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論文提要內容： 本篇論文旨在探討安•瑞克麗芙之《烏多夫堡秘辛》中十八世紀女性如何藉改造自身特質，逆轉身處不平等的劣勢。同時並引用瑪麗•烏爾史東考夫特的自由女性主義來分析小說文本。在小說中，瑞氏藉由女主角的冒險故事來剖析十八世紀的女性如何在父權社會中抗拒屈從，堅持自我存在的價值和追尋個人幸福。 本論文共分為五章。第一章概述瑞氏生平背景、作品特性、本小說之寫作背景、古今評論對本小說之評價，以及分析本文所應用的理論。第二章與第三章側重瑞氏對十八世紀之「感性」（sensibility）的分析。註1瑞氏在小說中以許多篇幅描寫「感性」對當時女性的深遠影響，並探討其正、反兩面的價值。有鑑於此，第二章討論瑞氏對「感性」強化女性膚淺、非理性等負面特質的批判。第三章探討瑞氏如何運用「感性」中知性、理性、利他三種正面價值來改變女性軟弱無能的特質。第四章乃瑞氏在小說中對於女權和女性獨立自主觀點之分析。最後一章為結論兼及小說寫作和瑞氏作品的貢獻。 / Abstract In The Mysteries of Udolpho Ann Radcliffe describes the story of a young, middle-class woman. She illustrates how the innocent, sensitive protagonist fights against oppression, defends her value and finds her own happiness in the male dominated world. By describing the protagonist’s opposition to subordination, Radcliffe points out the necessity of changing women’s manners. The writer of this thesis explores Radcliffe’s concern with the social inferiority of women in The Mysteries of Udolpho. The writer also applies Mary Wollstonecraft’s liberal feminist thought in her discussion of Radcliffe. This thesis is divided into five chapters. The first chapter is a general introduction. It includes Ann Radcliffe and her works, the critical response, the theory employed in the textual analysis, namely Wollstonecraft’s liberal feminist thought and an overview of the eighteenth-century sensibility. The second chapter focuses on Radcliffe’s attack of the false sensibility and how it distorts the nature of women. The third chapter centers on the virtuous sensibility and how it functions as the power to reverse women’s social inferiority. In the fourth chapter, the stress will be laid upon issues of marriage, property and the meaning of independent women. The concluding chapter discusses the contribution of Radcliffe as novelist.

Cette étude se propose d’analyser les différents rapports que l’écriture radcliffienne, souvent qualifiée de « peinture de mots », entretient avec la peinture d’un point de vue thématique, structurel, symbolique et formel. Nous analyserons tout d’abord comment les romans s’inscrivent dans le contexte esthétique de l’époque et son paradigme pictural (valorisation de la peinture de paysage du XVIIe siècle, redécouverte du gothique architectural, « vision en tableau » du pittoresque). L’approche intermédiale de Liliane Louvel et sa définition du pictural au sein d’une problématique texte-image nous permettront de voir comment l’écriture file la métaphore picturale et développe ses propres stratégies pour « faire tableau » dans un désir paragonesque d’émuler la peinture. Tableaux et portraits en miniature occupent également une place importance dans l’économie du récit et leurs fonctions diégétiques et symboliques seront abordées au travers de leur spécificité intersémiotique en tant qu’objets d’art littéraires. Enfin, l’étude des descriptions paysagères au cœur de l’iconotexte montrera comment deux types de picturalité s’entrecroisent, l’une, iconique et figurative, qui cherche à « faire tableau », et l’autre, picturale et sémiotique, qui travaille le texte sur le mode plus diffus du signifiant plastique, de la dislocation du « tableau » et de la dissémination de son image au travers des substituts picturaux, de la peinture synesthésique et « iconorythmique », faisant miroiter des « éclats de picturalité » en texte. Nous montrerons ainsi comment le pictural est le mode spécifique de la gothicité radcliffienne, articulant les problématiques du « female Gothic ». / This study will analyse the different links that Ann Radcliffe’s “word-painting”—as her writing has often been called—bears with painting, from a thematic, structural, symbolic and formal point of view. We shall first see how the novels fit into the aesthetical context of the time and its pictorial paradigm—seventeenth century landscape painting as an iconographical model, the rediscovery of Gothic architecture as a pictorial motif, the picture-like vision of the picturesque. Liliane Louvel’s intermedial approach and her definition of the “pictorial” within a text-image problematics will help us see how Radcliffe spins out her pictorial metaphor and implements her own strategies to make the reader “see pictures” in a paragon-esque desire to emulate painting. Full-sized pictures and miniature portraits also play an important role in the unfolding of the narrative. Their diegetic and symbolic functions will be studied in reference to their intersemiotic specificities as literary works of art. Finally, the study of landscape description at the core of the radcliffian iconotext will help us see how two different types of pictoriality interact, one based on figurative representation which aims at making the reader “see pictures”, and another more diffuse form which works on a semiotic level through deconstruction and iconic dissemination, expressing the pictorial signifier in words. It makes “fragments of pictoriality” shine throughout the text by means of pictorial substitutes and a synesthetic experience of “iconorythmic” pictures. We shall thus prove how the pictorial is the specific mode of Radcliffe’s Gothic writing and articulates the problematics of the female Gothic.

Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / In the late eighteenth century, Ann Radcliffe established herself as one of the most famous novelists of her time, and she reached the peak of her career with her fourth novel entitled The Mysteries of Udolpho (1794). Although it is one of the most important gothic novels, this narrative has issues not much explored by critics yet. The Mysteries of Udolpho presents us with one of the strongest characteristics of Radcliffe s fiction, namely, the detailed construction of setting. In this sense, this work analyses and discusses the roles of setting, which is organized in the novel as natural or constructed setting. The analysis focuses on the relation between this thematic-formal aspect and the actions and personal relationships of the protagonist Emily with other characters. The discussion shows that the different types of setting are essential in the narrative once they have strong participation in the ideological construction of characters regarding the connection between sentimentalism and rationality. Therefore, the relation between setting and characters, in this particular novel, expresses important aspects of the complex development of the bourgeois sensibility in eighteenth-century England. / Em fins do século XVIII, Ann Radcliffe se estabeleceu como uma das romancistas mais famosas de sua época, atingindo o ápice de sua carreira com seu quarto romance intitulado The Mysteries of Udolpho (1794). Apesar de ser um dos romances góticos ingleses mais importantes, ele ainda apresenta questões pouco exploradas pelos críticos. The Mysteries of Udolpho possui uma das características mais fortes das obras de Radcliffe: a minuciosa elaboração do espaço. Em vista disso, este estudo analisa e discute as funções do espaço, o qual está organizado em natural e construído. A análise centra na maneira como esse aspecto temático-estrutural se relaciona com as ações e relações pessoais da protagonista Emily com as demais personagens. Discutimos como os diferentes tipos de espaço tornam-se essenciais por participarem de forma enfática na construção ideológica das personagens, no que diz respeito à associação entre sentimentalismo e racionalidade. Assim, a relação entre espaço e personagens nesse romance expressa aspectos importantes da complexa construção da sensibilidade burguesa na Inglaterra do século XVIII.

The purpose of this paper is to determine why Mrs. Radcliffe's gothic novels were popular with contemporary readers. Sources include reviews from eighteenth century periodicals, essays of early nineteenth century critics such as William Hazlitt and studies of her work by twentieth century critics. The thesis is organized in four chapters each of which discusses one aspect of her work which particularly pleased her contemporary reviewers and critics: her invention, her attitude toward superstition, her use of poetic justice, and her outlook on nature. These aspects of her work alone did not secure for her the popularity she enjoyed, but, when combined with her ability to create suspense, helped her become one of the most popular writers of her era.

<p>The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe&rsquo / s late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.</p>

<p>The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe&rsquo / s late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.</p>

Abstract This study examines the connection between power and identity in three Gothic novels, Ann Radcliffe’s The Mysteries of Udolpho, William Godwin’s Caleb Williams, and Charles Robert Maturin’s Melmoth the Wanderer. Following the identity theories of Erik Erikson, I argue that identity has biological, psychological, and social aspects that are subject to change over time. As individual agency—the ability to function as a person—depends on a relatively certain and stable sense of personal identity, Gothic villains—both individuals and institutions—gain and maintain their power by disempowering their victims. In order to do so, they work to compromise these victims’ sense of personal identity, causing them to suffer identity crises that greatly reduce their ability to function. Employing various means—including threats of rape, destruction of reputation, imprisonment, forced exile, denial of freedom of thought, torture, and others—Gothic villains attempt to weaken their victims by placing them in situations that cause the fears that Erikson argues all people share to become paralyzing and debilitating states of anxiety, states in which the victims suffer from a temporary, or, in extreme cases, permanent loss of agency. These Gothic victims’ paranoia, identity crises, and subsequent loss of agency underscore the importance of individuals’ identity and constitute the horror that is at the heart of Gothic fiction.

Magister Artium / The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe's late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period. / South Africa

My thesis draws connections between today's network society and the workings of gothic literature in the late eighteenth- and early nineteenth-century. Just as our society is formed and affected by the flow of information, the eighteenth-century culture of sensibility was formed by the merging and flow of scientific "technology" (or new scientific discoveries) and societal norms and rules. Gothic literature was born out of this science-society network, and in many ways embodies the ruptures implicit in it. Although gothic literature is not a network in the same sense as informationalism and the culture of sensibility are, gothic literature works according to the logic of networks on both a microscopic and macroscopic level. These correlations between networks and the gothic potentially illuminate two of gothic literature's strange and signature qualities: the subversive nature of the gothic convention, as well as the incredible—and almost inexplicable, considering its libeled and unpopular reputation—staying power of the genre. In Chapter One, I compare the society of informationalism and the eighteenth-century society of sensibility in order to extrapolate a three-pronged logic of networks: networks are subversive, networks are exclusive, and networks are based on codes. In Chapter Two I trace this logic through eighteenth-century gothic conventions as they are portrayed in Ann Radcliffe's The Italian and Matthew Lewis's The Monk. This shows how the gothic, like network society, depends on the paradox of containing the ideology that it subverts. In Chapter Three I investigate this paradox on a macroscopic level by examining the connections between "tales of terror" in Blackwood's Magazine and gothic literature in both the pre-Romantic and Victorian literature. By both adopting and subverting the conventions of Radcliffean gothic, these tales are a key node in the web of the gothic stretching backwards to into the eighteenth century, forwards into the nineteenth century, and beyond.