning that permeated a range of cultural forms, including literature, film and television. My thesis examines and evaluates this discourse through analysis of contemporary fiction, including Kazuo Ishiguro's Never Let Me Go (2005), Stefan Brijs's The Angel Maker (2008), Duncan Jones's Moon (2009), and BBC America's current television series Orphan Black, which first aired in 2013. Such texts are placed in their cultural and historical setting, drawing comparisons between pre- and post-Dolly texts. The thesis traces the progression of the clone from an inhuman science fiction monster, to more of a tragic "human" creature. The clone has, however, retained its fictional portrayal as "other," be that double, copy or manufactured being, and the thesis argues that the clone is a Gothic trope for our times. The roots of the cloning discourse often lie in Gothic narratives, particularly Mary Shelley's Frankenstein (1818), which is analysed as a canonical cloning text. Each chapter focuses on a source of fascination and fear within the cloning discourse: the influence of Gothic paternity on the figure of scientist; the notion of the clone as manufactured product, victim and monster; and the ethical and social implications of cloning. There is a dearth of critical analysis on the contemporary literary clone, with the most comprehensive study to date neither acknowledging the alignment of cloning and the Gothic nor demonstrating the impact of Dolly on fictional portrayals. My thesis addresses this, interweaving fiction, science and culture to present a monster which simultaneously embodies difference and sameness: a new monster for the twenty-first century.
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West, Melissa Ann. "Hauntings in the church counterfeit Christianity through the fin de siécle Gothic novel /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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De, Bruin-Molé Megen. "Frankenfiction : monstrous adaptations and Gothic histories in twenty-first-century remix culture." Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/106947/.
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In the twenty-first century, the remix, the mashup, and the reboot have come to dominate Western popular culture. Consumed by popular audiences on an unprecedented scale, but often derided by critics and academics, these texts are the ‘monsters’ of our age—hybrid creations that lurk at the limits of responsible consumption and acceptable appropriation. Like monsters, they offer audiences the thrill of transgression in a safe and familiar format, mainstreaming the self-reflexive irony and cultural iconoclasm of postmodern art. Like other popular texts before them, remixes, mashups, and reboots are often read by critics as a sign of the artistic and moral degeneration of contemporary culture. This is especially true within the institutions such remixes seem to attack most directly: the heritage industry, high art, adaptation studies, and copyright law. With this context in mind, in this thesis I explore the boundaries and connections between remix culture and its ‘others’ (adaptation, parody, the Gothic, Romanticism, postmodernism), asking how strong or tenuous they are in practice. I do so by examining remix culture’s most ‘monstrous’ texts: Frankenfictions, or commercial narratives that insert fantastical monsters (zombies, vampires, werewolves, etc.) into classic literature and popular historical contexts. Frankenfiction is monstrous not only because of the fantastical monsters it contains, but because of its place at the margins of both remix and more established modes of appropriation. Too engaged with tradition for some, and not traditional enough for others, Frankenfiction is a bestselling genre that nevertheless remains peripheral to academic discussion. This thesis aims to address that gap in scholarship, analysing Frankenfiction’s engagement with monstrosity (chapter one), parody (chapter two), popular historiography (chapter three), and models of authorial originality (chapter four). Throughout this analysis, Mary Shelley’s 1818 novel Frankenstein remains a touchstone, serving as an ideal metaphor for the nature of contemporary remix culture.
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Arauujo, Susana Isabel Arsenio. "Naturalism, metafiction, romance and gothic : rewriting literary genre in the short fiction of Joyce Carol Oates." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555254.
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Saggini, Francesca. "The transforming muses : stage appropriations of the Gothic novel in the 1790s." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1473/.
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This thesis offers a theoretically-aware discussion of the stage appropriations of Gothic novels and dramas in the 1790. Works discussed in detail include: *The Monk*, *The Romance of the Forest*, *The Castle Spectre* and their adaptations, re-writings and afterlives. The author examines many intersemiotic practices in the above works as well as in several others, drawing her examples from the whole Georgian period; she also explains the signifying function of costuming, lighting, music and special effects in Gothic. The concepts of intertheatricality and infratheatricality, and their relavance to Gothic are addressed in order to attempt a new definition of the genre.
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Llompart, Pons Auba. "The good seed childhood and the gothic in children’s fiction (1990s– early 2000s)." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/285098.
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Aquesta tesi estudia el gòtic a la literatura infantil de finals del s. XX i principis del XXI, i analitza com la tendència a transgredir del gòtic entra en conflicte amb el caràcter didàctic de la literatura infantil i el seu afany per promoure models de comportament socialment acceptables. Actualment, castells gòtics i cementiris, víctimes innocents perseguides pels dolents, la figura inquietant del doble, i molts altres motius propis del gòtic han passat a formar part de la literatura infantil. La infància es representa com una època plena de pors i preocupacions, i es qüestionen, aparentment, visions bucòliques i romàntiques de la infància. Segons estudis anteriors, aquesta irrupció relativament recent del gòtic en la literatura infantil reflecteix una preocupació amb la infància pròpia del tombant de segle, així com l’actual escepticisme de la nostra cultura pel que fa a la innocència dels nens, una qualitat que ja no es dóna per feta, degut, en gran part, als avenços en psicologia infantil i a esdeveniments recents que han fet palès que els nens també són capaços de cometre crims i altres actes de crueltat. El principal objectiu d’aquesta tesi és qüestionar la idea que les novel·les gòtiques per nens reflecteixen, d’una manera tan directa, les preocupacions actuals envers la infància. Tot i que les històries sobre nens estan ambientades en indrets cada cop més foscos, cal destacar que la figura del nen/a com a refugi de la bondat és més visible que mai. Per tal d’argumentar aquesta tesi, els quatre capítols que composen el meu treball ofereixen una lectura detallada de quatre de les novel·les gòtiques per nens més populars publicades en anglès des de la dècada dels 90: la saga de Harry Potter de J.K. Rowling (1997-2007), Coraline de Neil Gaiman (2002), la trilogia His Dark Materials de Philip Pullman (1995-2000) i A Series of Unfortunate Events de Daniel Handler (1999-2006). El gòtic en aquestes novel·les ofereix, certament, moltes possibilitats per qüestionar visions romàntiques de la infància i complicar els rols de ‘nen/a víctima’ i ‘adult dolent’. Tot i així, una lectura detallada dels texts revela que els elements gòtics no són gairebé mai utilitzats per qüestionar, de manera permanent, la creença en la bondat inherent del nen, d’acord amb les convencions del gènere infantil que estableixen la representació positiva dels nens gairebé com una norma. Així, la caracterització del nen/a revela una gran insistència en preservar una visió idealitzada de la infància, més que no pas un intent de subvertir aquests ideals.<br>This dissertation sets out to examine Gothic elements in children’s novels written in the 1990s and early 2000s, exploring the tension between the Gothic’s concern with the transgression of boundaries, on the one hand, and the preference of children’s literature for keeping certain boundaries fixed and promoting acceptable behavior, on the other. Gothic castles and graveyards, innocent victims persecuted by Gothic villains, the disruptive figure of the double and many other Gothic motifs are all now part of children’s novels. Childhood is depicted as a time that is not devoid of fears and anxieties, and pastoral and romanticized views of childhood are, apparently, challenged. According to previous studies, this relatively recent irruption of the Gothic in children’s literature reflects a turn-of-the-century preoccupation with childhood, as well as our culture’s current skepticism over the innocence of children, which is no longer taken for granted. This is in great part due to advances in child psychology as well as recent events that have proved children capable of perpetrating crimes and other acts of cruelty to others. The main objective of this dissertation is to question the idea that children’s Gothic novels reflect, in such a straightforward manner, these present-day anxieties over childhood. I argue that, although the child’s environment has indeed become Gothicized, the child figure as a repository of goodness is more visible than ever. To support my thesis, the four chapters composing my dissertation provide close readings of four of the most celebrated and popular works of children’s Gothic published in English during the 1990s and early 2000s; namely, J.K. Rowling’s Harry Potter series (1997-2007), Neil Gaiman’s Coraline (2002), Philip Pullman’s His Dark Materials trilogy (1995-2000) and Daniel Handler’s A Series of Unfortunate Events (1999-2006). Certainly, the Gothic in these novels offers many opportunities to question romantic visions of innocent childhood and complicate the ‘child victim’/’adult abuser’ status. Yet, a close examination of the texts reveals that Gothic elements hardly ever question permanently the belief in the child’s inherent goodness, in keeping with children’s literature conventions that establish positive visions of children as the norm. The child’s characterization in children’s Gothic thus reveals an insistence on clinging to an idealized vision of childhood, rather than an attempt to subvert these ideals.
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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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McRobert, Neil. "The new labyrinth : reading, writing and textuality in contemporary Gothic fiction." Thesis, University of Stirling, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605851.
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This thesis examines the forms and functions of self-consciousness in contemporary Gothic fiction. Though self-consciousness is an often-mentioned characteristic of Gothic writing, it has yet to be explored in sufficient depth. In particular, critics have failed to recognise the manner in which the myriad forms of textual and generic self-reflexivity at work contribute to the fiction’s fearful agenda: how self-consciousness in the Gothic is itself Gothicised. This thesis argues that, rather than being an ancillary quirk of generic coherence or an indication of creative exhaustion, self-consciousness has become an integral part of the genre’s terroristic project, a new source and representational mode of terror. In the wake of postmodern and post-structural theory, the genre’s longstanding interest in reading, writing and textuality has been renewed, re-contextualised and redeployed as a key feature of the Gothic ‘effect’. My original contribution to knowledge is a charting of the intersections between the Gothic and this critical perspective on the text. In particular I explore how the Barthesian reorientation of the text is redeployed in Gothic fiction as a source of terror. Rather than pursuing an author-centric division of chapters I have organised the thesis around types of self-conscious commentary that occur throughout the contemporary Gothic. These are: a focus on the process of writing and textual composition; the internalisation and Gothicised representation of critical theory; an acute awareness and meta-commentary on the critical and commercial contexts of Gothic; and intertextuality. Key texts include Stephen King’s Misery (1987), Mark Danielewski’s House of Leaves (2000), Chuck Palahniuk’s Haunted (2005), A.N. Wilson’s A Jealous Ghost (2005), R. M. Berry’s Frank (2005) and Peter Ackroyd’s The Casebook of Victor Frankenstein (2008). This selection of texts is representative of a varied but coherent inward turn in the Gothic fiction of recent decades. It is, however, by no means exhaustive and supplementary evidence will be provided from additional texts. Equally, it is important to contextualise this contemporary turn in relation to an established vein of self-consciousness in the Gothic, present since its inception. As such, my approach is firstly to trace a lineage of reflexivity and to draw upon that tradition in demonstrating how contemporary Gothic writers have honed this technique to a uniquely terrifying purpose.
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Morgan, Rebecca. "Radical gothic : a study of a literary genre and its purpose in the novels of Charlotte Smith (1749-1806)." Thesis, University of Newcastle Upon Tyne, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307922.
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Magie, Lynne Adele. "The daemon Eros : Gothic elements in the novels of Emily and Charlotte Brontë, Doris Lessing, and Iris Murdoch /." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/9448.
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Wilkerson, Virginia Lee. "Vestiges of the vampire : rediscovering the monstrous in contemporary lesbian poetry." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=201684.
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The majority of this thesis consists of my creative work in poetry, accompanied by researched information and concepts that serve to contextualize and illuminate the poems themselves and my creative process. Key areas of scholarship that underlie my poetry include the tropes and motifs of Gothic literature from the Romantic era to the present; the progression of women’s writing, particularly writing by women identifying as lesbian; and the conflation of female writers and characters with the concept of the ‘monstrous’ and transgressive. Also informing the two research chapters are some of the basic concepts about abjection and depression developed by philosopher and theorist Julia Kristeva. The collection of my poems contains both narrative and lyric poems. The final chapter, following on from my collection of sixty-eight poems, outlines my creative progress as I developed my particular poetic aesthetic. It is heavily informed by my growing acquaintance and comfort level with my own darkness and depression reflected in Gothic tropes, lesbian fiction, and aspects of Kristevan theory. The progression of my craft as a writer led me to strive for an effective expressive balance between the abstractions of the French Symbolists and Surrealists and a more ‘Imagistic’ focus on accurate, concrete imagery.
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Trevisoli, Maisa dos Santos. "Branca como a morte : o gótico e o palimpsesto em releituras de Branca de Neve e os Sete Anões /." Araraquara, 2019. http://hdl.handle.net/11449/182429.
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Orientador: Aparecido Donizete Rossi<br>Banca: Karin Volobuef<br>Banca: Fernanda Aquino Sylvestre<br>Resumo: O presente trabalho tem o objetivo de promover relações teórico-críticas entre o conceito de palimpsesto cunhado por Gérard Genette, a definição de Texto desenvolvida por Roland Barthes e o gótico. Por meio da análise das releituras da história de Branca de Neve, "Snow, Glass, Apples", de Neil Gaiman, e "Branca dos Mortos e os Sete Zumbis", de Fábio Yabu, buscamos dar um novo olhar ao processo de revisitação de contos de fadas: pelo viés do gótico. Assim como o palimpsesto mostra sombras dos textos anteriores, a releitura possui sombras das obras que revisitam. Essas sombras são profundas, indo além das personagens, cenários e enredo que nos são familiares. A leitura analítica de uma releitura percebe as sombras das lacunas deixadas pelos contos de fadas. Entendemos que assim como uma releitura possui sombras de textos anteriores, algo unheimlich (FREUD, 2010) na temática ou estilo, o processo revisionista pode ser estruturalmente unheimlich. A leitura do processo revisionista como algo unheimlich, estruturalmente gótico, permite uma reflexão sobre as sombras que levaram os autores a reinterpretarem o conto da Branca de Neve da maneira que fizeram, além de ajudar a estabelecer as similaridades entre o conto de fadas e o gótico. Essas relações entre gêneros permitem discutir o teor gótico amplamente presente nas releituras de contos de fadas estudadas, possibilitando o entrelaçamento dos dois universos. Com base em teorias de Fred Botting, Sigmund Freud, Roland Barthes, Gerárd... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This research aims to promote theoretical-critical relations among the concept of palimpsest coined by Gérard Genette, the definition of Text developed by Roland Barthes, and the Gothic. By analyzing Neil Gaiman's "Snow, Glass, Apples", and "Branca dos Mortos e os Sete Zumbis" by Fábio Yabu, which are retellings of "Snow White", it is intent to give a new perspective to the process of retelling fairy tales: through the notion of gothic. Just as it is possible to discern shadows of previous texts in a palimpsest, the retellings carry shadows of the works it revisits. These shadows are deep, and go beyond familiar characters, scenarios and plot. The analytical reading of a retelling notices the shadows inside the fissures left by the fairy tales. It is believed that just as a retelling contains shadows of earlier texts that causes an unheimlich (FREUD, 2010) sensation in terms of theme or style, the retelling process structure can be unheimlich. Considering the retelling process as something unheimlich, or structurally Gothic, allows researchers to better understand the shadows that led the authors to retell Snow White tale in the way they did. In addition, it helps to establish the similarities between fairy tale and gothic. The relation between these genres promotes a wider discussion about the use of Gothic content in the fairy-tale retellings studied in this work, promoting the interweaving of both universes. Based on theories of Fred Botting, Sigmund Freud, Roland Barthes,... (Complete abstract click electronic access below)<br>Mestre
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Moura, Caroline Navarrina de. "A walk with Catherine and Jane : the exposure of gothic conventions in Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172913.
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O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam.<br>This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.
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Blakeney, Luda Katherine. "Silent Era adaptations of 19th and early 20th century Gothic novels with a special emphasis on psychological and aesthetic interpretations of the monster figure." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/23630.
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My research is centred around Silent Era films adapted from nineteenth and early twentieth century Gothic literature with a special emphasis on the figure of the monster and its translation from literary to cinematic form. The corpus I have assembled for the purposes of this analysis comprises sixty-six films made in ten different countries between 1897 and 1929. Many of these films are considered lost and I have endeavored to reconstruct them as much as possible using materials located in film archives. The Introduction lays out the ground covered in the thesis and provides a working definition of ‘monstrosity’ in this context. The first chapter deals with the historical, economic, cultural, social and technological contexts of the films under discussion. The second chapter approaches the eight literary monster figures who form the core of this thesis through the lens of Adaptation Theory. The third chapter examines the elements of cinematic language that were particularly relevant to translating monster characters and Gothic literary narratives into silent film, placing this corpus into the context of silent film history and theory. The fourth chapter reviews a cross-section of intermedial systems of classification that have been applied to monster figures, and proposes a new system that would reflect the multifarious nature of the silent film Gothic literary monster. Chapters Five through Nine offer a theoretical framework for classifying the principal characteristics of the silent film Gothic monster by applying various philosophical and aesthetic concepts. The final chapter summarises the material presented in earlier chapters and offers relevant conclusions demonstrating how these films employ the unique characteristics, conventions, and limitations of the silent film medium in their representations of the Gothic literary monster.
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Prungnaud, Joëlle. "Gothique et décadence recherches sur la continuité d'un mythe et d'un genre au XIXe siècle en Grande-Bretagne et en France /." Paris : H. Champion, 1997. http://catalog.hathitrust.org/api/volumes/oclc/37815430.html.
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Lawrence, Jennifer Thomson. "The Third Person in the Room: Servants and the Construction of Identity in the Eighteenth-Century Gothic Novel." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04172008-130053/.
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Thesis (Ph. D.)--Georgia State University, 2008.<br>Title from file title page. Malinda Snow, committee chair; Murray Brown, Tanya Caldwell, committee members. Electronic text (223 p.) : digital, PDF file. Description based on contents viewed July 11, 2008. Includes bibliographical references (p. 215-223).
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Hallberg, Therese. "Mellan livet och döden : Den litterära gotikens närvaro i dokumentära skildringar av självskada." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30505.
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Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.
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Owen, Kate Marie Novotny. "Modes of the Flesh: A Poetics of Literary Embodiment in the Long Eighteenth Century." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494180648937066.
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Woo, Chimi. "Cross-Cultural Encounter And The Novel: Nation, Identity, And Genre In Nineteenth-Century British Literature." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1204725332.
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Pingitore, Gavin Viviane. "Charles Dickens, un auteur de transition à la croisée du gothique et du policier." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30051/document.
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Afin d'explorer la transition du genre Gothique vers le Policier dans la fiction de Dickens, notre étude suivra un plan général en trois grandes parties, divisées elles-mêmes en trois chapitres chacune. Il s'agira tout d'abord de présenter le contexte sociétal qui a conduit à la collision de deux genres littéraires, le Gothique et le Policier. Pour cela nous définirons les caractéristiques du Gothique dickensien. Dickens met en scène un univers doublement familier – un univers qui appartient au passé, un monde réel connu de ses lecteurs, mais également un univers qui appartient à l'histoire de la fiction, qui relève d'une intertextualité forte, que l'on pourrait qualifier de typique, aisément partagée par ses lecteurs. En second lieu, nous nous tournerons vers les effets de cette transition violente sur la mémoire des personnages, en définissant d'abord l'expression du trauma dans la fiction de Dickens. Nous verrons que le trauma repose en particulier sur le trouble identitaire que créent le sentiment d'une faillite de l'appartenance, ainsi que la disparition des repères que les Victoriens, et les personnages que Dickens met en scène, pensaient immuables. Dans un troisième temps, nous montrerons comment le Gothique et le Policier interagissent dans la fiction de Dickens, en analysant les éléments de société qui expliquent, à notre avis, cette rencontre presque contre nature – puisqu'on pourrait supposer que l'explication rationnelle obtenue au terme d'une fiction policière résolve les tensions gothiques. Nous verrons qu'il n'en est rien, et que la résolution des enquêtes ne libère pas complètement la fiction d'un après-coup gothique. Afin d'illustrer cette ligne d'analyse, nous étudierons la passation des pouvoirs entre les hommes de loi et les détectives, une passation des pouvoirs visible à la fois dans la société victorienne et dans le texte dickensien, et enfin la rémanence du Gothique qui fait des détectives les antiquaires d'un nouveau genre<br>In order to investigate the transition from the Gothic genre to the detective fiction in Charles Dickens's works, our study will first concentrate on the Victorian social context that led to the collision of two literary genres, the Gothic and the detective fiction. We will define Dickensian Gothic. Actually, Dickens stages a twofold familiar universe. One universe belongs to the past – a real world that is well known to the readers. The second universe shows an insertion in literary history of an intertextual fabric – described as typical and easily shared by his readers. We will then deal with the effects of this violent collision upon the characters' memories and will define the expression of trauma in Dickens's fiction. Trauma primarily rests upon identity confusion. It originates from a sense of failure of identity belonging together with a sense of loss of society bearings that Dickens's characters experience and thought to be immutable. Finally, we will show how Gothic and Detective fictions interact in Dickens's fiction. We will analyse the societal elements that explain this almost against nature meeting for we could assume that the rational explanation that comes at the end of the detective novel should solve the Gothic tensions. But in fact, the solving of the inquests doesn't free the fiction from a Gothic aftermath. We will then study the transfer of powers from lawyers to detective police officers. This transfer of powers is noticeable both in Victorian society and the Dickensian text. We will then conclude with the persistence of Gothic in Dickens's fiction that makes detective police officers some sort of antiquarians of a new genre
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Swain, Brian Sidney. "Jordanes Redeemed: A Reconsideration of the Purpose and Literary Merit of the Getica." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245386187.
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Dycus, Dallas. "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/47.
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The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.
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Pereira, Ismael Bernardo. "Connections between the gothic and science fiction in Frankenstein, Strange case of Dr. Jekyll and Mr. Hyde and the island of Dr. Moreau." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/179441.
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A presente dissertação tem como objetivo estabelecer um diálogo entre três obras da literatura britânica do século XIX: o romance Frankenstein (1818), da autora Mary W. Shelley; a novela O Médico e o Monstro (1886), de autoria de Robert Louis Stevenson; e o romance A Ilha do Dr. Moreau (1896), de H. G. Wells. Tal comparação será feita com base nas convenções advindas dos gêneros Gótico e Ficção científica, presentes nas obras. Como principal alicerce teórico para a definição de gêneros entendem-se as considerações de Tzvetan Todorov, que defende que os gêneros são inevitáveis como horizonte de interpretação, além de serem entidades em constante mudança numa cadeia de influências através da qual novos gêneros são criados a partir de outros pré-existentes. O presente trabalho parte desse pressuposto para determinar de que maneira os gêneros Gótico e Ficção científica estão presentes nas obras, observando como os traços do Gótico, ao se adaptarem através do tempo, deram lugar a convenções ainda semelhantes, mas que já apontavam para o que posteriormente seria considerado um novo gênero literário. Primeiramente, são feitas considerações sobre conceitos de gênero textual/literário através do tempo, as quais mostram o quanto seu estudo permaneceu constante. A seguir são definidas certas convenções dos dois gêneros, assim como o modo como dialogam entre si. A segunda parte do trabalho analisa as duas primeiras obras em ordem cronológica, Frankenstein e O Médico e o Monstro, de maneira a perceber a predominância de convenções do Gótico – especialmente relacionadas ao conflito interior dos personagens, como o "duplo" – ao mesmo tempo que a emergência de temas da ciência, como os de criador/criatura e ambição científica. O último capítulo verifica como a primeira fase da Ficção científica de H. G. Wells em geral e A Ilha do Dr. Moreau em particular resgatam convenções dos dois gêneros supracitados, ao mesmo tempo servindo como consolidador das convenções do último. Conclui-se, portanto, que houve uma evolução que possibilitou a emergência de um novo gênero ligado ao contexto histórico das obras, o que legitima a consideração dos gêneros como entidades mais livres e não restritivas, que podem estar presentes em diversas obras ao mesmo tempo e ampliar seu horizonte de interpretação.<br>This thesis establishes a dialogue among three books from 19th century British literature: the novel Frankenstein (1818), by M. W. Shelley; the novella Strange Case of Dr. Jekyll and Mr. Hyde (1886), by Robert Louis Stevenson; and the novel The Island of Dr. Moreau (1896), by H. G. Wells. This comparison is made based on the specific Gothic and Science fiction conventions present in the books. The main theoretical support for the definition of genres employed here comes from Tzvetan Todorov. The author argues that genres are inevitable as horizons of interpretation, entities in constant change which tend to create new genres from pre-existent ones, in a chain of influences. This thesis considers this supposition to determine how Gothic and Science fiction make themselves present in the works analyzed, in a way that Gothic traits, being adapted through time, give way to similar but yet innovative conventions, which subsequently would be considered a new literary genre. Primarily, considerations concerning the concept of genres through history are made, all of which show how this study was kept constant. Hereafter, certain conventions regarding both genres are defined, as well as the manner they dialogue amongst themselves. The second part of the thesis is dedicated to the analysis of Frankenstein and Strange Case of Dr. Jekyll and Mr. Hyde, and establishes the predominance of Gothic conventions – especially the ones related to the inner conflict of the characters, such as the "double" –, while considering the emergence of scientific themes, such as the creator/creature relationship and scientific ambition. The last section verifies how the first cycle of H. G. Wells' Science fiction in a broad sense, and The Island of Dr. Moreau in a strict sense, reemploy conventions of both genres, serving to consolidate the latter. Therefore, it is concluded that there was an evolution which enabled the emergence of a new genre, considering the historical contexts and the books analyzed. This consideration justifies genres as wide-ranging, non-restrictive entities, which may be present in various works simultaneously and broaden their horizon of interpretation.
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Dujarric, Florence. "La ville de Rebus : polarités urbaines dans les romans d'Ian Rankin (1987-2007)." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-01015364.
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La présente étude analyse les représentations de la ville dans la série policière d'Ian Rankin dont l'inspecteur John Rebus est le protagoniste. La polarité étant l'un des principes organisateurs de l'écriture rankinienne, notre analyse s'articule autour de plusieurs couples de notions antinomiques. Nous remettons d'abord en cause la légitimité de l'antinomie qui oppose la littérature à la " littérature de masse ", dans laquelle est souvent classé le roman policier. Cela nous conduit à redéfinir le roman policier, et mettre en perspective la série dans le contexte du monde littéraire et artistique écossais contemporain. Puis nous étudions l'articulation entre topographie réelle et lieu imaginaire dans l'Edimbourg de Rankin. Toute une géographie urbaine se dessine dans les romans ; l'arpentage incessant de l'espace par le protagoniste fournit l'occasion de références très spécifiques à la topographie et à la toponymie, et la sérialité tisse peu à peu un dense réseau de points nodaux ainsi qu'une multiplicité de trajets potentiels que nous avons représentés par des cartes fournies en annexe. Mais dans d'autres cas, l'espace se fait générique, se réfère plus à des conventions cinématographiques qu'à la carte de la ville. Nous envisageons enfin la ville d'Edimbourg comme un personnage ambivalent dans la lignée des personnages du roman gothique. La filiation gothique est perceptible dans l'esthétique de la ville, et la surface de la carte est compartimentée suivant un ensemble d'axes polarisants. Toutefois, cette carte se déploie elle-même par-dessus un double souterrain et non cartographiable d'Edimbourg, à la fois mémoire et inconscient de la ville.
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LeDrew, Rebecca. "Elements of the Gothic in the Works of Judith Thompson." Thesis, 2012. http://hdl.handle.net/10012/6573.
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This thesis is an examination of the Gothic elements present in a selection of works by Canadian playwright Judith Thompson. The Gothic genre is marked by continual flux and adaptation, ensuring that its ability to inspire terror, as well as its relevance as a form of cultural critique, remains undiminished. Gothic texts seek to uncover the anxieties and uncertainties that societies would prefer to repress, and then forcing a confrontation with those elements. Frequently this pattern of repression and return takes the form of various kinds of hauntings, as well as the monstrous. As this emphasis on the “return of the repressed” would suggest, psychoanalysis will figure prominently in my analysis of Thompson’s work and is woven throughout the four chapters. Chapter One concentrates on establishing a working definition of the Gothic, its history and development, and the three subcategories of the genre that I will be focusing on in the subsequent chapters: the postmodern Gothic, the feminist Gothic and the Canadian Gothic. All three Gothic subgenres share their affinity for translating late twentieth-century anxieties into the language of the Gothic. They also share a resistance to closure or solutions of any kind, even if such solutions would seem to be advantageous to the author’s putative ideological stance.
The works by Thompson I have chosen evidence her preoccupation with postmodern, feminist and contemporary Canadian concerns. She expresses these concerns in a unique style that blends contemporary literary techniques with the more timeless elements of the Gothic tradition.
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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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HOMZOVÁ, Markéta. "The Elements of a Detective and a Gothic Genres in Christopher Pike´s Series Remember Me." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-396481.
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The diploma thesis deals with the analysis of particular detective and Gothic elements in Christopher Pike's adventurous series Remember Me. The main aim of the thesis is to analyse themes and motifs of Pike's work with respect to the Gothic tradition and the development of detective prose. The thesis is formally divided into theoretical and practical parts. The theoretical chapter is devoted to the genre of the detective and Gothic literature, as well as metaphysical detective story. The theoretical part is followed by the practical analysis of selected Pike's works. The practical analysis involves the characteristics of the main protagonists and the influence of horror and metaphysical detective elements on the search of individual identity.
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Smith, Julie Lynne. "Fashioning the gothic female body : the representation of women in three of Tim Burton's films." Diss., 2016. http://hdl.handle.net/10500/22190.
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This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other.<br>English Studies<br>M.A. (English Studies)
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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 illustrates the interconnectedness of the spaces within London as well as the passable threshold between London and the English countryside; both the villain Stapleton and the hero Sherlock Holmes use these connections to attack and defend, respectively, the city and its inhabitants. Hornung’s stories depict the machinations employed by the gentleman-thief Raffles as he alters his identity and his codes of behaviour in order to free himself to pursue criminal ends and thus as he challenges cultural barriers. Buchan’s text, building on the others, explores the dissolution of cultural boundaries and identities incumbent upon the spontaneous connections made between those who attack English culture and those, like Richard Hannay, who defend it. There emerges in these texts a vision of London (and by extension Great Britain) as a swirling vortex of motion, an unknowable labyrinth perpetually threatened by menacing agents from without and within. I have employed Victor Turner’s theories of liminality and communitas to describe how criminal agents, and their equally menacing “good-guy” pursuers, separate themselves from structured society in order to move freely and to gain access to the contested thresholds they seek to infiltrate. I also invoke theories of the Gothic, surveillance, and travel, as well as Jeffrey Cohen’s monster theory, to characterize the anxiety embedded in such invasions.<br>The transformation of contested space : Baker Street, Grimpen Mire and the battle for thresholds in The hound of the Baskervilles -- Hornung's code-switching monster : threatening ambiguity and liminoid mobility in Raffles, the amateur cracksman -- Towards a more inclusive Britishness : Richard Hannay's transformative connections and evolving identity in The thrity-nine steps.<br>Department of English
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Kearney, Beth F. "Figures de femmes chez Valentine Penrose : à la croisée du saphisme littéraire et du roman gothique." Thèse, 2019. http://hdl.handle.net/1866/23737.
Full textAbstract:
Valentine Penrose est une poète, romancière et collagiste surréaliste moins connue que certaines de ses homologues telles Frida Kahlo ou Claude Cahun. Si les quelques études qui lui ont été consacrées reconnaissent l’omniprésence du féminin et le caractère inquiétant de certaines manifestations de la femme dans son œuvre, les sources de ces représentations n’ont guère été explorées. Pour combler cette lacune, notre mémoire s’applique à analyser l’œuvre de Penrose afin d’y mettre en lumière la présence textuelle et picturale du saphisme littéraire et du roman gothique, deux influences majeures de l’auteure-artiste. En plus d’étudier en détail les collages insérés dans le recueil de poèmes Dons des féminines, nous explorerons également les nombreuses images in absentia du corpus, car nous constatons que l’écriture penrosienne a très souvent recours aux effets de style « picturaux ». Par conséquent, au fil de nos analyses, nous allons osciller entre une étude littéraire et une approche intermédiale des rapports texte/image, afin de mettre en relief la réactualisation polymorphe de deux traditions ; la présence du saphisme et du gothique transparaît à travers l’emploi de certaines figures de femme, les partis pris thématiques de Penrose, le choix des décors et des trames narratives. Au terme de la présente étude, nous aurons mis en évidence trois figures de femmes propres à l’univers penrosien : la femme-nature, la fugueuse et la rebelle exemplifient, à nos yeux, la manière dont l’œuvre de Penrose se situe à la croisée du saphisme littéraire et du roman gothique.<br>Valentine Penrose was a surrealist poet, novelist and collagist, less well-known than many of her female counterparts such as Frida Kahlo or Claude Cahun. Albeit few, there are studies on Penrose that recognize both the omnipresence of women and their often disquieting portrayal. The origins of these representations remain, however, largely under-explored. In order to fill this considerable lacuna in existing knowledge on Penrose’s work, this thesis will analyze her œuvre, highlighting the textual and pictorial presence of two major influences: literary Saphism and the Gothic novel. In addition to analyzing the collages that accompany the poetry in Dons des féminines, we will also study the corpus’ many images in absentia, as we believe that Penrose’s style very often has recourse to “pictorial” literary devices. Consequently, throughout our analyses, we adopt both a literary and an intermedial approach, looking closely at both textual and pictorial representations of women in order to demonstrate the polymorphous borrowing of two traditions; Saphism and the Gothic appear via the representation of certain characters, Penrose’s thematic biases and the choice of particular spatial environments and narrative structures. The present study thereby sheds light on the representation of three female figures specific to Penrose’s universe: the woman of nature (la femme-nature), the fugitive (la fugueuse) and the rebel (la rebelle) each exemplify the way in which Penrose’s œuvre is located at the crossroads of literary Saphism and the Gothic novel.