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
... early con- temporary , Romanticism , and as long as we fail to address the issue of " male " as well as " female " Gothic , we are trapped in a prison of our own devising . Let us begin by surveying the stories critics have told ...
... early con- temporary , Romanticism , and as long as we fail to address the issue of " male " as well as " female " Gothic , we are trapped in a prison of our own devising . Let us begin by surveying the stories critics have told ...
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... early Gothic " romance " is almost exactly contemporary with the literature we now call " Romantic . " Today's Romanticists may have difficulty in declaring the Gothic inconsequential , for Ann Radcliffe and Monk Lewis were writing in ...
... early Gothic " romance " is almost exactly contemporary with the literature we now call " Romantic . " Today's Romanticists may have difficulty in declaring the Gothic inconsequential , for Ann Radcliffe and Monk Lewis were writing in ...
Página 4
... between Gothic and Romantic . Twentieth - century criticism records an increas- ingly effective repression of the Romantic poets ' kinship to the Gothic . We forget that early literary scholarship , such as Beers's 4 Introduction.
... between Gothic and Romantic . Twentieth - century criticism records an increas- ingly effective repression of the Romantic poets ' kinship to the Gothic . We forget that early literary scholarship , such as Beers's 4 Introduction.
Página 5
A Poetics of Gothic Anne Williams. We forget that early literary scholarship , such as Beers's History of Eng- lish Romanticism in the Eighteenth Century ( 1898 ) , assumes that Gothic is an aspect of Romanticism , as does Eino Railo's ...
A Poetics of Gothic Anne Williams. We forget that early literary scholarship , such as Beers's History of Eng- lish Romanticism in the Eighteenth Century ( 1898 ) , assumes that Gothic is an aspect of Romanticism , as does Eino Railo's ...
Página 7
... early 1970s coincided with a decline of the ' 60s mass - market Gothic — a genre rigidly conventional in its female - centered narrative and on its insistence that the author of the formula be " a woman speaking to women . " ( Even if ...
... early 1970s coincided with a decline of the ' 60s mass - market Gothic — a genre rigidly conventional in its female - centered narrative and on its insistence that the author of the formula be " a woman speaking to women . " ( Even if ...
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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Términos y frases comunes
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