Inaug.-Diss.--Tübingen. / "Die Arbeit ist gleichzeitig als Band XVI der 'Tübinger Forschungen zur Archäologie und Kunstgeschichte' ... erschienen." Vita.

Thesis (Dr. Ing.)--Universität München, 1906. / Vita. Includes bibliographical references.

Inaug.--diss. - Leipzig. / Lebenslauf. "Litteratur": p.[74]-75.

Thesis (Ph.D.) - University of Queensland,2005. / Includes bibliography.

Thesis (M.A.)--University of Missouri-Columbia, 2005. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.

Shakespeare's Influence on the English Gothic, 1791-1834: The Conflicts of Ideologies examines why some of the most influential Gothic novels and playwrights of the late eighteenth and early nineteenth centuries frequently alluded to Shakespeare. During a time of great conflict between changing views of religion, class systems, and gender roles, writers of the Gothic addressed these important issues by looking back to Shakespeare's treatment of the conflicted ideologies of his own time. This project begins by examining the links established between the horrors exposed in Horace Walpole's The Castle of Otranto and The Mysterious Mother and Shakespeare. Walpole's incorporation of unsettling scenes from Shakespeare sets the stage for other Gothic writers to allude to similar Shakespearean quandaries in their own works. The first chapter establishes what is "pre-Gothic" about some of the conflicted ideologies hinted at in Shakespeare's darkest plays. The second chapter explores how Ann Radcliffe and Matthew Gregory Lewis incorporate Shakespearean epigraphs, quotations, and allusions into their own works to confront terrors of the 1790s. The third chapter reveals how P. B. Shelley, in his Zastrozzi, St. Irvyne, and The Cenci responds to worrying questions originally raised Shakespeare. Chapter four focuses on the Romantic era's most renowned female playwright, Joanna Baillie, and her use of Shakespeare to hint at the treatment to which women are still subject in England during her own time. Finally, this study concludes with a brief look at how the threatening implications of the Gothic continue to revisit the dramas of Shakespeare through major works of Gothic fiction from the past 200 years including Mary Shelley's Frankenstein, Charlotte Brontë's Jane Eyre, Anne Rice's Interview with the Vampire, and Stephenie Meyer's Twilight series. Though the threats of the past might have changed, Shakespeare still plays an important role in speaking to the unresolved ideological conflicts that still haunt the consciousness of Western civilization.

Orientador: Aparecido Donizete Rossi / Banca: Fernanda Aquino Sylvestre / Banca: Alcides Cardoso dos Santos / Resumo: A presente dissertação de mestrado pretende elucidar à luz de teorias feministas e do gênero gótico algumas técnicas de escrita utilizadas por Angela Carter na reescrita do conto de fadas "Chapeuzinho Vermelho", como forma de subversão de discursos patriarcais e desconstrução de todo um imaginário ocidental de subjugo e vitimização da mulher. Carter revisita os contos de fadas mais populares, na coletânea The Bloody Chamber and other stories, subvertendo padrões estruturais desses contos e também a posição da mulher como vítima passiva recorrente em alguns contos de fadas e na literatura gótica. Através dos contos "The Werewolf" e "The Company of Wolves" presentes na referida coletânea, pretende-se explorar como Carter faz uso de elementos do gótico para construir uma atmosfera de terror, que representa os perigos que a heroína terá que enfrentar para chegar ao final da trajetória e conquistar um prazer total (Jouissance), que ocorrerá através de sua independência econômica, social, sexual e imaginária. E como Carter propõe uma pornografia aliada à mulher, que a empodere e a ajude a descobrir sua identidade, para, assim, retomar seu lugar de igualdade com o homem na sociedade. Além disso, pretende-se elucidar, também, como a autora subverte o Gênero Gótico e os Contos de fadas, bem como a própria Pornografia e os discursos anti-pornografia do movimento feminista. / Abstract: This master's thesis aims to elucidate through feminist theories and the Gothic genre some writing techniques used by Angela Carter in the rewriting of the fairy tale "Little Red Riding Hood" as a form of subversion of patriarchal discourses and deconstruction of an entire western imaginary subjugation and victimization of woman. Carter revisits the most popular fairy tales in the collection The Bloody Chamber and other stories, subverting structural patterns of these stories and also woman's position as recurring passive victim in some fairy tales and gothic literature. Through the tales "The Werewolf" and "The Company of Wolves", present in said collection, is intended to explore how Carter makes use of Gothic elements to build an atmosphere of terror, representing the dangers that the heroine will have to face to reach the end of the path and win a total pleasure (Jouissance), through its economic, social, sexual and imaginary independence. And how Carter proposes an ally pornography to woman, that empowers and helps her discover her identity, to thus repossess her place of equality with man in society. In addition, we intend to clarify, also, as the author subverts the Gender Gothic and Fairy tale, and the very Pornography and anti-pornography feminist movement speeches. / Mestre

Various characteristics of Gothic fiction are evident in Hawthorne's tales and romances - the interest in man's primitive self, the concern with historical and psychological facts and with imaginative and intuitive experience,' the delineation of the human conflict between spiritual aspirations and sensual needs, the emphasis on the ambiguity of good and evil as moral concepts, and the enactment of horror and terror. For Hawthorne these elements relate to the human struggle between mind and heart, between faith and passion - a struggle which is consonant with his own conflict with his Puritan conscience and his poetic imagination. They focus on the complexity of human feeling, yet help towards a final realization of man's significance and promise. They enable Hawthorne to resolve the eternal conflict between soul and body. The thesis deals with Hawthorne's four romances - The Scarlet letter, The House of the Seven Gables, The Blithedale Romance and The Marble Faun. In the first three, Hawthorne is hampered by his Puritan conscience so that passion is often subjugated by faith. In The Scarlet letter the persecution of .Hester and the ardent life she represents is at least justified in that it mirrors a historical truth. Moreover, Hawthorne achieves a certain ambivalence which, instead of signalling his own uncertainty and feebleness, enhances the complexity and mysteriousness of man's nature and situation. In The House of the Seven Gables and The Blithedale Romance, however, Puritan religiosity predominates and expresses itself in a wholly sentimental and repressive attitude. It is only in The Marble Faun that Hawthorne sees beyond the dilemma of man's dual aspects to realize the mythic and religious significance inherent in his seemingly divided self. While, in doing so, he manifests the typical Gothic idea that primitive man has a certain magnificence, Hawthorne is more interested in the fact that feeling is uplifting and ennobling. Human passion has a spiritual aspect.

Notre recherche porte sur l'influence de l'esthétique gothique dans la production psychanalytique anglaise .Ayant comme point de départ de textes classiques du romantisme anglais autour d’une notion de l’enfant teintée d’une qualité gothique particulière, nous examinons dans quelle mesure cette dernière a modelé de façon durable la réception de la méthode psychanalytique dans ce pays, et quelles thématiques et conceptualisations témoignent de cette influence ,notamment en ce qui concerne l’interprétation particulière du Surmoi dans la psychanalyse anglaise / Our research concerns the influence of the gothic esthetic on the psychoanalytic production in England. Our starting point being classic English romantic texts concerning a notion of the child tinged with a certain gothic quality, we examine the extent to which this notion shaped the local reception of the psychoanalytical method, as well as which themes and conceptualizations bear witness to this influence, particularly concerning the distinctive interpretation of the superego in English psychoanalysis

The plays of James Boaden, an author all too often forgotten in the pages of theatre history, are usually dismissed by scholars as mercenary adaptations of popular Gothic novels for the stage. Boaden’s plays of the 1790s—Fontainville Forest (1794), The Secret Tribunal (1796), The Italian Monk (1797), Cambro-Britons (1798) and Aurelio and Miranda (1799)—were certainly popular successes in their own time, but this should not discount them from serious consideration as aesthetic and ideological objects. In fact, these plays are intelligently wrought, using popular Gothic conventions to further a conservative ideology that was not originally associated with this genre. This fact has gone unrecognized by scholars partly because these plays have not been previously analysed for their dramaturgical structure as adaptations: Boaden borrows conventions from the Gothic, to be sure, but he also borrows dramaturgical techniques from Shakespeare. In so doing, Boaden harnesses both popular appeal and theatrical legitimacy to write Tory propaganda at a time when the stage was a key tool in the ideological war against France and French sympathizers in Britain. Political threats, both domestic and foreign, were of ongoing concern in Britain in the years following the French Revolution. Immediately after 1789, the Gothic was ideologically charged in ways that promoted revolutionary thinking. Boaden’s adaptation of the Gothic form responds to the revolution and the Reign of Terror by replacing the genre’s iconoclasm with a strongly nationalist orientation, drawn, in part, from eighteenth-century Shakespeare reception, itself often strongly nationalist in tone. Boaden’s plays are reactionary in that they comment on the current political situation, using allegory to play on the audience’s emotions. In his first phase, Boaden depicts the demise of a villainous usurper, a scapegoat figure, but his second phase reintegrates the villain into domestic and social harmony. In so doing, Boaden serves as a case study in the shifting attitude towards Britain’s revolutionary sympathizers, the Jacobins, and illustrates the important use of the Gothic mode for conservative purposes. Boaden emerges, in this study, as a figure whose relevance to theatre history in this fraught period requires reassessment.