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Empowerment and vampire literature: an examination of female vampire characters as a cultural response to oppressionChan, Pui Nam 29 November 2017 (has links)
Vampire and Vampirism have raised the interests of the public from 1700s. Vampire is being used as a lens to discuss social issues in the real world. However, it is seen that there are limited works discussing the situation of coloured communities. This project is to examine female vampire figures in select works and evaluate the extent to which those figures are able to represent an empowered image of women of colour. To achieve this aim, textual analysis will be used to examine classical vampire literature, such as Sheridan Le Fanu's "Carmilla" (1872/2003), Mary E. Wilkins Freeman's "Luella Miller" (1902/2014), Bram Stoker's Dracula (2007), Anne O'Brien Rice's Interview with the Vampire (1976/2010) and L. A. Banks's Minion (2003). There will be interdisciplinary reading of the social situation and behavior of the colored alongside with textual analysis of Jewelle Gomez's The Gilda Stories: A Novel (1991) and Octavia E. Butler's Fledgling: A Novel (2005). I will conclude that vampire literature has the ability and potentiality to reflect social behavior and environment of the coloured, especially coloured women. The contribution of this thesis is to demonstrate that reflecting the situation of the coloured can be a new area for vampire literature to explore in the future development and evolution of vampire literature as a genre. This is also breakthrough to the function of vampire literature as a genre because on top of appearing as entertainment and reflection of society, vampire literature is able to serve social function to empower and enlighten readers by raising their awareness to social issues that people are used to neglect.
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Cultural nationalism and colonialism in nineteenth-century Irish horror fictionGlisson, Silas Nease 11 1900 (has links)
This thesis will explore how writers of nineteenth-century Irish horror fiction,
namely short stories and novels, used their works to express the social, cultural, and political
events of the period. My thesis will employ a New Historicist approach to discuss the effects
of colonialism on the writings, as well as archetypal criticism to analyse the mythic origins of
the relevant metaphors. The structuralism of Tzvetan Todorov will be used to discuss the
notion of the works' appeal as supernatural or possibly realistic works. The theory of
Mikhail Bakhtin is used to discuss the writers' linguistic choices because such theory focuses
on how language can lead to conflicts amongst social groups.
The introduction is followed by Chapter One, "Ireland as England's Fantasy." This
chapter discusses Ireland's literary stereotype as a fantasyland. The chapter also gives an
overview of Ireland's history of occupation and then contrasts the bucolic, magical Ireland of
fiction and the bleak social conditions of much of nineteenth-century Ireland.
Chapter Two, "Mythic Origins", analyses the use of myth in nineteenth-century horror
stories. The chapter discusses the merging of Christianity and Celtic myth; I then discuss the
early Irish belief in evil spirits in myths that eventually inspired horror literature.
Chapter Three, "Church versus Big House, Unionist versus Nationalist," analyses
how the conflicts of Church/Irish Catholicism vs. Big House/Anglo-Irish landlordism, proBritish
Unionist vs. pro-Irish Nationalist are manifested in the tales. In this chapter, I argue
that many Anglo-Irish writers present stern anti-Catholic attitudes, while both Anglo-Irish
and Catholic writers use the genre as political propaganda. Yet the authors tend to display
Home Rule or anti-Home Rule attitudes rather than religious loyalties in their stories.
The final chapter of the thesis, "A Heteroglossia of British and Irish Linguistic and
Literary Forms," deals with the use of language and national literary styles in Irish literature
of this period. I discuss Bakhtin's notion of heteroglossia and its applications to the Irish
novel; such a discussion because nineteenth-century Ireland was linguistically Balkanised,
with Irish Gaelic, Hibemo-English, and British English all in use. This chapter is followed by
a conclusion. / English / M. Lit. et Phil. (English)
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Die gruwel en die Gotiese in drie hedendaagse tekste : Die nag het net een oog - Francois Bloemhof, Drif - Reza de Wet, Een hart van steen - Renate DorresteinBuys, Helga Minnette 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This thesis contains the results of an investigation into the elements of the horror story and
the Gothic novel in three contemporary works. The investigation was conducted within the
theoretical framework of the original historical Gothic novel of the eighteenth century, in
comparison with contemporary theorization on the Gothic, with specific reference to the study
of Eddy Bertin, and to some extent Hendrik van Gorp and Fred Botting. Four conventions of
the Gothic genre were identified, and were applied to an Afrikaans novel and drama, as well
as a Dutch novel, to establish to which extent the Gothic manifests itself in these
contemporary texts. The study focussed on The night only has one eye (1991) by Francois
Bloemhof, Crossing/ Passion (1994) by Reza de Wet and A heart of stone (1999) by Renate
Dorrestein.
From these texts, which were read within a Gothic framework, it could be deduced that there
is a deviation from the conventional Gothic texts within both the Afrikaans and the Dutch
texts. This deviation especially occurs with regard to characterization, with specific reference
to the female character. The authors use the traditional Gothic characters as a point of
departure, but bring about renewal in the texts by making them part of a wider philosophical
field. The portrayal of the themes of good versus evil, space and tension, also shows a
deviation from the Gothic conventions.
An important finding in this study is that the Gothic genre in its pure form can not successfully
be traced in contemporary literature. The three texts under discussion show the occurrence of
allogamy between the different sub-categories of horror. A further important conclusion is that
these three texts cannot be merely categorized as Popular literature because of the renewal it
brings regarding the traditional Gothic conventions. / AFRIKAANSE OPSOMMING: Hierdie tesis bevat die resultate van 'n ondersoek na elemente van die gruwelverhaal en die
Gotiese roman in drie kontemporêre tekste. Die ondersoek is gedoen binne die teoretiese
raamwerk oor die genre van die oorspronklike historiese Gotiese roman van die agtiende eeu,
in vergelyking met die hedendaagse teoretisering oor die Gotiek, met spesifieke verwysing na
die navorsing van Eddy Bertin, en in 'n mindere mate Hendrik van Gorp en Fred Botting. Vier
konvensies van die Gotiese verhaaltipe is geïdentifiseer en toegepas op 'n Afrikaanse roman
en drama, asook 'n Nederlandse roman, om vas te stel in watter mate en op watter wyse die
Gotiek gemanifesteer word in dié hedendaagse tekste. Die navorsing fokus op Die nag het
net een oog (1991) van Francios Bloemhof, Drif (1994) van Reza de Wet en Een hart van
steen (1999) van Renate Dorrestein.
Dié tekste vertoon al drie duidelik Gotiese kenmerke, maar vertoon daarbyook opvallende
afwykings van die tradisionele verskyningsvorme van die Gotiek. Dit geld veral vir
karakterisering - meer spesifiek die vroulike karakter en die verhouding tussen die twee
geslagte. Die outeurs gebruik die tradisionele Gotiese tipe karakters as vertrekpunt, maar
bring vernuwing deur die tekste deel te maak van 'n wyer filosofiese veld. Die tekste se
hantering van ander konvensies op die terrein van die tematiese (die goeie versus die bose),
ruimte en spanning wyk ook af van die historiese Gotiek.
'n Belangrik aspek wat in die ondersoek na vore kom, is dat die Gotiek as verhaaltipe selde
nog in sy suiwer vorm in literatuur aangetref word. Die drie tekste onder bespreking toon in
watter aansienlike mate kruisbestuiwing plaasvind tussen die onderskeie sub-kategorieë van
die riller. Laastens word daar aangevoer dat die Gotiese en gruwel-elemente binne dié drie
tekste op so 'n vernuwende wyse geproblematiseer en uitgedaag word, dat dit nie sonder
meer as triviaalliteratuur beskou kan word nie.
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Cultural nationalism and colonialism in nineteenth-century Irish horror fictionGlisson, Silas Nease 11 1900 (has links)
This thesis will explore how writers of nineteenth-century Irish horror fiction,
namely short stories and novels, used their works to express the social, cultural, and political
events of the period. My thesis will employ a New Historicist approach to discuss the effects
of colonialism on the writings, as well as archetypal criticism to analyse the mythic origins of
the relevant metaphors. The structuralism of Tzvetan Todorov will be used to discuss the
notion of the works' appeal as supernatural or possibly realistic works. The theory of
Mikhail Bakhtin is used to discuss the writers' linguistic choices because such theory focuses
on how language can lead to conflicts amongst social groups.
The introduction is followed by Chapter One, "Ireland as England's Fantasy." This
chapter discusses Ireland's literary stereotype as a fantasyland. The chapter also gives an
overview of Ireland's history of occupation and then contrasts the bucolic, magical Ireland of
fiction and the bleak social conditions of much of nineteenth-century Ireland.
Chapter Two, "Mythic Origins", analyses the use of myth in nineteenth-century horror
stories. The chapter discusses the merging of Christianity and Celtic myth; I then discuss the
early Irish belief in evil spirits in myths that eventually inspired horror literature.
Chapter Three, "Church versus Big House, Unionist versus Nationalist," analyses
how the conflicts of Church/Irish Catholicism vs. Big House/Anglo-Irish landlordism, proBritish
Unionist vs. pro-Irish Nationalist are manifested in the tales. In this chapter, I argue
that many Anglo-Irish writers present stern anti-Catholic attitudes, while both Anglo-Irish
and Catholic writers use the genre as political propaganda. Yet the authors tend to display
Home Rule or anti-Home Rule attitudes rather than religious loyalties in their stories.
The final chapter of the thesis, "A Heteroglossia of British and Irish Linguistic and
Literary Forms," deals with the use of language and national literary styles in Irish literature
of this period. I discuss Bakhtin's notion of heteroglossia and its applications to the Irish
novel; such a discussion because nineteenth-century Ireland was linguistically Balkanised,
with Irish Gaelic, Hibemo-English, and British English all in use. This chapter is followed by
a conclusion. / English / M. Lit. et Phil. (English)
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