Thesis--Erlangen. / Vita. Includes bibliographical references (p. [iv]-vii).

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The purpose of this project is to establish the connections between southern women writers, autotheory, and grotesque descriptions of disability in Gothic Literature as a significant subset of literature. Southern women writers transform their bodily experiences through the language of the grotesque in testimony to re-create a life that has been unmade by pain. Their autobiographical narratives serve as an expression for the inexpressible, affirm their experiences for themselves, and call upon others to join in witnessing their impact. The introduction uses prominent theories from various critical fields to establish a new theory, and the following chapters reflect on that theory from the lives and literature of three disabled southern women writers: Flannery O’Connor, Carson McCullers, and Zelda Fitzgerald. As demonstrated in these women’s lives and literature, in a society which others odd, obscure experiences, using the testimonial voice is necessary to the personal and social survival of disability. Writing offers the opportunity for disabled people to make a permanent impact by creating from the knowledge of personal suffering to impact the world and its perceptions surrounding life with disability. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

The horror genre is obsessed with being treated as fact rather than fiction. From movies that plaster their title screens with "Based on actual events" to urban legends that happened to a friend of a friend, the horror genre thrives on being treated as fact even when it is more often fiction. Yet horror does more than claim verisimilitude. Whereas some stories are content to pass as reality, other stories question whether a boundary between fiction and reality even exists. They give us monsters that become real when their names are spoken (Tales from the Darkside) and generally undermine the boundaries we take for granted. Wes Craven's New Nightmare, for instance, shows a malevolent being forcibly blending the characters' reality with the fiction they themselves created. But why are scary stories concerned with seeming real and undermining our notions of reality? To answer this, I draw on various horror films and philosophical and psychological notions of the self and reality. Ultimately, I argue, horror is a didactic genre obsessed with showing us reality as it is, not as we wish it to be. Horror confronts us not only with our mortality (as in slasher films) but also with the truth that fiction and reality are not the easily divided categories we often take them to be. / Master of Arts / The horror genre is obsessed with being treated as fact rather than fiction. From movies that plaster their title screens with “Based on actual events” to urban legends that happened to a friend of a friend, the horror genre thrives on being treated as fact even when it is more often fiction. Yet horror does more than claim verisimilitude. Whereas some stories are content to pass as reality, other stories question whether a boundary between fiction and reality even exists. They give us monsters that become real when their names are spoken (Tales from the Darkside) and generally undermine the boundaries we take for granted. Wes Craven’s New Nightmare, for instance, shows a malevolent being forcibly blending the characters’ reality with the fiction they themselves created. But why are scary stories concerned with seeming real and undermining our notions of reality? To answer this, I draw on various horror films and philosophical and psychological notions of the self and reality. Ultimately, I argue, horror is a didactic genre obsessed with showing us reality as it is, not as we wish it to be. Horror confronts us not only with our mortality (as in slasher films) but also with the truth that fiction and reality are not the easily divided categories we often take them to be.

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Thesis abstract: Despite the fact that some critics view the period of the true Gothic as ending in the year 1820, others consider it to be a genre, as well as an aesthetic, which can still be perceived across various different cultural aspects to this day. Possibly the best way to approach the Gothic within the realm of literature is to observe several key examples of the Gothic topos, which was grounded in the original Gothic pieces of the eighteenth century. During the course of the nineteenth century, a historical period which from the cultural point of view appears almost inherently Gothic, British Gothic writing has undergone considerable changes and development, maintaining several of the key Gothic features, namely those of setting, isolation, and character types, modifying them in the process. Through this, it can be observed to what extent the aspects remain, and just how far-reaching their transformation was within the six exemplary works - Frankenstein, The Vampyre, Jane Eyre, Wuthering Heights, Carmilla, and Dracula. Another important aspect overlaying the selected works is that of monstrosity - a rather physical interpretation of the inner monstrosities of humans, or indeed an entire culture. The literary works, no matter how different at first glance they may appear to be, all utilize typical...

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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.

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