Bibliografías temáticas / Gothic romance

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Literatura académica sobre el tema "Gothic romance"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de julio de 2024

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Artículos de revistas sobre el tema "Gothic romance"

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Diken, Bülent. "Sacrifice as Gothic Romance." Environment and Planning D: Society and Space 26, no. 4 (2008): 747–51. http://dx.doi.org/10.1068/d2604agc.

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Chaplin, Sue. "‘Daddy, I'm falling for a monster’: Women, Sex, and Sacrifice in Contemporary Paranormal Romance." Gothic Studies 21, no. 1 (2019): 10–27. http://dx.doi.org/10.3366/gothic.2019.0004.

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This paper examines a key trope within much contemporary paranormal romance: the absence, or ineffectiveness, of the father. The first part of the essay develops an analysis of this aspect of the genre (in the Twilight Saga especially) through the work of René Girard, Luce Irigaray, and Juliet MacCannell. Of particular importance here is the extent to which Twilight and similar narratives stage female self-sacrifice as a pre-condition for the redemption of the hero and the restoration of patriarchal bonds initially compromised by some crisis in the effective functioning of paternal authority. The second section extends this analysis to consider ways in which paranormal romances featuring werewolves and vampires shift away from this conservative and reductivist romance paradigm so as to affirm and contest heteronormative, paternalistic models of masculinity and sexual desire.
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Botting, Fred. "Dracula, Romance and Radcliffean Gothic." Women's Writing 1, no. 2 (1994): 181–201. http://dx.doi.org/10.1080/0969908940010205.

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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 trope of Catholic superstition and those of three classic Gothic novels, and also outlines the trope’s lasting effect on Conrad’s later work.</p>
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Braček, Tadej. "Reaction to Crisis in Gothic Romance: Radcliffe’s The Castles of Athlin and Dunbayne." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (2016): 35–49. http://dx.doi.org/10.4312/elope.13.2.35-49.

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Gothic romances were primarily women’s domain. This is proven by the fact that from the end of the eighteenth century to the beginning of the nineteenth century more than fifty female authors wrote Gothic romances. In the first part the paper depicts the emergence of romances, clarifies the notion of the Gothic and explains the theory of Gothic romances. The second part focuses on Ann Radcliffe’s first novel, The Castles of Athlin and Dunbayne. This section analyses in what way men and women react to crises. It concludes that reactions are primarily based not on sex but on the benevolence and malevolence of literary characters. The former react with higher intensity on the physical level (passing out, becoming ill) and the latter react vehemently in emotional sense towards their rivals. The originality of the article lies in the systematic analysis of characters’ responses to crisis and in the study of atypical features of this Gothic novel.
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Wright, Angela. "The History of the Unfortunate Lady Grange: Gothic Exhumations of a Concealed Scottish Fate." Gothic Studies 24, no. 1 (2022): 31–43. http://dx.doi.org/10.3366/gothic.2022.0119.

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Forgotten, concealed histories can return with a vengeance to haunt the imagination of a nation. This article explores the seldom-discussed history of the abduction, long-term imprisonment and falsified burial of Lady Grange, who was kidnapped from Edinburgh by allies of her estranged husband, and then slowly transported to St Kilda where she spent the following nine years. It is a tale upon which James Boswell commented when he toured Scotland with Samuel Johnson, and which, in the wake of Boswell's commentary, entered the Gothic imaginary, first through the romances of Ann Radcliffe. Although marital imprisonment was sadly all too widespread during the eighteenth century, with numerous sources to choose from, the history of Lady Grange, blocked for four decades after her death, returned to haunt the pages of romances and periodical articles in the eighteenth and nineteenth centuries. After examining what James Boswell wrote about Lady Grange, the article focuses on two romances of Ann Radcliffe, her 1789 The Castles of Athlin and Dunbayne and her 1790 A Sicilian Romance. The article then looks at William Erskine's 1798 Epistle from Lady Grange and concludes by reflecting upon the unblocking of the story in the nineteenth-century periodical press.
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Chen, Shuping. "A Bakhtinian Approach to the Study of Eighteenth-Century English Gothic Novels." Studies in Linguistics and Literature 5, no. 4 (2021): p42. http://dx.doi.org/10.22158/sll.v5n4p42.

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M. M. Bakhtin in the third essay of The Dialogic Imagination coined the term “chronotope” to denote the interaction and integration of time and space in novelistic narratives. Bakhtin’s concept of chronotope emphasizes that time and space coordinate with each other rather than insist on their individualities in narratives. The major chronotope of the novel usually determines its generic characteristics. The current study attempts to utilize Bakhtin’s notion of chronotope to anatomize the time-space structure of major Gothic novels in the eighteenth century, namely, Horace Walpole’s The Castle of Otranto (1764), Ann Radcliffe’s Athlin and Dunbayne (1789), A Sicilian Romance (1790), The Romance of the Forest (1791), and The Mysteries of Udolpho (1794), for the purpose of detecting and summarizing the common features of the Gothic genre. Manifold approaches and theories had been applied in this area, but it is the first time that Bakhtin’s chronotope was employed in the stylistic study of eighteenth-century Gothic novels written by Walpole and Radcliffe.
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Runstedler, Curtis. "The Benevolent Medieval Werewolf in William of Palerne." Gothic Studies 21, no. 1 (2019): 54–67. http://dx.doi.org/10.3366/gothic.2019.0007.

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This article argues that the werewolf of the medieval romance displays behaviour comparable with modern studies of the wolf. In the dualistic medieval world of nature versus society, however, this seems inconsistent. How does the medieval werewolf exhibit realistic traits of the wolf? I examine the realistic lupine qualities of the werewolf Alphouns in the Middle English poem William of Palerne to justify my argument. Citing examples from his actions in the wilderness, I argue that Alphouns's lupine behaviour is comparable to traits such as cognitive mind-mapping and surrogate parental roles, which are found in contemporary studies of wolves in the wild. Recognising the ecology of the (were)wolf of the medieval romance helps us to understand better the werewolf's role as metaphor and its relationship to humans and society.
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Galant, Justyna Laura. "The Political Gothic of Dystopian Romance. Joseph Shield Nicholson’s ”Thoth” (1888)." Lublin Studies in Modern Languages and Literature 43, no. 2 (2019): 41. http://dx.doi.org/10.17951/lsmll.2019.43.2.41-49.

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<p>The text of <em>Thoth. A Romance</em>, a late nineteenth-century dystopia by Joseph Shield Nicholson, is here analysed as a generic amalgam characterised by conspicuous repetitiousness and the motif of multiplication of a circular pattern on the levels of plot, setting, imagery and characterisation. A meeting of the Gothic and the dystopian in the text results in an expansion of the former convention, politicization of the Gothic and blending of the psychoanalytic with the dystopian.</p>
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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-Victorian fiction has questioned the extent to which Neo-Victorian recreations of the Victorian past respond to postmodern contemporary reflections and ideas about the period. This article aims to examine the ways in which this Neo-Victorian gothic text addresses both the issues of Victorian femininity and feminist principles now in the light of later Neo-Victorian precepts, taking into consideration that Martin’s novel introduces a woman’s perspective as a feminist response to Stevenson’s text but also includes many allusions to the cult of domesticity as a legacy of the Victorian gothic romance.
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Tesis sobre el tema "Gothic romance"

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Watt, James. "Disputing Gothic : the contestation of romance 1764-1832." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243053.

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Ifrim, Alina Mihaela <1984&gt. "Jane Campion's "The Piano",a Gothic Romance Film." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9419.

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This dissertation aims at examing Jane Campion's “The Piano” as one of the few films directed by a woman to achieve critical and financial success. It will demonstrate that the film is inspired by Gothic Romantic writing in the tradition of the Bröntes and explore the relationship between fetishism and love. Chapter 1 introduces Jane Campion and her oeuvre, providing an overview of “The Piano”. Chapter 2 looks at the Gothic tradition and discusses the Gothic romance on screen. Chapter 3 returns to Jane Campion's “The Piano” exploring Gothic and Romantic elements of the film.
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Hiatt, Robert F. "Gothic Romance and Poe's Authorial Intent in "The Fall of the House of Usher"." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/135.

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In my thesis I will discuss Edgar Allan Poe’s “The Fall of the House of Usher” in relation to the expectations that scholars have of the gothic genre. I will break this project into four chapters, along with an introduction: (Ch.1) a critical review of scholarship on Poe’s “Usher” that will demonstrate the difficulty in coming to a critical consensus on the tale, (Ch.2) a discussion of Brown’s outline of Gothic conventions, (Ch.3) a look at Poe’s “The Philosophy of Composition” juxtaposed with Aristotle’s Poetics to illumine aspects of Poe’s approach to writing and how it has been informed, and (Ch.4) a close reading of Poe’s “Usher.”
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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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Moody, Kathryn Irene. "A twice-told gothic romance the anatomical differences in Jules Barbey D'Aurevilly's L'ensorcelée and Emily Brontë's Wuthering heights /." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0002723.

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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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Lyon, Elizabeth Lain. "Mothers, Sons, and the Gothic Family in Brown, Poe, and Wharton." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/67.

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Within Gothic literature, the mother is frequently missing. In Charles Brockden Brown’s Edgar Huntly, Edgar Allan Poe’s “Morella,” “Ligeia,” and “Eleonora,” and Edith Wharton’s “Bewitched,” men are left without parents, and they attempt to recuperate a mother-figure. To do so, the men in these texts psychologically project the role of their mother onto other women. Wives, sisters, and daughters all have the potential to become mothers to these men. This is a catastrophe for the women involved, for male perception fails to distinguish females as autonomous, unique beings. By conflating roles in the family structure, men destroy women and thus are left without the nurturing mother-figure – or indeed any female – they desperately need.
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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, estruturando a narrativa com mecanismos emprestados do romanesco e do Gótico, apresentando as evidências como se o fizesse a um tribunal e organizando os testemunhos da forma que melhor lhe convém, para assim legitimar sua ascensão social.<br>The Woman in White (1859-60), by Wilkie Collins, was the inaugural piece of the Victorian subgenre known as the sensation novel, that is, narratives pervaded by crimes as bigamy and fake identities, set in English homes that, at first sight, seem to be above suspicion, and that introduced new secrets and plot twists at every page to hold the readers attention. Following an overview of the material conditions that enabled this subgenre to emerge, I argue that the protagonist in Collinss novel, Walter Hartright, edits other narrators accounts by structuring the narrative with procedures borrowed from romance and from the Gothic, by producing evidence as if in a Court of Justice, and by assembling the testimonials in the way that best suits his interests in order to legitimize his social ascension.
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Brito, Fernando Bezerra de. "Melmoth the Wanderer, um sermão gótico irlandês." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-18092013-112228/.

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Neste trabalho, desenvolvemos uma reflexão sobre uma das principais obras do romance gótico e da prosa de ficção romântica em língua inglesa Melmoth the Wanderer (1820), do clérigo dublinense Charles Robert Maturin (1782-1824). Buscamos analisar Melmoth como um sermão gótico irlandês, isto é, um híbrido de romance gótico e sermão sacro, cuja forma é estruturada pelo contexto sócio-histórico da Irlanda do início do século XIX, época caracterizada pelo acirramento das tensões entre católicos e protestantes. Nessa análise, consideramos também a produção sermonística e ensaística do autor. A religião, que se mostra o princípio organizador do romance, foi entendida em sua natureza dialética entre o eterno, as doutrinas teológicas e suas proposições transcendentais, e o temporal, a práxis dos fiéis no mundo. Demonstramos como o escritor-reverendo utiliza uma série de procedimentos retórico-argumentativos da oratória sagrada na tessitura do romance a fim de amplificar o seu grau persuasivo, transformando-o em arma de propaganda política contra a campanha pela Emancipação Católica. Discutimos ainda a fortuna crítica e a recepção do romance em vários países europeus, em especial na França, onde influenciou sobremaneira escritores como Honoré de Balzac, Victor Hugo e Charles Baudelaire.<br>This study looks at one of the masterpieces of the Gothic novel and the Romantic prose fiction in the English language: Melmoth the Wanderer (1820), written by the Dubliner cleric Charles Robert Maturin (1782-1824). One tries to analyze Melmoth as an Irish Gothic sermon, ie, a hybrid of gothic novel and sermon whose shape is structured by the sociohistorical context of 19th century Ireland, a period characterized by the deepening of tensions between Catholics and Protestants. This analysis also takes into account Maturin´s sermons and essays. Religion, which is the organizing principle of the novel, is understood in this study by its dialectic between the eternal (theological doctrines and their transcendental propositions), and the temporal (the practice of the faithful in the world).The study argues that the writer-cleric uses a series of rhetorical-argumentative procedures of sacred oratory in the making of the novel in order to increase its persuasive appeal, turning it into a weapon of political propaganda against the campaign for Catholic emancipation. It also assesses the novel´s reviews and reactions in several European countries, particularly in France, where it greatly influenced writers such as Honoré de Balzac, Victor Hugo, and Charles Baudelaire.
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Marnieri, Maria Teresa. "Critical and iconographic reinterpretations of three early gothic novels. Classical, medieval, and renaissance influences in William Beckford’s Vathek, Ann Radcliffe’s romance of the forest and Matthew G. Lewis’s the Monk." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399574.

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El propósito de esta disertación doctoral es lo de investigar y comprender de mejor manera las influencias múltiples que, juntas al desarrollo y a la divulgación de la traducción literaria (puestas de relieve por Stuart Gillespie y David Hopkins), tuvieron un papel importante en el ascenso de las primeras novelas góticas al final del siglo dieciocho. Considerando que este trabajo está profundamente influenciado e inspirado por la crítica literaria reconocida a nivel internacional sobre la literatura gótica, esta investigación evita asumir perspectivas criticas típicas del siglo veinte y del periodo actual. Procediendo atrás en el tiempo, examina los autores, su ambiente cultural, sus conocimientos y sus puntos de vista que pertenecen al siglo dieciocho. El enfoque se concentra sobre las primeras manifestaciones del género gótico en las décadas inmediatamente sucesivas a la novedad introducida por Horace Walpole con su novela fantástica El Castillo de Otranto en 1764. El periodo fin de siècle limitado (1786-1796) de los primeros trabajos góticos que se explora en esta tesis es inversamente proporcional al ancho nivel de creatividad e invención de sus autores. Esta disertación tiene como objetivo lo de demonstrar que la omnipresencia y la reiteración de temas y argumentos clásicos, medievales y renacentistas fueron elegidos y adaptados a sus historias conscientemente por William Beckford (Vathek, 1786), Ann Radcliffe (El Romance de la Selva, 1791), y Matthew G. Lewis (El Monje, 1796), cuyas novelas representan un sincretismo único y original de ideas e influencias literarias, culturales e iconográficas que los tres autores absorbieron de sus contemporáneos así como de los escritores y poetas del pasado. Las tres novelas analizadas en esta tesis fueron escritas antes, durante y después de la revolución francesa que ha sido frecuentemente considerada como un punto de referencia y el origen de la literatura gótica. Una de las ideas detrás de esta disertación es la intención de demonstrar que las conexiones con la revolución en Francia son una convención crítica a quo, que generalmente no toma en consideración peculiaridades del gótico literario que existían antes de los acontecimientos revolucionarios. Otros aspectos importantes incluidos en esta investigación son la función de las arquitecturas, los paisajes y las iconografías de las novelas. La disertación está dividida en cinco partes. La primera introduce los argumentos and la razón de ser a la base de esta investigación junto a la motivación de organizar un estudio sobre el gótico que recibe mucha atención crítica. El cuerpo central es formado por tres capítulos. Cada uno contiene un análisis de una novela diferente y pone en evidencia su relación con autores como Lucrecio, Virgilio, Ovidio, Dante, Boccaccio, Shakespeare, y otros. El quinto capítulo incluye la conclusión y las hipótesis de investigaciones futuras que pueden desarrollarse de este estudio. Una particularidad de la bibliografía es que presenta una variedad de textos y traducciones que eran conocidos por los autores examinados en esta disertación. El idioma de los novelistas góticos reflejaba inevitablemente los estilos de los autores del pasado. Un anexo iconográfico al final de la disertación presenta una galería de pinturas e imágenes que muestran una analogía relevante con la belleza, el misterio y el terror del gótico.<br>The purpose of this doctoral dissertation is to investigate and better understand the multiple influences that, together with the development and spreading of literary translations (highlighted by Stuart Gillespie and David Hopkins), played an important role in the rise of the early Gothic novel at the end of the eighteenth century. While deeply inspired by and imbued with internationally recognised critical literature of the Gothic, this study avoids assuming the critical stances of the twentieth and twenty-first centuries. It proceeds backward in time, scrutinizing the authors, their cultural background, their knowledge, and their eighteenth-century perspectives. The focus is concentrated on the first manifestations of the Gothic genre in the decades that followed the novelty introduced by Horace Walpole with The Castle of Otranto in 1764. The restricted fin de siècle timespan (1786-1796) of the early Gothic works that is explored in this thesis is inversely proportional to the high level of creativity and inventiveness of their authors. This dissertation aims at demonstrating that the pervasiveness and reiteration of Classical, Medieval, and Renaissance themes were consciously chosen and adapted to their plots by William Beckford (Vathek, 1786), Ann Radcliffe (The Romance of the Forest, 1791), and Matthew G. Lewis (The Monk, 1796), whose novels were an interesting and unusual syncretism of literary, cultural, and iconographic ideas and resources that they absorbed both from their contemporaries and, most importantly, from authors of the past. The three novels analysed in this thesis were written before, during, and after the French Revolution, which has been taken by many as a point of reference for and as a cause of the Gothic. The aim of this study is also to demonstrate that the association with the French Revolution is a critical convention a quo, which does not take into consideration Gothic peculiarities that already existed before the dramatic events in France. Other important aspects included in this investigation are the function of architectures, landscapes and iconographies in the novels. The dissertation is divided into five parts. The first part introduces the major themes and the rationale behind this investigation together with the motivation for embarking on a study on the Gothic. The central body is represented by three chapters. Every chapter analyses one novel and underscores its connection with authors such as Lucretius, Virgil, Ovid, Dante, Boccaccio, Shakespeare, and many others. The fifth chapter contains the conclusion and the future hypotheses of investigation brought about by this research. The bibliography features a variety of source texts and translations that were known to the novelists examined in this dissertation. The three Gothic writers’ language inevitably reflected and echoed themes and styles inherited from authors of different epochs. An iconography annex introduces a series of paintings and images that showed relevant associations with Gothic beauty, mystery, and horror.
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Libros sobre el tema "Gothic romance"

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Carrère, Emmanuel. Gothic romance. Scribner, 1990.

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M, Disch Thomas. The priest: A gothic romance. Millennium, 1994.

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M, Disch Thomas. The priest: A Gothic romance. Knopf, 1995.

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M, Disch Thomas. The priest: A Gothic romance. University of Minnesota Press, 2010.

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Ross, Inez. The adobe castle: [a Southwest Gothic romance]. Ashley House, 1997.

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Möbius, Hans Reinhard. Gothic Romance. Creative Media Partners, LLC, 2018.

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Möbius, Hans Reinhard. Gothic Romance. Creative Media Partners, LLC, 2018.

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Gothic Romance. Creative Media Partners, LLC, 2023.

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Gothic Romance. Creative Media Partners, LLC, 2023.

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My Gothic Romance. Finishing Line Press, 2019.

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Capítulos de libros sobre el tema "Gothic romance"

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Hirst, Holly. "The Gothic Romance." In The Palgrave Handbook of Contemporary Gothic. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_22.

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Matthews, David. "Marcus Clarke, Gothic, Romance." In Medievalism and the Gothic in Australian Culture. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.mmages-eb.4.000022.

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Horner, Avril, and Sue Zlosnik. "Realism and Romance." In Gothic and the Comic Turn. Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230503076_3.

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Sage, Victor. "Gothic and Romance: Retribution and Reconciliation." In Le Fanu's Gothic. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230287419_3.

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König, Eva. "The Gothic of Family Romance." In The Orphan in Eighteenth-Century Fiction. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137382023_16.

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Parisot, Eric. "Trouble in Paradise: Pride and Prejudice as Vampire Romance." In Palgrave Gothic. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-49286-0_3.

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Stasiewicz-Bieńkowska, Agnieszka. "A Love So Strong that It Aches: (Re-)Writing Vampire Romance." In Palgrave Gothic. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71744-5_3.

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Davis, Emily S. "The Gothic Global: Capitalist Excesses, Postcolonial Returns." In Rethinking the Romance Genre. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137371874_4.

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Shoos, Diane L. "Gaslight, Gaslighting, and the Gothic Romance Film." In Domestic Violence in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65064-7_2.

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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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Actas de conferencias sobre el tema "Gothic romance"

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Guinot, Frederic, Panos Papanastasiou, Brenden Grove, and Arnaud Dzialoszynski. "A New Age in Well Perforating History - Evolving from Roman to Gothic?" In SPE/ISRM Rock Mechanics Conference. Society of Petroleum Engineers, 2002. http://dx.doi.org/10.2118/78195-ms.

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Бърлиева, Славия. "От неолита до ІХ век – паметници на предглаголическата графична култура по българските земи". У Кирило-методиевски места на паметта в българската култура. Кирило-Методиевски научен център, 2023. http://dx.doi.org/10.59076/5808.2023.07.

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FROM THE NEOLITHIC TO THE 9th CENTURY – MONUMENTS OF THE PRE-GLAGOLIC GRAPHIC CULTURE IN THE BULGARIAN LANDS (Summary) The article presents the earliest monuments of written culture from Gradeshnitsa, Karanovo, and Dolnoslav, as well as the use of Greek, Latin and Gothic alphabets. Greek script in inscriptions in the Greek language has been recorded on a large number of epi¬graphic monuments in the Bulgarian lands, spanning more than a millennium. Latin writ¬ten culture came with the creation of the Roman provinces Macedonia, Thrace and Moe¬sia (after 86 AD, Moesia Superior and Moesia Inferior). Geographically, Latin inscrip¬tions, containing public, religious and private texts, were scattered across the Bulgarian territory, having a greater density in the north of Bulgaria. Special attention is given to the Proto-Bulgarian runes and inscriptions as a specific phenomenon of profound significance. An assumption is made that they provided the basis for the Bulgarian literary tradition, laying the groundwork for a new written culture in an own language and letters.
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Krusinsky, Peter. "PROPORTIONAL ANALYSIS OF A TRANSVERSAL BOND OF THE HISTORIC TRUSS IN THE GOTHIC ROMAN-CATHOLIC CHURCH OF ST CATHERINE IN BANSKA STIAVNICA DATED TO THE MID-17TH CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/2.3/s20.021.

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Абрамзон, М. Г. "BARBARIAN IMITATIONS OF BOSPORAN STATERS AND ROMAN DENARII FROM PHANAGORIA." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-350-3.7-17.

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В статье рассматриваются находки варварских подражаний позднебоспорским статерам и римским денариям с типом идущего Марса из раскопок Фанагории 2008–2018 гг. Эти две группы имитаций обращались на денежном рынке Фанагории (как и Боспорского царства в целом) в 3–4 вв.н. э. параллельно с боспорскими статерами и небольшим количеством римских монет. Первая группа состоит из подражаний статерам Фофорса и Рескупорида VI. Публикуются два подражания статерам первого и четыре – статерам второго. Присутствие имитаций боспорских статеров в кладах (Фанагорийском 2011 г. и Гай-Кодзорском 1986 г.), а также единичные их находки в позднеантичном слое Фанагории свидетельствуют о том, что варварские подражания, имеющие сходный облик и вес с оригинальными статерами, обращались на денежном рынке синхронно. В денежной массе, состоящей из деградированных статеров, превратившихся из монеты пол ной стоимости в монету условной стоимости при сохранении типологии и веса более ранних статеров, они были незаметны. Остается констатировать, что вопрос места чеканки и этнической принадлежности народа, которым они были выпущены, остаются открытыми до сих пор. По-видимому, следует говорить о сармато-аланах, осевших в Прикубанье. Пред ставляется, что по технике изготовления, стилю и фактуре эти монеты близки к бронзовым подражаниям боспорским электровым статерам, получившим распространение на терри тории Западного Прикубанья – в Усть-Лабинском р-не Краснодарского края. Вторую группу составляют северокавказские подражания римским денариям с ти пом идущего Марса. На данный момент зарегистрировано уже более 30 таких монет, найденных на городище, в основном медных, реже билонных. Концентрация находок северокавказских подражаний охватывает в основном южную и юго-восточную периферию Боспора от Анапы до Краснодара и Новороссийска, а также прилегающие западные районы Северного Кавказа. С этой территории происходят и все известные клады, цели ком состоявшие из таких подражаний или включавшие небольшое их количество вместе с боспорскими статерами (Гай-Кадзорские клады 1972 и 1977 гг.). Часть подражаний проникала и на Европейский Боспор. Чеканка подражаний римским денариям с типом идущего Марса связывается не с готами, как считалось прежде, а с сираками или сармато-аланскими племенами Растущее количество находок подражаний римским денариям в Фанагории дает основание утверждать, что они обращались на денежном рынке города параллельно со статерами Рескупорида V, Фофорса, Радамсада, Рескупорида VI. Вместе с тем, они не играли существенной роли в денежном обращении Боспора. Новый материал из Фанагории дает возможность уделить специальное внимание роли имитаций в денежном обращении позднего Боспора. Несмотря на то, что корпус варварских подражаний существенно расширился в последнее десятилетие, решение вопроса хронологии групп имитаций римских денариев остается не удовлетворительным, поскольку зарегистрированные экземпляры не связаны с конкретным археологическим контекстом. Отсюда фанагорийский материал представляет особую ценность. The article considers finds of barbarian imitations of Late Bosporan staters and Roman denarii of the walking Mars type from Phanagoria made in 2008–2018. These two groups of imitations circulated within the Phanagorian monetary market (as well as in the whole Bosporan in the 3rd – 4th centuries along with Bosporan staters and a small amount of Roman coins. The first group includes imitations of staters minted by Thothorses and Rhescuporis VI. Here we publish two imitations of the first one and four of the second. The presence of the imitations of Bosporan staters in hoards (the Phanagorian 2011 hoard and the Gai-Kodzor 1986 hoard) as well as single finds in the Late Roman layer of Phanagoria testify to the simultaneous circulation of barbarian imitations (of the same appearance and weight as the original staters). Within the monetary mass consisting of degraded staters, initially full-weight coins turning into marks of conventional value, they were unrecognizable. One can only guess of their provenance, including their mint and the ethnic group producing these coins. Possibly, they could be attributed to the Sarmatian and the Alanian tribes inhabiting the Kuban area. The technique, style and facture of these coins are close to bronze imitations of Bosporan electrum staters circulated in the West Kuban area – in the Ust-Labinsk region of the Krasnodar area. The second group includes North Caucasus imitations of Roman denarii of the walking Mars type. At present there are over thirty finds of similar coins from Phanagoria, most of them bronze, though some are billon. The finds of similar North Caucasus imitations are concentrated mostly within the South and South-East areas of the Bosporan kingdom from Anapa to Krasnodar and Novorossiysk and the adjoining West regions of the North Caucasus. From this area come also known hoards consisting of similar imitations or containing a number of them along with Bosporan staters (Gai-Kodzor 1972 and 1977 hoards). Some of these imitations penetrated to the European part of the Bosporos. The production of imitations of the Roman denarii of the walking Mars type should be attributed not to the Goths, as considered previously, but with the Sirakoi or Sarmato-Alanian tribes. The growing number of finds of Roman-type imitations from Phanagoria make us state that they were circulated in the Phanagorian market parallel with staters of Rhescuporis V, Thothorses, Rhadamsades, and Rhescuporis VI. At the same time their role in the monetary system of the Bosporos was insignificant. New finds from Phanagoria make it possible to draw special attention to the significance of imitations in the Late Bosporan currency. Even though the number of barbarian imitations finds in the last decade grew significantly, we are still far from defining the chronology of different groups of the Roman-type imitations, because most of the finds are not associated definitely with any certain archaeological context, which makes the finds from Phanagoria especially valuable.
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Sánchez Corrochano, Álvaro, Enrique Martínez Sierra, Alessandro Greco, and Daniela Besana. "Técnicas digitales para el estudio del Patrimonio Defensivo: “Puerta de Almenara” y lienzos sur del Palacio del Gobernador y Plaza de Armas del Castillo de Sagunto (Valencia)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11387.

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Digital technicals for the study of the Defensive Heritage: “Puerta de Almenara” and south walls of “Palacio del Gobernador” and “Plaza de Armas” of the Castle of Sagunto (Valencia)The use of digital documentation and registration techniques in Cultural Heritage is becoming more common every day, thanks to its ability to capture a large amount of data in a fast and efficient process. Its high geometric precision, thoroughness, performance retrieved and especially the generation of high fidelity and precision of architectural good assets make these tools optimal for the planimetric surveys. The work of intervention or conservation of cultural heritage requires a previous graphic registration using different techniques available. This article presents a combined method of implementation of various digital techniques that allow to achieve the most accurate graphic documentation possible. The different results obtained from the use of photogrammetry by drone or by manual camera are discussed. It is intended to seek the standardization and optimization of the process of documentation and value of the Cultural Heritage by combining these techniques. These techniques have been used in a real case: the three-dimensional modeling of various parts of the defensive set of the Castle of Sagunto (Valencia), called the “Puerta de Almenara”, which gives access to the square of the same name, on the eastern side and some walls of the fortification. The Castle of Sagunto is a mosaic of the different cultures who occupied it (Iberians, Romans, Goths, Arabs...). The fortification is located on top of a hill of the Sierra Calderona, controlling even the Mediterranean coastal road and the communication route with Aragon. During the last years, the castle has been immersed, for almost 20 years, in various works of consolidation and restoration to initiatives of the Institute of Cultural Heritage of Spain.
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