Bibliografías temáticas / Gothic fiction (literary genre), spanish – history and criticism

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Literatura académica sobre el tema "Gothic fiction (literary genre), spanish – history and criticism"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Gothic fiction (literary genre), spanish – history and criticism"

1

Shaytanov, I. O. "History of Russian translations of fiction in 1800–1825." Voprosy literatury, no. 6 (December 8, 2023): 174–79. http://dx.doi.org/10.31425/0042-8795-2023-6-174-179.

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The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre tha
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2

Hauke, Alexandra. "A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic." Humanities 9, no. 2 (2020): 45. http://dx.doi.org/10.3390/h9020045.

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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist
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3

Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno
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Mercer, Erin. "“A deluge of shrieking unreason”: Supernaturalism and Settlement in New Zealand Gothic Fiction." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.846.

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Like any genre or mode, the Gothic is malleable, changing according to time and place. This is particularly apparent when what is considered Gothic in one era is compared with that of another. The giant helmet that falls from the sky in Horace Walpole’s Castle of Otranto (1764) is a very different threat to the ravenous vampires that stalk the novels of Anne Rice, just as Ann Radcliffe’s animated portraits may not inspire anxiety for a contemporary reader of Stephen King. The mutability of Gothic is also apparent across various versions of national Gothic that have emerged, with the specificit
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5

West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix
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6

Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and
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7

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Tesis sobre el tema "Gothic fiction (literary genre), spanish – history and criticism"

1

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
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2

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-conscio
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3

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 Got
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4

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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Libros sobre el tema "Gothic fiction (literary genre), spanish – history and criticism"

1

Rodríguez, Gabriel Andrés Eljaiek. Selva de fantasmas: El gótico en la literatura y el cine latinoamericanos. Pontificia Universidad Javeriana, 2017.

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2

Chaplin, Susan. Gothic literature. Pearson Longman, 2011.

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3

1964-, Wallace Diana, and Smith Andrew 1964-, eds. The female gothic: New directions. Palgrave Macmillan, 2009.

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4

Spanish Gothic. Springer Nature, 2017.

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Contemporary Spanish Gothic. Edinburgh University Press, 2016.

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Davies, Ann. Contemporary Spanish Gothic. Edinburgh University Press, 2018.

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Davies, Ann. Contemporary Spanish Gothic. Edinburgh University Press, 2016.

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Davies, Ann. Contemporary Spanish Gothic. Edinburgh University Press, 2016.

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9

Spanish Gothic: National Identity, Collaboration and Cultural Adaptation. Palgrave Macmillan, 2017.

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10

Six, Abigail Lee. Gothic Terrors: Incarceration, Duplication, and Bloodlust In Spanish Narrative. Bucknell University Press, 2010.

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