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1	First-Person Narration in Edgar Allan Poe's Tales Bost, Wallace Richard 01 1900 (has links) For the purpose of this study, Poe's tales were read and considered carefully in chronological order, the idea being to discover growth and development. Poe's literary career was relatively brief (1832-1849), and there are no dramatic or definite breaks or periods. Though his production shows growth in sophistication and artistry, it has been deemed more instructive to group Poets first-person narrators according to the part they play in the story, that is, (1) main actor or protagonist, (2) minor character, (3) observers and (4) combinations of the foregoing three. An attempt will be made to note both variation and pattern, and hence artistic skill, in Poe Is handling of each particular type of narrator. first person narration Edgar Allen Poe dramatic irony literary technique
2	Poe’s Theory of the Short Story and Hybridity in East Asian Short Fiction: Considering Mori Ogai’s “Maihime” and Su Manshu’s “Suizanji” Wood, Anthony Michael 22 April 2024 (has links) (PDF) This thesis considers how Mori Ōgai’s “Maihime” (1890) and Su Manshu’s “Suizanji” (1916) conform and differ from Edgar Allen Poe’s theory of the short story. It then considers Ōgai’s and Su’s reading of the short stories and East Asian short fiction as well as Ōgai’s definition of the short story to consider why these works of short fiction differ from Poe’s definition, concluding that they are hybrid works, which seek to combine the short story and East Asian short fiction. Edgar Allen Poe Late Qing literature Meiji literature Mori Ōgai short story history short story theory Su Manshu Arts and Humanities
3	Re-igniting the Gothic: Contemporary Drama in the Classic Mode Williams, Ian Kennedy January 2005 (has links) While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice. Contemporary theatre drama gothic gothic convention gothic mode literature performance playwriting Steven Berkoff Tony Kushner Errol ONeill Sam Shepard Clive Bloom F. Botting Mark Edmundson Eve Kosofsky Sedgwick Edgar Allen Poe Ann Radcliffe Rosamond Seimon

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