Artículos de revistas: "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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3

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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4

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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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 Romance (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 Romance’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.

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5

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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7

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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8

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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9

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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The text of Thoth. A Romance, 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.

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10

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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11

Simon, Zsolt. "Zur Herkunft von leuga." Acta Antiqua Academiae Scientiarum Hungaricae 59, no. 1-4 (2020): 425–33. http://dx.doi.org/10.1556/068.2019.59.1-4.37.

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SummaryAccording to the communis opinio, Lat. leuga was a Gaulish loanword, survived in the Romance languages and was borrowed into Old English. However, this scenario faces three unsolved problems: the non–Celtic diphthong –eu–, the Proto–Romance form *legua and the fact that the Old English word cannot continue the Latin form on phonological grounds. This paper argues that all these problems can regularly be solved by the reconstructed West Germanic and Gothic cognates of the Old English word borrowed into Gaulish and early Romance dialects, respectively.

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12

Kokot, Joanna. "John Dickson Carr’s Early Detective Novels and the Gothic Convention." Lublin Studies in Modern Languages and Literature 43, no. 2 (2019): 61. http://dx.doi.org/10.17951/lsmll.2019.43.2.61-74.

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Even if the Gothic romance may be considered as one of the predecessors of detective fiction, the world model proposed by the latter seems to exclude what was the essence of the former: the irrational underlying the proposed world model. However, some of detective novel writers deploy Gothic conventions in their texts, thus questioning the rational order of the reality presented there. Such a genological syncretism is typical - among others - of the novels by John Dickson Carr. The paper is an analysis of Gothic conventions and their functions in four earliest novels by Carr, featuring a French detective-protagonist, Henri Bencolin. It concentrates on elements of Gothic horror, on the atmosphere of terror as well as the motif of the past intruding the present.

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13

Miles, Robert. "The Eye of Power: Ideal Presence and Gothic Romance." Gothic Studies 1, no. 1 (1999): 10–30. http://dx.doi.org/10.7227/gs.1.1.2.

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14

Gamer, Michael C. "Marketing a Masculine Romance: Scott, Antiquarianism, and the Gothic." Studies in Romanticism 32, no. 4 (1993): 523. http://dx.doi.org/10.2307/25601032.

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15

Ganteau, Jean-Michel. "Un-remaindering Gothic Romance : Peter Ackroyd’s Logic of Affect." Anglophonia/Caliban 15, no. 1 (2004): 243–53. http://dx.doi.org/10.3406/calib.2004.1522.

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16

Telles da Silveira, Pedro. "GLORIOSOS BASTARDOS E CASAMENTOS DESFEITOS: ANTIQUARIATO, PROVA E O SUBLIME EM HORACE WALPOLE, CLARA REEVE E ANN RADCLIFFE (1764-1791) * GLORIOUS BASTARDS AND BROKEN MARRIAGES: ANTIQUARIANISM, PROOF AND THE SUBLIME IN HORACE WALPOLE, CLARA REEVE AND ANN R." História e Cultura 4, no. 3 (2015): 304. http://dx.doi.org/10.18223/hiscult.v4i3.1437.

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Resumo: O objetivo deste artigo é compreender a relação entre a prática antiquária e o romance gótico na Inglaterra do século XVIII. Procura-se demonstrar como a prática antiquária serve de enquadramento ficcional para uma expansão do conceito de verossímil. Por meio do conjunto de procedimentos metodológicos do antiquário e de sua aproximação com a prática jurídica da época, elementos fantásticos que seriam inverossímeis passam a ser aceitos na trama do romance gótico. Estes elementos, por fim, abrem espaço para a experiência do sublime, de modo que o uso de procedimentos de prova e a escrita ficcional estavam intimamente ligados. Palavras-chave: Antiquariato; Romance gótico; sublime. Abstract: This paper seeks to study the interrelation between antiquarian practices and the gothic novel in eighteenth-century England. It tries to show how antiquarianism provides a fictional framing for an expansion of the concept of verisimilitude. Because of the methodological procedures developed by the antiquarian and their rapprochement with the judicial practices of its time, fantastical elements that would be otherwise discarded as implausible are accepted in the gothic novel. Therefore those elements create the possibility of experiencing the sublime, so the procedures regarding the ascertainment of truth and proof of historical discourse are intimately entangled with fictional writing. Kewyords: Antiquarianism; Gothic novel; sublime.

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17

Burwick, Frederick. "Wordsworth's ‘bright cavern of romance’." Romanticism 22, no. 1 (2016): 61–75. http://dx.doi.org/10.3366/rom.2016.0257.

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In the eighteenth century, the term ‘Romantic’ was applied to a resurgence of wild narratives similar to those of Medieval and Renaissance Europe, from Sir Thomas Malory's Le Morte d'Arthur (1485) to Edmund Spenser's Faerie Queene (1590–96). Ludovico Ariosto's Orlando furioso (1516) and Torquato Tasso's Gerusalemme Liberata (1581) were ranked as masterpieces of romance. Anne Radcliffe's Gothic Romance and Sir Walter Scott's Historical Romance contributed further to the popular permutations of the genre. Among the poets who persisted in attributing sublime grandeur to the traditional romance, Wordsworth recognized in the romance a model for exploring the subjective spaces of fantasy and dream. A ‘cavern of romance’ is one of Wordsworth's repeated metaphors for the retreat into the imagination. ‘Caverns there were within my mind which sun/ Could never penetrate’ (Prelude 3:246–249). He also delineates, however, an intruding ‘glimpse/ Of daylight’ which exposes the illusion and enables his cultivation of ‘romantic perception’.

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18

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

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This paper explores perfume, scent, and floriography as an aspect of the archetype of the femme fatale, specifically in the context of the late-Victorian Gothic and its afterlives. As an expansion of the concept of a masculine-Gothic language of flowers, this article analyses H. Rider Haggard's Ayesha, a central character within his popular romance, She, by reviewing the significance of the artificially floral in her development. Perfume and floriography in She convey not only the aura of mystically seductive danger intrinsic to the creation of the femme fatale, but also suggest the longevity, originality and power imbued in this archetype. The article argues that much of Ayesha's complexity and continued appeal rests on the idea that the Gothic and perfume significantly influence her portrayal as a femme fatale whilst allowing for her individuality.

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19

Tate, Justin. "Peter Tuesday Hughes: Forgotten Pioneer of the Gay Gothic." Gothic Studies 25, no. 2 (2023): 179–98. http://dx.doi.org/10.3366/gothic.2023.0163.

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Vincent Virga’s Gaywyck (1980) has enjoyed sustained critical and commercial interest due to the claim that it is the first Gothic novel to depict unambiguous same-sex romance. While enthusiasm for Gaywyck is warranted, there is an earlier ‘gay Gothic’ novel which should be recognized as the first. Peter Tuesday Hughes’s Gay Nights at Maldelangue (1969) is a literary fantasia of same-sex desire and classic gothic storytelling. Published shortly after the Stonewall Uprising, it is also among the first creative interactions with the gay liberation movement of the late 1960s. Although Hughes wrote at least thirty-two novels, was a critical success and top seller for his publisher, he is largely forgotten today – to the extent that we do not know whether he is alive or even if that is his real name.

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20

Derksen, Rick. "Notes on three Proto-Slavic borrowings." Vilnius University Open Series 16 (July 26, 2021): 138–48. http://dx.doi.org/10.15388/sbol.2021.7.

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The Proto-Slavic etyma *dъska, *misa, and *bļudo (*bļudъ), which are semantically related, are generally regarded as borrowings, but there is no consensus on the exact origins of these nouns. Following surveys of the Old Church Slavic and Gothic evidence as well as of the distribution of the etyma in Slavic, the article discusses the merits and drawbacks of the various existing views. It is argued that *dъska, *misa are best regarded as borrowings from Vulgar Latin or Early Romance, while *bļudo (*bļudъ) must have been borrowed from Germanic, but not from Gothic or West Germanic.

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Cordell, Sigrid. "Loving in Plain Sight: Amish Romance Novels as Evangelical Gothic." Journal of Amish and Plain Anabaptist Studies 1, no. 2 (2013): 1–16. http://dx.doi.org/10.18061/1811/57706.

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22

Shapira, Yael. "Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760–1840." Common Knowledge 27, no. 3 (2021): 488–89. http://dx.doi.org/10.1215/0961754x-9268291.

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23

Segal, E. "The Progress of Romance: Literary Historiography and the Gothic Novel." Poetics Today 22, no. 3 (2001): 704–5. http://dx.doi.org/10.1215/03335372-22-3-704.

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24

Duncan, I. "The Progress of Romance: Literary Historiography and the Gothic Novel." Modern Language Quarterly 59, no. 2 (1998): 276–78. http://dx.doi.org/10.1215/00267929-59-2-276.

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25

Ranta, Judith A. "“The power of escaping”: Charlotte S. Hilbourne's Gothic Romance Fiction." Journal of Popular Culture 45, no. 2 (2012): 370–90. http://dx.doi.org/10.1111/j.1540-5931.2012.00930.x.

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26

Evans, Tania. "Full Moon Masculinities: Masculine Werewolves, Emotional Repression, and Violence in Young Adult Paranormal Romance Fiction." Gothic Studies 21, no. 1 (2019): 28–39. http://dx.doi.org/10.3366/gothic.2019.0005.

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Gothic monsters have recently experienced a period of focused scholarly analysis, although few studies have engaged with the werewolf in terms of its overt alignment with masculinity. Yet the werewolves of young adult fantasy fiction both support and subvert dominant masculine discourses through their complex negotiation with emotional repression and violence. These performative masculine practices are the focus of this article, which analyses how hegemonic masculine ideals are reinforced or rejected in a corpus of young adult fantasy texts, including Cassandra Clare's young adult series The Mortal Instruments (2007–2014) and Stephenie Meyer's Twilight Saga (2005–2010). Both texts feature masculine characters whose lycanthropic experiences implicitly comment upon gender norms, which may shape young adult audiences' understanding of their own and others' gender identities.

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27

Viniychuk, Olha. "THE CONCEPT OF SPACE IN THE POEM AGAJ-HAN BY ZYGMUNT KRASINSKI." Polish Studies of Kyiv, no. 37 (2021): 115–25. http://dx.doi.org/10.17721/psk.2021.37.115-125.

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The article deals with the aesthetic differentiation of the landscape in Z. Krasinski’s novel «Agai-Gan». The novel is a literary experiment in which the author presents the dilemmas of a person seeking freedom. «Agai-Gan» is perceived as a combination of historical novel and romance, enriched with an element of the Gothic genre, characterised by originality and colorful exotics, acoustic effects and a very sensual visualisation of the landscape. In his literary experiment, Krasiński probably tries to solve the dilemmas of an individualist entangled in the pursuit of freedom and power. Undoubtedly – the main interpretative perspectives are marked by a historical synthesis, a romance story and an innovative proposal to use the Gothic trend: an imaginary space, dazzling with original and colorful exoticism, a symbolic terrain of bloody historical events, a decadent symbol of the «dying world», the aesthetics of disharmony, the manneristic redrawing of the landscape (snow sprinkled with sugar), but also stylistic syncretism, carefully thought-out visualization of sensual experiences accompanying the recreation of intense emotions, eluding any conventions.

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28

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

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IN 1856, WHEN MANY VICTORIAN PHYSICIANS WERE STRUGGLING TO DEFINE A MODEL OF CLINICAL MEDICINE, the reviewer of one collection of case histories voiced his dismay at the physician-author's preference for “dreadful incidents” and “cases exceptional and strange” (“Works” 473). Indeed, although physicians of the clinical era did not disguise their efforts to achieve a new kind of discourse, productive of a “realist” vision, few acknowledge how often the “clinical” case history of the nineteenth century also shares the romantic discourse of the Gothic, especially its interest in the supernatural and the unexplainable and its narrative aim of arousing suspense, horror, and astonishment in the reader. Literary critics have also focused primarily on the association of medical narrative with a realist literary discourse. Nineteenth-century physicians did campaign for the formal, objective, and professional clinical discourse that serves as their contribution to a realist aesthetic, in the process explicitly rejecting eighteenth-century medicine's fascination with “the curious” and its subterranean affiliation with the unknown, the unexplainable, and the subjective. But, as I show in this article, a discourse of “the curious,” allied with a Gothic literary aesthetic, stubbornly remained a critical element of many case histories, though it often presented under the mask of the more acceptable term, “interesting.” The discourse of Gothic romance in the case history provides a narrative frame that, unlike the essentially realist clinical discourse, could make sense of the physician's curious gaze, which had become nearly unrecognizable as a specifically medical vision. Indeed, a “curious” medical discourse haunts even case histories of the high clinical era, late in the century; and it energizes the nineteenth-century Gothic novel. Samuel Warren's novelPassages from the Diary of a Late Physician–deplored in the quotation above–illuminates this tradition of “Gothic medicine” as it plays out in the nineteenth-century novel. This tradition, I argue, provides the novel with a powerful model of cultural contamination and conflict in its yoking of disparate discourses. Gothic medicine demonstrates the importance of clinical medicine to literary romance, and it cannot help but reveal the ghost of “the curious” in the clinic.

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Chow, Jeremy. "Snaking into the Gothic: Serpentine Sensuousness in Lewis and Coleridge." Humanities 10, no. 1 (2021): 52. http://dx.doi.org/10.3390/h10010052.

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This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects.

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Spooner, Catherine. "My Friend the Devil: Gothic Comics, the Whimsical Macabre and Rewriting William Blake in Vehlmann and Kerascoët’s Satania." Gothic Studies 25, no. 3 (2023): 318–34. http://dx.doi.org/10.3366/gothic.2023.0178.

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This article develops the concept of the ‘whimsical macabre’, introduced in my book Post-millennial Gothic: Comedy, Romance and the Rise of Happy Gothic (2017) to refer to texts which deliberately fuse the comic and cute with the sinister, monstrous or grotesque. I propose that Fabien Vehlmann and Kerascoët’s graphic novel Satania (2016) extends the whimsical macabre in new directions, by drawing on the work of Romantic poet and artist William Blake, whose illustrated books are often cited as forerunners of modern comics. By rewriting Blake’s visionary account of a journey into the infernal regions in The Marriage of Heaven and Hell (1793) and alluding to Songs of Innocence and of Experience (1789/1794), Satania reveals the serious ethical dimensions that underlie the whimsical macabre. In doing so, it interrogates and complicates the maturational narrative associated with children’s and young adult literature. The article concludes by suggesting that Satania’s heroine Charlie’s relationship with her demon draws on a Blakeian model of friendship in opposition, pointing towards a ‘reparative’ form of Gothic in which otherness is neither erased nor expelled, but embraced and cherished.

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31

Burgess, Miranda J., and Ian Duncan. "Modern Romance and Transformations of the Novel: The Gothic, Scott, Dickens." Studies in Romanticism 35, no. 2 (1996): 338. http://dx.doi.org/10.2307/25601172.

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32

Richter, David, and Ian Duncan. "Modern Romance and Transformations of the Novel: The Gothic, Scott, Dickens." Yearbook of English Studies 25 (1995): 309. http://dx.doi.org/10.2307/3508894.

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33

McFatter, Susan Prothro. "Parody and Dark Projections: Medieval Romance and the Gothic in McTeague." Western American Literature 26, no. 2 (1991): 119–35. http://dx.doi.org/10.1353/wal.1991.0152.

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34

Dent, Jonathan. "‘[T]he anguish and horror of her mind defied all control’: The Fragmented Manuscript and Representations of the Past in Ann Radcliffe's The Romance of the Forest (1791)." Victoriographies 2, no. 1 (2012): 15–30. http://dx.doi.org/10.3366/vic.2012.0057.

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Focusing on the Gothic trope of the discovered manuscript, this essay examines Ann Radcliffe's representations of the past in The Romance of the Forest ( 1791 ). Radcliffe's third Gothic novel is set in seventeenth-century Roman Catholic France, but was published in the immediate aftermath of the French Revolution. The narrative follows the plight of its orphan heroine, Adeline, who finds herself taking refuge in a ruined abbey located in a gloomy French forest under the protection of Pierre de la Motte (a Frenchman fleeing Paris with his family). During her stay, Adeline enters a secret room and unearths a decaying manuscript. From this point onwards, the narrative is interspersed with fragments of the script, which records the harrowing experiences of someone who was murdered there many years ago. Concentrating on the manuscript and Radcliffe's utilisation of the Burkean sublime for historical purposes, this paper contends that The Romance of the Forest can be read as a complex response to shifting notions of history engendered by the outbreak of the French Revolution. What does Radcliffe's representation of the script reveal about the past and to what extent are her historical attitudes shaped by the culturally chaotic events of the early 1790s?

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35

Miquel Baldellou, Marta. "Passion beyond death? Tracing "Wuthering Heights" in Stephenie Meyer's "Eclipse"." Journal of English Studies 10 (May 29, 2012): 147. http://dx.doi.org/10.18172/jes.185.

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Stephenie Meyers’ Twilight tetralogy has lately become an enormously successful phenomenon in contemporary popular fiction, especially among a young adult readership. Regarded as a mixture of genres, the Twilight series can be described as a paradigm of contemporary popularculture gothic romance. Stephenie Meyer has recently acknowledged she bore one literary classic in mind when writing each of the volumes in the series. In particular, her third book, Eclipse (2007), is loosely based on Emily Brontë’s Victorian classic Wuthering Heights (1847). This paper aims at providing a comparative analysis of both Brontë’s novel and Meyer’s adaptation, taking into consideration the way the protofeminist discourse that underlines Brontë’s text is not only subverted but also acquires significantly reactionary undertones in Meyer’s popular romance despite its contemporariness.

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Bayer, Gerd. "Romance Self-Fashioning and the Proto-Gothic in Mary Pix'sThe Inhumane Cardinal." English Studies 95, no. 4 (2014): 410–20. http://dx.doi.org/10.1080/0013838x.2014.897083.

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Townshend, Dale. "Improvement and Repair: Architecture, Romance and the Politics of Gothic, 1790-1817." Literature Compass 8, no. 10 (2011): 712–38. http://dx.doi.org/10.1111/j.1741-4113.2011.00815.x.

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Faustino, Suzy Meire. "Child of God: a simbologia tríptica da ruína." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 23, no. 44 (2024): 405–22. http://dx.doi.org/10.12957/palimpsesto.2024.74764.

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Ambientado nos anos iniciais da década de 1960, Child of God, do romancista estadunidense Cormac McCarthy (1933-23), é considerado pela crítica (Bjerre, 2017; Bloom, 2009) como romance da fase Southern Gothic de seu autor. Tal rótulo suscitará, neste artigo, uma interpretação de um dos motivos principais desse gênero: a casa mal- assombrada ou em ruínas, portadora, sugerir-se-á, de significações pertencentes ao campo do simbólico. Nosso objetivo é construir uma correspondência entre a casa, o corpo e a comunidade, associando-se aos três seu caráter de ruína: esse tríptico configurar-se-á como um deslocamento da leitura crítica de Woods (2015). Esperamos que ele nos forneça chaves de leitura do romance estruturadas em seu tecido léxico e simbólico – a topografia, o espaço, os corpos e seus atributos.

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HAWORTH, CATHERINE. "“Something beneath the flesh”: Music, Gender, and Medical Discourse in the 1940s Female Gothic Film." Journal of the Society for American Music 8, no. 3 (2014): 338–70. http://dx.doi.org/10.1017/s1752196314000236.

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AbstractClosely related to both film noir and the woman's film, 1940s female gothic pictures combine suspense and mystery with a focus on the subjective experience of the female protagonist. This article discusses the use of music and sound in the cinematic female gothic tradition, focusing upon two historically located films that form part of its “gaslight” subgenre:Experiment Perilous(dir. Tourneur; comp. Webb, 1944) andThe Spiral Staircase(dir. Siodmak; comp. Webb, 1946). In both films, the positioning of the female lead is mediated by the presence of a medical discourse revolving around her professional and romantic relationship with a male doctor, whose knowledge and authority also allows him to function as an unofficial investigator into the woman's persecution at the hands of a serial murderer. The female gothic soundtrack is a crucial element in the creation and communication of this gendered discourse, articulating the shifting position of characters in relation to issues of crime, criminality, and romance. Musical and vocal control reinforce the doctor's dominance whilst allying his presentation with that of an emasculated killer, and create and contain agency within complex constructions of female victimhood.

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Maroshi, V. V. "Gothic beetle: a comment on one of Pushkin’s allusions." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 66–79. http://dx.doi.org/10.17223/18137083/72/5.

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The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is represented within the genres of elegy, pastoral, and ballad. We expand the field of Pushkin’s allusion to the Gothic novels of A. Radcliffe and Gothic fiction in general. Mentioning the beetle launches a chain of reminiscences from Gothic novels during Tatiana’s walk and her visit to Onegin’s empty “castle.” The quotations from Shakespeare and Collins in Radcliffe’s novels are of great significance. Shakespeare’s beetle, a Hecate’s messenger, is involved in creating an atmosphere of night fears and mystery surrounding the scene in Onegin’s castle. A collection of Radcliffe’s novels in Pushkin’s library suggests the poet was somewhat familiar with the paratext of the novel “The Romance of the Forest”. Moreover, the beetle as a parody character for a ballad and a Gothic novel appeared in the unfinished poem “Vasily Khrabrov” by the poet’s uncle, V. L. Pushkin.

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Miquel-Baldellou, Marta. "“It made her age hard to guess”: Narrating the dynamics of aging and gender through Victorian Gothic archetypes in Susan Hill’s The Woman in Black." Frontiers of Narrative Studies 9, no. 1 (2023): 69–86. http://dx.doi.org/10.1515/fns-2023-2006.

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Abstract Although Susan Hill has become a prolific writer of ghost narratives in the last decades, it was at a particularly momentous stage of her life as a woman writer that she published The Woman in Black (1983), which is considered her first ghost novel. Evoking the Victorian past, The Woman in Black engages intertextually with Victorian novels within the Gothic genre. The character of the Woman in Black comprises features pertaining to different Victorian Gothic archetypes, such as the ghost, the vampire, and the double. Some of the traits pertaining to these literary archetypes echoed Victorian anxieties about aging that are recovered and reinterpreted in Hill’s novel. Furthermore, in analogy with a Gothic romance, the encounter between the narrator as a young man, Arthur Kipps, and a spectral aging woman, the Woman in Black, unleashes the hero’s process of coming of age, which he recollects in his old age as he is writing his narrative. Narratological features pertaining to the Gothic genre, like the use of a frame narrative that blends past and present, underscore the dynamics of aging, since processes of interrupted aging and premature aging disrupt the boundaries that conventionally distinguish life stages. This article approaches Hill’s The Woman in Black as a contemporary ghost novel that evokes and subverts Victorian discourses of aging and gender, at the same time that, from a contemporary perspective, it vindicates the figure of the Victorian fallen woman as an aging mother.

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Haggerty, George E. ": The Progress of Romance: Literary Historiography and the Gothic Novel. . David H. Richter." Nineteenth-Century Literature 52, no. 1 (1997): 103–9. http://dx.doi.org/10.1525/ncl.1997.52.1.99p0275i.

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Schuhmann, Roland. "Anmerkungen zur Etymologie von ahd. sahar ‚Segge‘." Amsterdamer Beiträge zur älteren Germanistik 79, no. 4 (2020): 443–56. http://dx.doi.org/10.1163/18756719-12340166.

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Abstract In the etymological literature there exist two divergent reconstructions for the word group around OHG sahar ‘sedge’: PGmc. *saχaza- and *saχ(a)ra-. Of these two the former is nearly exclusively found in Indo-European literature. The reconstruction *saχaza- cannot be correct. This is obvious because of the forms found in the Romanic languages, that were borrowed from Gothic, a language that did not undergo rhotazism. The neglect of literature from the field of Romance Studies is therefore accountable for the persistence of a false reconstruction in Indo-European studies.

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

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There is a familiar critical narrativeabout the fin de siècle, into which gothic fiction fits very neatly. It is the story of the gradual decay of Victorian values, especially their faith in progress and in the empire. The self-satisfied (middle-class) builders of empire were superseded by the doubters and decadents. As Patrick Brantlinger writes, “After the mid-Victorian years the British found it increasingly difficult to think of themselves as inevitably progressive; they began worrying instead about the degeneration of their institutions, their culture, their racial ‘stock’” (230). And this late-Victorian anomie expressed itself in the move away from realism and toward romance, decadence, naturalism, and especially gothic horror. No wonder, then, that the 1880s and 1890s saw a surge of gothic fiction paranoiacally concerned with the disintegration of identity into bestiality (Stevenson'sThe Strange Case of Dr. Jekyll and Mr. Hyde, 1886), the loss of British identity through overpowering foreign influence (du Maurier'sTrilby, 1894), the vulnerability of the empire to monstrous and predatory sexualities (Stoker'sDracula, 1897), the death of humanity itself in the twilight of everything (Orwell'sThe Time Machine, 1895). The Victorian Gothic, thus, may be read as an index of its culture's anxieties, especially its repressed, displaced, disavowed fears and desires. But this narrative tends to overlook the Victorians’ concerns with the terrifying possibilities of progress, energy, and self-assertion. In this essay I consider two oppositions that shape critical discussions of the fin-de-siècle Gothic – horror and terror, and entropy and energy – and I argue that critics’ exploration of the Victorians’ seeming preoccupation with the horrors of entropic decline has obscured that culture's persistent anxiety about the terrors of energy. I examine mid- to late-Victorian accounts of human energy in relation to the first law of thermodynamics – the conservation of energy – in both scientific and social discourses, and then I turn to Richard Marsh's 1897 gothic novelThe Beetleas an illustration of my point: the conservation of energy might have been at least as scary as entropy to the Victorians.

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Hoeveler, Diane Long. "Decapitating Romance: Class, Fetish, and Ideology in Keats's Isabella." Nineteenth-Century Literature 49, no. 3 (1994): 321–38. http://dx.doi.org/10.2307/2933819.

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Critics of Keats's Isabella; or, The Pot of Basil (1818) traditionally focus on the poem's "transitional" status between the early Endymion and the later and much greater odes. This article reads the poem as a shocking and angry poem by interrogating the meanings of the decapitated head that lies at the core of the text. By interrogating the head I read the work as an expression of Keats's attempt to bury his grief for his parents' deaths, to repudiate his middle-class origins, and to deny his attraction to "Romance," the popular Gothic ballad tradition of his day. The text explores Keats's very personal need to elide pain with words, the linguistic conventions of Romance. The fact that he could not bury the body of his pain, the fact that the body comes back to haunt and consume the living-these are the central issues Keats could not resolve in Isabella. The hungry heart one always senses while reading Keats becomes in this poem the mouth that devours, the voice in his own head that would not die, that would not stop repeating the tale of his pain, anger, doubt, and grief.

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Cánepa, Laura, and Juliana Cristina Borges Monteiro. "Quatro voltas do parafuso: romance epistolar, found footage e glitch gothic no ensino de cinema." Comunicação & Educação 27, no. 1 (2022): 85–101. http://dx.doi.org/10.11606/issn.2316-9125.v27i1p85-101.

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Neste trabalho, apresentaremos reflexões sobre os resultados da pesquisa teórico-prática desenvolvida em 2018, na qual uma turma de alunos de graduação do curso de Cinema e Audiovisual adaptou cenas da novela epistolar A volta do parafuso (1898), de Henry James, para a linguagem audiovisual, fazendo uso do recurso da câmera intradiegética. Este trabalho analisa algumas características estilísticas dos trabalhos realizados, relacionando-as à literatura epistolar, ao found footage de horror, ao fenômeno do horror digital e ao chamado glitch gothic, com o objetivo de descrever e discutir implicações de uma atividade educativa desenvolvida em curso de Comunicação Social.

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Douglas. "From Invisible Christians to Gothic Theatre: The Romance of the Millennial in Melanesian Anthropology." Current Anthropology 42, no. 5 (2001): 615. http://dx.doi.org/10.2307/3596567.

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Hedrick, Tace. "“The Spirits Talk to Us”: Regionalism, Poverty, and Romance in Mexican American Gothic Fiction." Studies in the Novel 49, no. 3 (2017): 322–40. http://dx.doi.org/10.1353/sdn.2017.0033.

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Kreilkamp, Vera. "The Gothic Family Romance: Heterosexuality, Child Sacrifice, and the Anglo-Irish Colonial Order (review)." Victorian Studies 43, no. 4 (2001): 646–48. http://dx.doi.org/10.1353/vic.2001.0107.

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Coykendall, Abby. "Gothic Genealogies, the Family Romance, and Clara Reeve's The Old English Baron." Eighteenth-Century Fiction 17, no. 3 (2005): 443–80. http://dx.doi.org/10.1353/ecf.2005.0037.

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