A COMPANION TO THE GOTHIC DAVID PUNTER PDF

European Gothic Neil Cornwell. Irish Gothic: C. Maturin and J. LeFanu Victor Sage. The Ghost Story Julia Briggs.

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Start your review of A Companion to the Gothic Write a review Shelves: gothic , lit-crit He took up a little, very neatly constructed pocket telescope, and looked through the window to try it.

Never in his life had he met a glass which brought objects so clearly and sharply before his eyes. For the first time he could see the wondrous beauty in the shape of her face; only her eyes seemed to him singularly still and dead. Nevertheless, He took up a little, very neatly constructed pocket telescope, and looked through the window to try it. It was as if the power of seeing were being kindled for the first time; her glances flashed with constantly increasing life.

As if spellbound, Nathaniel reclined against the window, meditating on the charming Olympia. To read many texts and yet get the same ideas from them — primal scenes, phalluses present and absent, castration fears, returns to the womb — seems a terrible waste of time, even worse when I suspect that the authors knew they were going to find these things before even starting their analysis.

But there were a lot of good things in this collection, too. But, as Jerrold E. Gothic Backgrounds 1. In Gothic Darkly: Heterotopia, History, Culture Fred Botting The Gothic natural, democratic contests the Augustan Classical artificial, foreign transplanted , hierarchic aristocratic ; it paves the way for the Romantic in its discovery of nature, but remains separate from it, "relegated to the popular and trashy realm of cheap, formulaic fiction.

Much was believed, but little understood, And to be dull was construed to be good; - Alexander Pope, An Essay on Criticism 3. Ann Radcliffe and Matthew Lewis Robert Miles Focusing on the two main figures of the high Gothic, the author uses feminist and queer theory to define the "female" and "male" Gothic.

Duncan would take the quotes off Ossian The vulgar consensus that Macpherson forged these works has recently given way to a more nuanced understanding of an ideologically complex act of synthesis.

As disembodied as the wraiths with which they familiarly converse, the Ossianic heroes inhabit an empty, reiterative temporality of haunting and an evanescent scenery of cataracts, mists and lonely cairns. The characteristic speech act of this world is the elegy, whether spoken by the chieftain mourning his slain children or sung by the aged bard, the last of his race mourning himself and that posterity which is occupied only by our act of reading.

Irish Gothic: C. Maturin and J. Le Fanu Victor Sage Concentrates on the careers of the two title figures. Assumes familiarity with British theater and political history in the decades before and after Napoleon that I expect few readers will have. The concept of the "artisan Gothic" is intriguing but not elaborated: the differing intellectual and narrative requirements of audiences for novels and drama makes for a tension between material intended for readers and theatergoers. Nineteenth- and Twentieth-Century Transmutations 9.

Especially at such short length, such analysis tends to be like looking at a sculpture from a fixed POV. The "References" section would seem to indicate that some of the many works mentioned are known second hand. Offers a thesis that the ghost story offers a way of dealing with powerlessness for female authors or real-life horrors the popularity wartime ghost stories.

The Great God Pan, Dr. Moreau, The Picture of Dorian Gray; though arguments are also relevant to Dracula, implied but not discussed, above all.

Fictional Vampires in the Nineteenth and Twentieth Centuries William Hughes An attempt to displace or look beyond Dracula as the foundation for literary vampire studies. Brite - no Stephen King, a significant omission.

Horror Fiction: In Search of a Definition Clive Bloom Starts out well, the highlight being a sequence of quotes detailing the deaths of revenants from 18th through 20th centuries.

But decomposes into specious Freudianism. Jekyll expand meanings and address shifting societal concerns. The commentary provides a nice connective text for them, but descends to nonsense by the end.

First paragraph is a tease, posing questions the essay does not answer: In thinking about the Gothic, we are ineluctably led to a series of questions about the uncanny.

For example, what kind of thing is the uncanny? Is it a feature that can be isolated in a text or a series of texts? Is it something that can be demonstrated through techniques of verbal analysis? Is it rather a set of effects of which we might become conscious during and after - or in some cases before - an act of reading? Gothic Theory and Genre This results in "generic confusion" and "de-historicizing".

Psychoanalysis and the Gothic Michelle A. Masse Starts out as an effective riposte to the previous essay, but like so many pieces in this book degenerates into the barely readable. Talking about the two at once inevitably results in misrepresentation. Both disciplines start out making limited observations about their subjects, expand their terms of reference, and then become so general as to be essentially saying nothing my reaction.

Just as elements reconfigure as structures or themes, so from about on, the latter begin to be understood during the systems stage in paradigmatic relation to one another and in conjunction with other systems. Serious gothic writing manifests a deep anxiety about the permeability of such boundaries. The Continuing Debate Can You Forgive Her? Falls apart at the end as the author attempts to synthesize viewpoints in her reading of Continental Drift as a Gothic novel.

Seeing Things: Gothic and the Madness of Interpretation Scott Brewster Sees interpreting the Gothic as necessarily akin to the madness of the narrators. Actually reading the quote in context dispels the notion that Freud is here undergoing a moment of rare self-doubt. This clearly puts the doubt in the mind of "the reader" rather than in "our own". Hogle Another piece barely written in English, but perhaps worth parsing. The early Gothic revival offered counterfeits of older forms and beliefs associated with aristocracy and Catholicism.

With the industrial revolution 19th Century Gothic looked at reproduction of simulacra: monsters Frankenstein , vampires Dracula or personas Dr. Gothic and psychiatry developed due to the same historic imperatives - the need to "abject" undesirable elements of self unto the Other or the unconscious.

The Magical Realism of the Contemporary Gothic Lucie Armitt An interesting look at traditional Gothic manifestations in politically inflected magic realist texts. In the Gothic the phantom is that central source, manifesting a secret that disturbs, even chills.

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