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
acts appears appropriate artist associated attempts audience becomes body Bronte chapter character clearly concern conventions criticism cultural Daniel Deronda dead death describes desire discussion double dream earlier effect Eliot Elizabeth Ellena especially essay evidently example eyes father female feminist fiction figure finally Frankenstein function gaze gender girl Gothic Gwendolen House of Mirth identification identity interpretation issue Italian Jane language later less letters Lily literally literary look Lucy male Mary maternal meaning mode Monster mother narrative narrator nature nightmare notes novel object offers opening painting performance play plot position presence Press provides reader relationship representation represents role scene Schedoni Selden sense sexual similar space speaks specifically spectator stage status story Stowe Stowe's structure suggests tableau takes tion uncanny Uncle Tom's Cabin University veil Villette vision visual voice Wharton wish woman women writing written