Art of Darkness: A Poetics of GothicUniversity of Chicago Press, 15 feb 2009 - 319 páginas Art of Darkness is an ambitious attempt to describe the principles governing Gothic literature. Ranging across five centuries of fiction, drama, and verse—including tales as diverse as Horace Walpole's The Castle of Otranto, Shelley's Frankenstein, Coleridge's The Rime of the Ancient Mariner, and Freud's The Mysteries of Enlightenment—Anne Williams proposes three new premises: that Gothic is "poetic," not novelistic, in nature; that there are two parallel Gothic traditions, Male and Female; and that the Gothic and the Romantic represent a single literary tradition. Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions such as the haunted castle and the family curse signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions: In the Male plot, the protagonist faces a cruel, violent, and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible. By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics. Lucidly and gracefully written, Art of Darkness alters our understanding of the Gothic tradition, of Romanticism, and of the relations between gender and genre in literary history. |
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Página 1
... appears , he is not evoked in his capacity as author of a Gothic novel . Ann Radcliffe is absent . Booth's index to The Rhetoric of Fiction ( 1961 ; 2nd ed . 1983 ) also fails to mention either the Gothic or Walpole , I INTRODUCTION ...
... appears , he is not evoked in his capacity as author of a Gothic novel . Ann Radcliffe is absent . Booth's index to The Rhetoric of Fiction ( 1961 ; 2nd ed . 1983 ) also fails to mention either the Gothic or Walpole , I INTRODUCTION ...
Página 3
... appear in Manfred and other of the poet's works . Shelley began his literary career with a couple of Gothic novels , published while he was still at Eton . And Keats , describing " Isabella , " " The Eve of St. Agnes , " and " The Eve ...
... appear in Manfred and other of the poet's works . Shelley began his literary career with a couple of Gothic novels , published while he was still at Eton . And Keats , describing " Isabella , " " The Eve of St. Agnes , " and " The Eve ...
Página 4
... appears shocking and subversive , delighting in the forbidden and trafficking in the unspeakable . Thus Romanticists have sometimes behaved ( albeit unconsciously ) like Victorian biographers intent on a fiction of family respectability ...
... appears shocking and subversive , delighting in the forbidden and trafficking in the unspeakable . Thus Romanticists have sometimes behaved ( albeit unconsciously ) like Victorian biographers intent on a fiction of family respectability ...
Página 14
... appears with some frequency in both scholarly and popular discourse . According to literary handbooks , Gothic is a matter of decor and mood of haunted castie , and brooding , mysterious hero / villain , of beleaguered heroines , of ...
... appears with some frequency in both scholarly and popular discourse . According to literary handbooks , Gothic is a matter of decor and mood of haunted castie , and brooding , mysterious hero / villain , of beleaguered heroines , of ...
Página 21
... appears as a bit of exotic local folklore , a curse on the Infidel ( the " other " ) . Although Coleridge's Christabel was read at the Villa Diodati in 1816 , the " fact " that Geraldine is a vampire ( or a Lamia ) may not have been ...
... appears as a bit of exotic local folklore , a curse on the Infidel ( the " other " ) . Although Coleridge's Christabel was read at the Villa Diodati in 1816 , the " fact " that Geraldine is a vampire ( or a Lamia ) may not have been ...
Índice
1 | |
Riding Nightmares or Whats Novel about Gothic? | 25 |
Reading Nightmères or The Two Gothic Traditions | 97 |
Writing in Gothic or Changing the Subject | 173 |
The Alien Trilogy | 249 |
APPENDIX B Gothic Families | 253 |
APPENDIX C The Female Plot of Gothic Fiction | 256 |
Bibliography | 285 |
Index | 301 |
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Abelard Agnes Ann Radcliffe appears argues beautiful Belle Dame Bluebeard castle Castle of Otranto Chicago Press Coleridge Coleridge's critics dark death desire discourse Dracula dream Edited eighteenth century Eloisa Eloisa to Abelard Emily Eros Essays experience fantasy father Female Gothic feminine feminist Freud Freudian gender genre Gothic conventions Gothic Fiction Gothic Novel Gothic plot Gothic tradition haunted horror Imagination implies Jane Eyre Keats Keats's Knight Kristeva language literary M. H. Abrams Male Gothic Mariner Mariner's marriage masculine material meaning metaphor mode Monk mother Mysteries of Udolpho mysterious myth nature object Oedipal Otranto Oxford patriarchal poem poetic Porphyro principle Psyche Psyche's psychoanalytic Radcliffe Radcliffe's readers reality represents Rime Romantic Romanticism Samuel Taylor Coleridge secret Semiotic sense sexual speaking subject Stoker's story structure sublime suggests Symbolic tale terror theory tion Udolpho uncanny unconscious University Press vampire Van Helsing Walpole woman women word writing York