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 10
... imply as much repressive folly and violence as any skeleton in the closet.28 In addition , mid - century Romanticists ' implicit faith in the transcendent Imagination has also come under attack or at least been rendered prob- lematic ...
... imply as much repressive folly and violence as any skeleton in the closet.28 In addition , mid - century Romanticists ' implicit faith in the transcendent Imagination has also come under attack or at least been rendered prob- lematic ...
Página 14
... imply different aspects of this perplexing phenomenon . But if " definitions " of Gothic tend to be problematic , the word nev- ertheless appears with some frequency in both scholarly and popular discourse . According to literary ...
... imply different aspects of this perplexing phenomenon . But if " definitions " of Gothic tend to be problematic , the word nev- ertheless appears with some frequency in both scholarly and popular discourse . According to literary ...
Página 15
... implies that though there may be disagreement as to the absolute posi- tion of the line between the " obscene " and the " decent , " there is a general category of " obscenity . " Similarly , though one may have trou- ble drawing a ...
... implies that though there may be disagreement as to the absolute posi- tion of the line between the " obscene " and the " decent , " there is a general category of " obscenity . " Similarly , though one may have trou- ble drawing a ...
Página 22
... implies that " evil " is intimately connected with " the female , " and ( uncannily , paradoxi- cally ) Dracula , the terrible father figure , represents the culturally " female " in blood , darkness , death , and monstrous ...
... implies that " evil " is intimately connected with " the female , " and ( uncannily , paradoxi- cally ) Dracula , the terrible father figure , represents the culturally " female " in blood , darkness , death , and monstrous ...
Página 23
... implies a dynamic : in Aristotle's Poetics , mythos means " plot . " This word not only denotes " a series of events that constitute a narrative " ; curiously , in English , plot may also mean " an area of ground " ( and this is also ...
... implies a dynamic : in Aristotle's Poetics , mythos means " plot . " This word not only denotes " a series of events that constitute a narrative " ; curiously , in English , plot may also mean " an area of ground " ( and this is also ...
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