Art of Darkness: A Poetics of GothicUniversity of Chicago Press, 15 באפר׳ 1995 - 311 עמודים 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. |
תוכן
Gothic Fictions Family Romances | 1 |
Riding Nightmares or Whats Novel about Gothic? | 25 |
The Nightmare of History Acting On and Acting Out | 27 |
The House of Bluebeard Gothic Engineering | 38 |
Pope as Gothic Novelist Eloisa to Abelard | 49 |
Symbolization and Its Discontents | 66 |
The Nature of Gothic | 80 |
Family Plots | 87 |
The Fiction of Feminine Desires Not the Mirror but the Lamp | 149 |
The EighteenthCentury Psyche The Mysteries of Udolpho | 159 |
Writing in Gothic or Changing the Subject | 173 |
Dispelling the Name of the Father | 175 |
An I for an Eye The Rime of the Ancient Mariner | 182 |
Frost at Midnight Mothers and Other Strangers | 200 |
Keats and the Names of the Mother | 208 |
The Mysteries of Enlightenment or Dr Freuds Gothic Novel | 239 |
Reading Nightmères or The Two Gothic Traditions | 97 |
Nightmères Milk The Male and Female Formulas | 99 |
Male Gothic Signs of the Fathers | 108 |
Demon Lovers The Monk | 115 |
Why Are Vampires Afraid of Garlic ? Dracula | 121 |
The Female Plot of Gothic Fiction | 135 |
The Male as Other | 141 |
Inner and Outer Spaces The Alien Trilogy | 249 |
Gothic Families | 253 |
The Female Plot of Gothic Fiction | 256 |
Notes | 257 |
285 | |
301 | |
מהדורות אחרות - הצג הכל
מונחים וביטויים נפוצים
Abelard Agnes Ann Radcliffe appears argues beautiful Belle Dame Bluebeard castle Castle of Otranto Coleridge Coleridge's consciousness critics dark death desire discourse Dracula dream eighteenth century Eloisa Eloisa to Abelard Emily Eros essay experience fantasy father Female Gothic feminine feminist Freud Freudian gender genre Gothic conventions Gothic Fiction Gothic Novel Gothic plot Gothic tradition haunted horror human 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 patriarchal poem poetic poetry Porphyro principle Psyche Psyche's psychoanalytic Radcliffe Radcliffe's readers reality represents Rime Romantic Romanticism secret Semiotic sense sexual signified 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