Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 309-328).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1967. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [354-358]).

Orientador: Karin Volobuef / Banca: Aparecido Donizete Rossi / Banca: Renata Phillipov / Banca: Alexander Meirelles da Silva / Banca: Fernanda Aquino Sylvestre / Resumo: O corpus deste trabalho de pesquisa é O Morro dos Ventos Uivantes, único romance da autora inglesa Emily Brontë que desde de sua primeira publicação em 1847 tem gerado reações contraditórias que oscilam entre o fascínio e o estranhamento entre os leitores. Buscamos analisar alguns aspectos peculiares dessa obra, enfatizando-se dentre eles seu modo de narração, que combina aspectos assustadores do romance gótico com elementos da estética realista do século XIX. Também são objetos de estudo desta pesquisa o que chamamos de "espacialidade gótica", que se evidencia nas descrições do cenário principal - Wuthering Heights, a antiga e sinistra casa que também dá o título ao romance -, e os temas e motivos do gênero gótico que foram revistos por Emily Brontë, tais como o duplo, o qual é amplamente explorado em textos com inspiração gótica, a exemplo de Manfred, poema dramático de Byron. Por fim, realizamos a análise das características do casal de protagonistas do romance, Catherine e Heathcliff, visando apontar um diálogo intertextual do livro de Brontë com obras do gênero gótico ou inseridas na tradição literária inglesa, tais como Paraíso perdido, de John Milton. / Abstract: The corpus of this research is Wuthering Heights, the only novel written by the English writer Emily Brontë that since its first publication in 1847 has generated contradictory reactions that oscillate between fascination and repulsion among readers. We analyse some peculiar aspects of this work, emphasizing among them, its mode of narration that combines frightening aspects of Gothic novel with elements of realistic aesthetics of the nineteenth century. They are also objects of this study, which we call "Gothic spatiality" that stands out in the description of its main scenario - Wuthering Heights, the old and sinister house that provides the title of the novel -, and the themes and motifs of the Gothic genre that were reviewed by Emily Brontë, such as the double, which is widely exploited in texts with Gothic inspiration, such as Manfred, dramatic poem of Byron. Finally we analyse the couple of protagonists in the novel, Catherine and Heathcliff, seeking to appoint an intertextual dialogue between Brontë's book with works of Gothic genre or inserted in the English literary tradition, such as Paradise Lost, by John Milton. / Doutor

This thesis examines the way in which children's adventure fiction makes use of Gothic features, how these features have been modified for a younger audience and how these modifications have been influenced by other developments in children's and popular fiction: Chapter One sets out to define the nature of Gothic and isolate those aspects of it relevant to the proposed study. It puts forward a theory to account for the movement of Gothic trends into later children's fiction. Chapter Two examines the use of landscape, setting and atmospheric effects in Gothic and the way in which children's fiction has used similar trappings to create similar effects. Children's fiction, emphasising pleasurable excitement rather than fear has, however, muted these effects somewhat and played down the role of the supernatural, so intrinsic to Gothic. Chapter Three emphasises the Gothic's use of stereotypes, focusing on the portrayal of heroes and heroines. Those of children's fiction are portrayed very similarly to those of Gothic and the chapter compares and, on occasion, contrasts them noting, inter alia, their adherence to rigid moral codes and narrowly defined norms of masculine and feminine behaviour. Chapter Four looks at the portrayal of villains and the way in which their appearance defines them as such (as, indeed, does that of heroes and heroines). It examines in some detail their relationship to and interaction with the heroes and heroines, noting, for example, the 'pseudo-parental' role of villains who are characteristically older and in socially approved positions to exert power over heroes and heroines. The Conclusion addresses the fantasy aspect of these novels,referred to several times in passing in the course of earlier chapters, and comments on how the features detailed in Chapters Two, Three and Four all operate within the conventions of a fantasy.

Although the sensational world of Gothic literature may seem to have little to do with the “dismal science” of economics, readers and critics have long recognized connections between Romantic-era political economic discourse and Gothic novels, from the trope of the haunted castle on contested property to Adam Smith’s metaphor of the spectral “invisible hand.” This study, the first sustained investigation of economics and the Gothic, reads Romantic Gothic literature as an important voice in public debates about the economic ideas that shaped the emerging phenomenon of commercial society. Drawing on Charles Taylor’s notion of the modern social imaginary, it argues that the ways in which Gothic literature interrogated these ideas continues to inform our understanding of the economy and our place within it today. Each chapter focuses on an economic idea, including property, coverture, credit, debt, and consumption, in relation to a selection of representative Gothic texts, from Horace Walpole’s The Castle of Otranto (1764) to Emily Brontë’s Wuthering Heights (1848). It analyzes these texts—primarily novels, but also short fiction, nonfiction, and poetry—in the context of political economic writings by Adam Smith, David Ricardo, and others. Through this analysis, this study argues that economic ideas are foundational to the Gothic, a mode of literature deeply engaged with the political, cultural, social, and economic upheavals that characterize the Romantic Age. / Graduate / 2021-05-14

<p>Although the novels seem rather disparate at first glance, both Susan Musgrave's The Charcoal Burners and Daphne Marlatt's Ana Historic share a gothic tendency. Gothicism textures these novels, and I would argue, textures many other works of Canadian fiction. Gothicism remains, however, an unstudied angle of Canadian literature, as it remains a critical blind spot in the studies of Musgrave' s and Marlatt' s novels. By exploring the gothicism of The Charcoal Burners and Ana Historic, I simultaneously recenter the gothic genre in both the texts at hand and indirectly in Canadian literature. This study focuses on what we can call female gothic. Female gothic refers to gothic literature written by women, with women-centered agendas. Female gothic is based on the experiences of women who suffocate under the culture's patriarchal construction of gender and sexuality. Women writers have long used the gothic form to explore issues specific to women's lives, issues that are currently being politicized and are circulating in feminist theoretical debates. In many female gothics, writers show how "woman," as a being who is sexually constructed, is defined and limited specifically by her reproductive capacity: her "nativity" is a source of horror. The trope of "nativity" operates in Musgrave and Marlatt through women's reproduction and sexuality, but also, in a strange, perhaps specifically Canadian gothic twist, through the figure of the indigene, who is also constructed with "nativity."</p> / Thesis / Master of Arts (MA)

Thesis advisor: Alan Richardson / This thesis examines the ways two Victorian authors employed the literary vampire to respond to contemporary anxieties regarding women and their role in society. The primary texts of interest in this thesis are Florence Marryat's 1897 novel The Blood of the Vampire and Sheridan LeFanu’s 1872 novella Carmilla. This thesis explores the way each story frames the vampire’s gender, sexuality, and racial background through the lens of her monstrosity. / Thesis (BA) — Boston College, 2023. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: English.

In her essay, “The Grotesque in Southern Fiction,” Flannery O’Connor notes, “Whenever I’m asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one” (44). In the introduction to this collection, I investigate the importance of the grotesque, gothic, and surreal elements that tend to make up the depictions of the South in the works of authors such as Flannery O’Connor and Brad Watson and several horror writers, such as Stephen King, Edgar Allan Poe, and H.P. Lovecraft, exploring how horror can be used to emphasize the stranger elements of Southern fiction. In my own stories, I present both realistic depictions of suffering and sin in the South, as well as the strange and surreal, presenting the South not just as a world for freaks, but as a freakish world in and of itself.

Version abrégée de Th. de doct. : Paris 4 : 1993. / Includes bibliographical references (p. [457]-474) and index.

This article seeks to establish the importance of gothic convention and architecture’s role in Poe’s “The Fall of the House of Usher” and Southworth’s The Hidden Hand. By examining these stories’ dualities this article analyzes Poe and Southworth’s projects behind setting up dual spaces. Specific to Poe, this article follows architecture’s effect on mental health. Specific to Southworth, this article investigates her criticism of binaries and convention and how she uses architecture to shape her analysis.