The main assertion of this thesis is that both 19th century and contemporary Gothic literary texts are characterised by fugitivity, embodied by the fugitive ‘figure’ which through its ambiguity is re-deploying the distinction proposed by Ross Chambers – inescapably both narrative and textual. The fugitive figure is intimately related to desire and its textual mobilisation. This mobilisation simulates the paradoxical experience of the sublime in which the pursuer of the fugitive figure is left speechless before the feared and desired unnamable other. Anne Rice’s ‘The vampire chronicles’ are discussed, as are ‘Frankenstein’, ‘The strange case of Dr Jekyll and Mr Hyde’ and ‘Dracula’. Analysis of these texts constitutes a ‘genealogy’, conceived and executed in poststructuralist terms, consisting of a deconstructive analysis inflected by psychoanalytic inputs. The genealogy is applied to indicate the importance of the family structure and its potential for dissolution in Gothic texts, and recreates a search for origins, which is a recurring theme in Gothic writing. The fugitive figure, through its embodiment of insatiable desire, is beyond either narrative or tropaic apprehension. It is in continual metamorphosis and invites pursuit in its different guises. However, although it appears as the objectified pursued, it actually arises from within the pursuer, so any attempt to arrest the disruptive flow it signifies is, although unavoidable and necessary, a self-deceptive act doomed to failure. This failure is registered simultaneously at narrative and textual levels. / Doctor of Philosophy (PhD)

Thesis (Ph. D.)--University of Chicago, 1907. / "A Private Edition Distributed by the University of Chicago Libraries." "Works employed": p. 10-11. Includes bibliographical references. Also available on the Internet.

The purpose of this essay was to compare the classic vampire narrative, Bram Stoker's Dracula, to a more contemporary vampire narrative using the first book, Twilight, in Stephenie Meyer's Twilight series as a prime example.  By looking at the world of the vampire, the figure of the vampire and the interaction between the vampire and the main female characters in each respective story, the goal was to see how much the vampire narrative has evolved.  The argument was that the movement from Dracula to Twilight was from an archetypical, terrifying vampire to a more modern, sexually alluring and romantic vampire, where several aspects of terror have been removed.  What has been shown is that there are many aspects that have changed once terror is not the focal point. In addition, this essay also argued that in a classroom setting one could use a modern vampire narrative, such as Twilight, to activate pupils’ interest in vampires which would naturally segue into meaningful discussions, comparisons and analyses of the prototypical vampire narrative found in Dracula. As a result, this activity would also encourage students to read literature and explore new worlds

Set in mythical Humble County, Georgia, Days of the Endless Corvette tells the story of Earl Mulvaney, a high-school dropout and auto mechanic. Earl loves Ellen, the brainy and beautiful girl next door, who unfortunately must marry Troy, the star of the high school football team. Throughout the book Earl labors on his “Endless Corvette,” a project as impossible as trying to build a perpetual motion machine. Earl has noticed that each time he takes something apart and rebuilds it, there are leftover parts. He reasons that by disassembling and reassembling his boss’s ’59 Corvette, and saving the leftover pieces each time, eventually he will have enough parts to build an entire car, leaving the original behind. The novel ends with the suggestion that perhaps Earl has succeeded at his project, which stands as a metaphor not only for Earl’s hopeless love, but other searches for answers to life’s perplexities.

“The Third Person in the Room: Servants and the Construction of Identity in the Eighteenth-Century Gothic Novel” explores the eighteenth-century Gothic novelists’ use of the stock servant character device to illustrate the tenuous nature of identity construction in a novelistic world torn between an admiration for its feudalistic past and a desire to embrace rising notions of individualism. I examine representations of real and literary servants to argue that the servant figure offers a convenient avenue for the discussion of class, social expectation, and economics, for as both family members and participants in the economy of the outside world, servants bridge the gap eighteenth-century authors find between their reclusive, feudalistic past and their social, individualistic present. Further, servants’ ties to the household associate them with the feminine perspective and provide authors, particularly authors of the Female Gothic, with a means of presenting the female voice in cases where it had otherwise been silenced by male oppression. In this work, I focus specifically on usurpation in Horace Walpole’s The Castle of Otranto¸ Robert Jephson’s The Count of Norbonne, and William Godwin’s Caleb Williams, maternal history in Clara Reeve’s The Old English Baron, Ann Radcliffe’s The Italian, and Sophia Lee’s The Recess, sexual surrogacy in Ann Radcliffe’s The Mysteries of Udolpho, and aristocratic criminalization in Charlotte Smith’s The Old Manor House. I examine these works in the context of eighteenth-century realistic literature, social criticism and historical frameworks as well as through the lens of current theoretical examinations of the eighteenth-century Gothic.

This study demonstrates that much of the Gothic novel's effect results from the form of the classical tragedy. Experimentation with that form as the basic structure of the novel begins with Horace Walpole, extending through Ann Radcliffe and Charles Maturin. Walpole, the innovator, uses the form--architectonic movements and particularized devices-to bring dramatic action back to a genre which was withering due to Richardson's epistolary structure. The plotting of The Castle of Otranto relies on tragic movement: exposition, complication, minor crisis, incitement of tragic force, climax, catastrophe. Also, to move action, Walpole uses peripeteia and anagnorisis more broadly than a dramatist. Because of his expanded use of the two devices, Walpole adds spectacle or the supernatural to crisis, climax, and catastrophe. Desiring to offset pathos, he creates fear--specifically terror, the fear of death.Ann Radcliffe uses Walpole's strategy in The Italian but modifies the tragic structure somewhat. Hers is a more expansive work than Otranto, and she emphasizes the ironies of her protagonist's decline. Equally important, she uses the true supernatural, she continues experimenting with minor character, and generalizing the use of peripeteia to increase ironic possibilities occurring between characters, characters and narrator, or book and audience. Because these ironies are so much like undercutting, The Italian seems more like a modern novel.Because Charles Robert Maturin was himself a dramatist, the architectonic technique of Melmoth the Wanderer is also tragic. Maturin uses the tragic form recursively, adding bewildering, ambiguous depth to the novel. The many tragedies are interlocked. Individually, each teaches about the human condition. As a whole, the tragedies are Melmoth's hell on earth, though his victims' fleshly tragedies never match his own hopeless spiritual tragedy. Structurally, Maturin uses periketeia and anagnorisis frequently, oftentimes mixing in spectacle and the supernatural. Other major contributions are Maturin's use of a temporally and spatially free protagonist and his emphasis of the fear of eternal damnation. Since that is Melmoth's final lot, the author withholds climax and catastrophe for the novel's end.Thus, the Gothic suggests itself as a source for the "dramatic novels" of later mainstream authors like George Eliot.

Interview mit Alfred Pompe

Thesis (Ph. D.)--Lehigh University, 2002. / Includes vita. Includes bibliographical references (leaves 255-269).

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. Carrie Sandahl, Florida State University, School of Theatre. Title and description from dissertation home page (viewed June 15, 2004). Includes bibliographical references.

Thesis--Münster. / Vita. At head of title: Kunstgeschichte. "Katalog in Westfalen erhaltener oder aus Westfalen stammender gotischer Goldschmiedearbeiten nach heutigen Aufbewahrungsorten (mit Nachträgen)": p. 419-495. Includes bibliographical references (p. 496-515).