Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007. / In this thesis I examine the Gothic elements in François Bloemof’s debut novel, Die nag het net een oog (1991). There are two reasons this novel can be seen as an exemplary text in Afrikaans: firstly, it contributes to a genre of which there are very few examples in Afrikaans, namely the Gothic novel. Secondly, it leads to a reevaluation of texts of C.J. Langenhoven, C. Louis Leipoldt and Marius Gie (pseudonym of Martha C Gieseke). Apart from a discussion of the Gothic novel in general and specifically Bloemhof’s novel, this thesis also examines his large oeuvre, constant focus on renewal and his position in the Afrikaans literary system. The Gothic novel is generally regarded as a form of popular literature. This aspect, together with the history, function, development and characteristics of the Gothic novel, is also looked at in the thesis in an attempt to contribute to the minimal theoretization on this subject in Afrikaans. Lastly I will discuss the Gothic elements in Bloemhof’ s debut novel. Die nag het net een oog has many of the characteristics of the earlier Gothic novels, but Bloemhof renews them by crossing over conventional boundaries. The heroine being the rescuer instead of the rescuee, is one such example. The study is concluded with short summarizing comments and suggestions for further study.

This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. The thesis provides initially an account of the debate that raged in the national press and beyond about the propriety of replacing Peckitt’s window. This documentary evidence gives a valuable insight into attitudes towards the adornment of churches at the turn of the century: should respect for the extant fabric include Peckitt’s one-hundred-and-fifty year-old contribution or should the building be renovated with a modern medieval-revival window. Until recent times it was largely the case that eighteenth-century glass was regarded as wholly inferior to the medieval glass that preceded it and it is widely accepted that glass making in Britain only recovered with the nineteenth-century Gothic revival and the modern glass that followed it. In this thesis it is suggested that the denigration of eighteenth-century glass and in particular that of William Peckitt at Exeter, ignores its qualities, practical and intellectual, and the Great West Window is used to reveal the seriousness of such endeavours. Peckitt’s work is positioned within the context of the particular circumstances of the restoration of Exeter Cathedral in the mid-eighteenth century under two successive Deans, Charles Lyttelton and the aforementioned Jeremiah Milles, both of whom were nationally significant antiquarian scholars. Peckitt was knowledgeable about medieval glass techniques, worked sensitively in restoring medieval glass and when designing a completely new window for the Cathedral worked closely with Milles to provide an iconographical scheme that was appropriate for the Cathedral, its history and its patrons. The evidence brought forward suggests that it is wrong to presume that glass designers like Peckitt had little understanding of medieval glass manufacture nor any interest in using the medium of glass appropriately in the context of a medieval building.

La figure mythique du double se manifeste dans la majorité des cultures sous des formes archétypales renvoyant à l’expérience de la division de l’individu en positions antithétiques ou complémentaires. Dans la littérature gothique et fantastique, le mythe est propice à créer un sentiment d’angoisse et d’horreur soulignant les problèmes et mystères de la schize du sujet. Ce travail d’analyse propose de regrouper les récits de doubles selon deux catégories d’occurrences thématiques en se basant sur le traitement textuel qui en est fait, soit l’apparition du double par homonymie d’une part et par pseudonymie de l’autre. Ceci mènera ultimement à commenter sur la perception qu’a l’auteur de lui-même et du processus de création. Le problème de la division étant au cœur des balbutiements théoriques en psychologie et en psychanalyse, une grille analytique lacanienne et post-structuraliste sera appliquée à cette recherche. Les œuvres traitées seront New York Trilogy de Paul Auster, The Dark Half de Stephen King, William Wilson d’Edgar Allan Poe, Le Double de Fédor Dostoïevski et Despair de Vladimir Nabokov. / The mythical figure of the double appears in most of cultures through archetypes translating the human experience of division, be it complementary or antithetical. In Gothic and Fantastic literatures, the myth often stands for a feeling of anguish and horror underlining the mysteries and complications arising from the subject’s dividedness. This analysis wishes to group into two thematic categories occurrences of doubles based on the textual treatment that is made of them: doubles as homonyms and as pseudonyms. This distinction will lead in commenting on the author’s perception of himself and of the creative process. We will use a Lacanian and post-structuralist reading grid, based on the fact that dividedness has been a core issue in psychological and psychoanalytical theoretical developments. The works studied will be Paul Auster’s New York Trilogy, Stephen King’s The Dark Half, Edgar Allan Poe’s William Wilson, Fyodor Dostoevsky’s The Double and Vladimir Nabokov’s Despair.

Le concept des Sociétés de fictions élaboré dans le cadre de ce mémoire vise l’exploration de la médiation à l’ère du numérique. Pour penser les modalités de fictions littéraires avec l’idée qu’elles puissent former des sociétés distinctes, ce travail d’analyse propose d’examiner diverses fictions, plus précisément des expressions gothiques américaines en littérature contemporaine, afin d’en extraire un mode de pensée significatif. Dans le dessein d’analyser la manière dont ces fictions se relient entre elles, cette recherche se focalise sur le rapport qu’entretient la fiction littéraire avec la technologie ainsi qu’avec divers modes de diffusion et de médiation. Afin de comprendre comment les mécanismes du discours positionnent des œuvres de fictions les unes par rapport aux autres, ces fictions individuées seront d’abord examinées au sein d’une société qui leur est propre. Ceci mènera à exposer en quoi et comment les rapports qu’entretient l’humain avec la littérature et la technologie se reconfigurent par le biais de nouvelles formes de médiations. La présente réflexion se penche ainsi sur les modes d’interactions des fictions qui s’organisent en sociétés afin de pouvoir analyser comment le glissement du paradigme de l’imprimé et des supports matériels, à l’âge du numérique, peut se traduire par une manière inédite de penser notre relation au littéraire. En somme, cette réflexion sur la mobilité des formes et des plateformes liées aux fictions et à leur société devrait permettre de mieux analyser les individus qui inventent et consomment ces fictions, leur univers social ainsi que leur rapport intime à la technologie et ses médiations. Ces sociétés de fictions deviennent alors une clé pour comprendre notre rapport à la virtualisation de nos univers sociaux. Entre les sociétés de fictions et les sociétés des Hommes se noue un lien substantiel laissant entrevoir une véritable co-évolution de ces univers distincts. Les principales œuvres de fiction étudiées et citées seront celles du romancier et scénariste américain Bret Easton Ellis, plus précisément les romans Less Than Zero et Imperial Bedrooms. Il sera également question de la série télévisuelle Twin Peaks, diffusée sur la chaîne ABC en 1990 et réalisée par David Lynch, ainsi que d’une nouvelle de John Cheever, The enormous radio, parue en 1947, dans le New Yorker. / The concept of Societies of fictions developed inside the framework of this Masters thesis aims to explore the mediation at the digital age. The main idea is to think the terms of narrative fiction with the idea that each one may be part of societies. To do so, this analytical work intends to examine various fictions, specifically some examples of the American Gothic in contemporary literature, to extract a significant thought mode. In attempt to analyze how these fictions connect to each other, this piece of research focuses also on the relationship that fiction maintains with technology, including various modes of dissemination. To understand how narrative mechanisms contribute to positioning those fictions relative to each other, they will be approached as if they formed a society of their own. This strategy will lead us to revisit past tradition in a critical vein, and it will also provide an entry into the ways in which and how relations among human, literature and technology are reconfigured through new forms of mediation. By emphasizing the idea that fictions are organized into societies, we are in a better position to describe the paradigm shift from printed to digital media, and to examine how it transforms our relationship to narrative fiction in general. On balance, this discussion on mobility forms and fictions related platforms and their society should ultimately permit a better analyze of individuals who invent and consume these fictions, their social world and their intimate relationship with technology and mediations. As a result, Societies of fictions can become a key element to understand our relationship with the virtualization of our social universe. Between societies of fictions and human societies, a substantial connection can be drawn in the form of a co-evolutionary process. The main works studied and cited will be those of the American novelist and screenwriter Bret Easton Ellis, more specifically Less Than Zero and Imperial Bedrooms. The television serial drama Twin Peaks, which aired on the ABC channel in 1990 and was directed by David Lynch, will also be discussed, as well as a John Cheever’s short story, The Enormous Radio, originally published in 1947 in The New Yorker.

1 ABSTRACT This thesis presents a study of a field of everyday culture - medieval fashion and its development during the reign of Charles IV of Luxembourg and his son Wenceslas in the Czech lands in the years 1330 - 1410. As these fashion trends and changes were exhibited primarily through the clothing of nobility, this thesis focuses exclusively on the environs of the aristocracy and royal court. In addition to written sources and archaeological finds, the fine arts also serve to advance our knowledge of Gothic fashion trends, whose works authentically capture the contemporary clothing styles and changes in all of Europe. This thesis therefore examines, through a methodical analysis, how wall paintings, panel paintings and book illuminations of Czech provenance reflect changes in clothing fashions and tastes in courtly environs during the period of time known as Luxembourg Gothic. This study of primary iconographic sources in authentic historical buildings and galleries was further aided by the creation of an extensive photo archive. This thesis presents a representative sampling of the works from this archive which documents a basic transformation of Czech clothing culture and the creation of a Bohemian style of Gothic fashion, culminating at the turn of the 14th and 15th century and enriching European...

Jane Austen har blivit en av den engelskspråkiga litteraturens klassiska författare med sina romaner som handlar om unga kvinnor under det sena sjuttonhundratalet och det tidiga artonhundratalet. En av hennes första romaner, Northanger Abbey (1818) är ett av hennes mest humoristiska och ironiska verk. Den är inte en av hennes mest omtalade eller kändaste romaner men det är, med mina egna ord, en av de mest underskattade av hennes romaner. I Northanger Abbey reflekteras de faktiska klasskillnader, könsroller och könsförväntningar som fanns i Englands samhälle under hennes samtid. Med hjälp av genusteori med en biografisk förankring undersöker denna uppsats hur Austen använder satir för att kritisera samhället. Genom en djupgående analys av romanen finner uppsatsen att samhällskritik kan skönjas, där kvinnans förutsättningar, roll och ställning, sociala konventioner, patriarkatet och samtidens populära genre gotiken kritiseras. Uppsatsen kommer fram till att Austen använder humor, ironi och parodi som ett verktyg för att kunna säga vad som var offentligt otillåtet och romanen kritiserar därmed samhällsnormerna. Austen har skrivit en roman som innefattar ett flertal budskap och visar feministiska förtecken då hon tar ståndpunkt för kvinnors rättigheter och ställning. Genom dess rika omfång visar sig Northanger Abbey vara ett lämpligt material att använda i skolan för att främja elevernas utveckling och lärande, i muntlig likväl som skriftlig form. / Jane Austen novels deals with young women in the late eighteenth century and early twentieth century and have made her one of the classical writers of the English literature. Northanger Abbey (1818), one of her first novels, is also one of her most humoristic and ironic productions. Although, it is not her most mentioned or most famous novels but it is, in my own words, one of her most underestimated novels. In Northanger Abbey, the actual class differences, gender roles and gender expectations that existed in England during her time are reflected. This paper uses gender theory with a biographic foundation to examine how Austen uses satire to criticize society. Through an analyze of the novel, social criticism can be distinguished where women’s conditions, their role and position as well as social conventions, the patriarchy and the popular gothic genre are criticized. The essay concludes that Austen uses humor, irony and parody as tools to be able to say what was publicly forbidden to say and the novel thereby criticizes the social norms. Austen has written a novel that includes a number of messages and shows feministic signs as she takes a stand for women’s rights and status. Through Northanger Abbey’s rich content it proves to be a suitable material to use in the school to promote the students’ development and learning, in oral as well as written form.

O trabalho que apresento aqui pretende relacionar o romance O Guarani (1857), de José de Alencar, com os principais romances góticos que proliferaram na Inglaterra na segunda metade do século XVIII e no começo do século XIX. Mais celebrado por seu conteúdo indianista e considerado um dos expoentes do Romantismo brasileiro, O Guarani parece tomar emprestado do romance inglês aspectos imagéticos e discursivos. A intertextualidade se manifestaria especificamente na apropriação da retórica do sublime (efeito condutor do gótico) e na representação do antagonista (a noção de lawlessness), elementos que são aclimatados pelo autor para a realidade brasileira. O enfoque gótico se apresentaria no romance brasileiro em caráter periférico, pontuando uma tensão entre os ideais progressistas pretendidos por Alencar e a realidade de um Brasil largamente incivilizado em busca de sua identidade nacional pós-emancipação. Na construção da identidade brasileira pensada por Alencar, há a incorporação de alguns traços específicos do romance inglês ao mesmo tempo em que outros são rejeitados. O trabalho apresenta uma reflexão sobre os motivos góticos no Guarani e procura oferecer uma interpretação do significado de um “vilão gótico" no Brasil pré-republicano. / This work associates the Brazilian novel The Guarany (1857), by José de Alencar, to the main gothic novels that flourished in England in the second half of the 18th century. Traditionally celebrated by its indigenous content and considered a key text to Brazilian Romanticism, The Guarany shows evidence of graphic and discursive appropriations from the English fiction. This intertextuality can be seen specifically in the use of a sublime rhetoric (conductor of the gothic effect) and in the representation of the antagonist (lawlessness model). These elements are acclimatised by the author to the Brazilian context. The gothic features stem in the Brazilian novel as peripheral characteristics, comprising a tension between the progressive ideals intended by Alencar and the reality of an uncivilized country, marked by a quest for national identity post-emancipation. In the construction of the Brazilian identity thought out by Alencar there is the incorporation of specific traces of the English gothic at the same time other traces are rejected. This research provides evidences of gothic motives in The Guarany and offers an interpretation of the meaning of a gothic villain in a pre-republican Brazil.

Duas coletâneas das novelas Noites em uma granja perto de Dikanka, de Nikolai Gógol (1809-1852), publicadas entre 1831 e 1832 e chamadas pelos pesquisadores de ucranianas, formaram o primeiro livro que trouxe o então jovem escritor à fama na sociedade literária russa. A obra, além de apresentar ao público o ainda pouco conhecido material etnográfico, ganhou destaque por formar uma complexa síntese das várias camadas literárias e culturais, colocando Noites dentro do sistema de várias oposições (romantismo/realismo; cristianismo/paganismo; catolicismo/ortodoxia, russo/europeu), sujeito à discussão até nossos dias. Nesta dissertação, discute-se a possível conexão das obras de Nikolai Gógol, em especial as suas novelas ucranianas, com a poética do romance gótico inglês, gênero popular e difundido na Rússia no início do século XIX. Tal circunstância proporcionou o vasto uso e adaptação dos procedimentos típicos góticos pelos autores russos na época gogoliana. Para mostrar isso, são procurados e analisados os traços recorrentes do gênero em questão, que mostram a evolução e a transformação do gótico em um novo território e na poética de Gógol em particular. Compõe, ainda, o volume desta dissertação a tradução de duas novelas gogolianas A noite da véspera do dia de Ivan Kupala (Vêtcher nakanune Ivana Kupala) e Uma noite de maio, ou uma moça afogada (Máiskaia notch, ili utóplennitsa). O critério de seleção dos textos em questão foi a presença marcante dos traços da tradição gótica. / Two collections of tales Evenings on a farm near Dikanka, by Nikolai Gogol (1809-1852), published between 1831 and 1832 and named by the researchers Ukrainian, formed the first book that brought a then young writer to fame in the Russian literary society. The work, aside from introducing to the public the yet little known ethnographic material, was highlighted for forming a complex synthesis of different cultural and literary layers, putting the Evenings into a system of various oppositions (romanticism/realism, Christianity/paganism, catholicism/orthodoxy, Russian/European), subject to a discussion until nowadays. This dissertation discusses a possible connection of Gogols works, especially his Ukrainian tales, with the poetics of English gothic romance, a popular and diffused genre in Russia in the beginning of the XIXth century. That circumstance conditioned the widespread use and adaptation of typical Gothic devices by the Russian authors during the gogolian era. To prove that, our work researches and analyses the recurrent traces of the genre in question, that show the evolution and transformation of Gothic in the new territory in general and in Gogols poetics in particular. This dissertation also presents the translation into Portuguese of two Gogols tales St. Johns Eve (Vecher nakanune Ivana Kupala) and May Night, or The Drowned Maiden (Mayskaya noch, ili Utoplennitsa). The selection criteria was the most outstanding presence of the Gothic traces in these texts.

No segundo quartel do século XII, Suger de Saint-Denis, monge cluniacense, escreveu três textos nos quais mencionou e descreveu a reforma que conduziu na abadia de Saint-Denis durante seu abaciado. Essa reforma foi posteriormente identificada pela História da Arte como a origem da arquitetura gótica. Tais textos, conhecidos como Ordinatio, De Consecratione e De Administratione, publicados e traduzidos em diversas edições, foram analisados, assim, por alguns historiadores da arte, como Erwin Panofsky, Peter Kidson, Jean-Claude Bonne e Conrad Rudolph, a partir de marcos teóricos relacionados às artes, à arquitetura, à estética e à psicologia. Contudo, apesar de muitos estudiosos, como Rita Copeland e Suzanne Reynolds, advogarem a importância da retórica no século XII, as características retóricas desses textos não foram, ainda, examinadas de forma minuciosa por estudiosos. A investigação sobre os gêneros discursivos nos quais os textos foram compostos, sobre as partes do discurso e sobre as técnicas retóricas aplicadas aos textos pode revelar que algumas passagens que tradicionalmente foram tomadas à letra ou como a experiência empírica e a opinião de Suger podem ser pensadas como posicionamentos não literais e discursivos. Portanto, o objetivo desta pesquisa é contribuir para a erudição sobre os escritos de Suger por meio do reconhecimento e da análise de suas características retóricas / In the second quarter of the twelfth century, Suger of Saint-Denis, a Cluniac monk, wrote three texts in which he mentioned and described the renovation he carried out in the abbey church of Saint-Denis in his prelacy. That renovation was later identified by History of Art as the origin of Gothic architecture. Such texts, known as Ordinatio, De Consecratione, and De Administratione, published and translated in several editions, have thus been analyzed by some art historians, namely Erwin Panofsky, Peter Kidson, Jean-Claude Bonne, and Conrad Rudolph, based on theoretical frameworks related to the arts, architecture, aesthetics, and psychology. Nevertheless, although many scholars, such as Rita Copeland and Suzanne Reynolds, have been asserting the importance of rhetoric in the twelfth century, the rhetorical character of these texts has not yet been thoroughly examined by scholars. Investigation into the genres in which the texts were written, into the parts of discourse, and into the rhetorical techniques applied to the texts may reveal that some passages that have traditionally been taken at face value or as Suger\'s empirical experience and opinion may be thought of as non-literal-minded and discursive stances. Therefore, the purpose of this research project is to contribute to the scholarship on Suger\'s writings by recognizing and scrutinizing their rhetorical features

Cette thèse propose une étude de l’œuvre intégrale de Jacques-Antoine de Révéroni Saint-Cyr (1767-1829), ingénieur militaire et écrivain, au sein de la production littéraire de l’époque révolutionnaire et impériale, à la croisée de la littérature, de l’histoire des sciences et de la musique. Étude historique, thématique et herméneutique, cette lecture critique analyse un imaginaire au tournant des Lumières qui comprend des mémoires sur l’art militaire, sur les beaux-arts et sur l’équilibre européen, des textes scéniques (opéras-comiques et comédies) et des romans. Cette diversité générique témoigne d’un complexus imaginaire partagé entre cœur et raison, mécanique et sensibilité, sérénité et inquiétude, qui inscrit le corpus révéronien dans un paradigme charnière entre l’héritage rationaliste de la philosophie des Lumières et une esthétique à coloration romantique. / This thesis studies the integral work of Jacques-Antoine de Révéroni Saint-Cyr (1767-1829), a military engineer and writer, at the breast of literary production of the French Revolution and Empire, encompassing literature, history of sciences and music. Historical, thematic and hermeneutical, this critical study analyses Reveroni’s imagery at the turning point of the age of enlightenment which includes essays about military art, fine arts and European equilibrium, theatrical production (comic operas and comedies) and novels. This variety of genres constructs an “imagery complexus” divided between heart and reason, mechanic and sensibility, serenity and anxiety, linked to a key paradigma between the rationalist heritage of the philosophy of enlightenment and an aesthetic coloured with romanticism.