Gothic (Re)Visions: Writing Women as Readers
SUNY Press, 1 בינו׳ 1993 - 201 עמודים
Gothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers.
Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here--by Ann Radcliffe, Mary Shelley, Charlotte Brontë, Harriet Beecher Stowe, George Eliot, and Edith Wharton--explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader."
מה אומרים אנשים - כתיבת ביקורת
לא מצאנו ביקורות במקומות הרגילים
Dreams and Visions
Woman as Gothic Vision The Italian
The Woman on the Bed Frankenstein
Charlotte Brontës PostGothic Gothic
Evas Curl Uncle Toms Cabin
Exorcising the Mother Daniel Deronda
מהדורות אחרות - הצג הכל
actress acts appears artist audience becomes Bertha body Bronte Bronte's Cassy character Charlotte Bronte confessional conventions cultural Daniel Deronda desire double dream Elizabeth Ellena essay Eva's example fantasy father female feminine feminist feminist criticism fetishized figure film finally Frankenstein Freud function Fuseli's painting gaze gender George Eliot gests Ginevra girl Gothic fiction Gothic novels Grandcourt Gwendolen Harriet Beecher Stowe haunted House of Mirth issue Italian Jane Eyre Jane's language Legree Legree's letters Lily Bart Lily's literally literary Lucy Lucy's male Mary Shelley Mary Shelley's masculine maternal metaphor Mirah mode Monk Monster Mordecai mother narrative narrator nightmare play plot position presence Radcliffe Radcliffe's reader realism relationship representation represents rewriting role romance Schedoni Selden sexual Shelley spectator stage story Stowe's structure suggests tableau tableau vivant textual tion uncanny Uncle Tom's Cabin Vashti veil Victor Frankenstein Villette vision visual Vivaldi voice Wharton woman women writers writing