Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 282-293).

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 141-149). Also available in electronic format on the Internet.

Inaug.-dis.--Leipzig. / In German. Lebenslauf. "Litteraturnachweis": p. [7]-10.

Thesis (doctoral)--Göteborgs universitet, 1991. / Extra t.p. with thesis statement inserted. Abstract and summary in English. Includes bibliographical references (p. 203-214) and index.

Thesis (Ph. D.)--University of Notre Dame, 2005. / Thesis directed by Seamus Deane for the Department of English. "June 2005." Includes bibliographical references (leaves 182-191).

At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 196-203). Also available for download via the World Wide Web; free to University of Oregon users.

9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

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