Denna uppsats behandlar Joseph Sheridan Le Fanus kortroman ”Carmilla”(1871-72). Berättelsen handlar om hur den unga kvinnan Laura lär känna den mystiska Carmilla, och de tycks forälska sig i varandra. Men Carmilla visar sig vara en vampyr, och hon dödas. Tolkningar av verket har gått isär kring huruvida berättelsen ska forstås som ”queer” och transgressiv, eller som patriarkal och konservativ. I min läsning av verket utgår jag från Tzvetan Todorovs undersokning av den fantastiska genren i boken The Fantastic: A Structural Approach to a Literary Genre(1975). Den fantastiska genren karaktäriseras enligt Todorov av en hermeneutisk tvekan mellan olika förklaringar av en övernaturlig händelse. Jag undersöker hur ”Carmilla” passar in i denna genre, samt undersöker huruvida Lauras känslor inför Carmilla, där hon tvekar mellan skräck och kärlek, kan förstås som en form av fantastik. Slutsatsen är att en fantastisk läsning av ”Carmilla” kan belysa hur verket undflyr en tolkning som ser verkets ideologiska innehåll som fast och entydigt. Istället menar jag att tolkningsarbetet kan ses som ett begär efter kunskap, som speglas av hur Lauras eget begär gestaltas i berättelsen, samt hur själva läsakten kan ses som meningsskapande.

The trope of the discovered manuscript, in which a narrator or character finds a document and presents it to the readers or other characters, has been a part of the Gothic genre since its inception. The discovered manuscript trope persists, despite criticism and satire, in part because it enables Gothic stories to situate their readers. In the nineteenth-century, as the presence of lawyers, doctors, scientists, journalists and other experts grew in society, Gothic novelists drew upon their methodologies and their records to revise the discovered manuscript trope. This project examines the trope of the discovered manuscript throughout Gothic literature in the eighteenth and nineteenth centuries in order to discuss how the Gothic functions as a literature of terror and how its techniques evolved in response to the epistemologies espoused by empiricist philosophers and professional scientists. I draw upon Jacques Rancière's theories about the representative and aesthetic regimes for the identification of the artistic image to support three central, interrelated claims about the role, and evolution, of the discovered manuscript trope within Gothic fiction: 1) Gothic literature responds to an epistemological problem in the empiricist tradition revolving around the connections between sensory uncertainty and linguistic gaps; 2) reading and interpreting documents play vital roles in the Gothic tradition; and 3) examining documents in Gothic fiction as image operations illuminates how they participate in a story's epistemological drama. In order to support these claims, this project presents four chapters that discuss a broad range of Gothic texts from Walpole's <italics>The Castle of Otranto<italics> to Stoker's <italics>Dracula<italics>.

Texte remanié de: Habilitationsschrift--Fachbereich 14, Philologie II--Mainz--Johannes Gutenberg-Universität, 1988.

In this essay, the works Interview with the Vampire (1976) by Anne Rice and Carmilla (1872) by Sheridan Le Fanu will be placed together and compared via close reading, and discussed alongside queer theory. The focus is to find similarities and contrast between these two vampiric tales as well as discuss how the queer element is shown. The main questions with this text will be; How is the queerness portrayed in the texts and what is the difference between them? There will also be a discussion about male versus female homosexuality and how this is portrayed in the texts. The point of this study is to show how similar grounds can culminate into different outcomes with the vampiric origin accounted for. The result showed a clear difference between the two texts, but also some similarities. The vampire stays queer in both.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-03T18:29:38Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Danilo - Mestrado.pdf: 4582767 bytes, checksum: e268d638f435833cc3b7d2e69a1ac790 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-29T16:56:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Danilo - Mestrado.pdf: 4582767 bytes, checksum: e268d638f435833cc3b7d2e69a1ac790 (MD5) / Made available in DSpace on 2017-05-29T16:56:54Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Danilo - Mestrado.pdf: 4582767 bytes, checksum: e268d638f435833cc3b7d2e69a1ac790 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esse trabalho tem por objetivo analisar como os pensamentos religioso e científico se relacionam nos contos “O demônio familiar”, “Chá verde” e “Carmilla, a Vampira de Karnstein”, do autor irlandês Joseph Sheridan Le Fanu, incluídos na coletânea In a Glass Darkly. Nessas narrativas, os representantes da fé e da razão são apresentados com enfoques distintos, o que permite observar as diferentes maneiras como Le Fanu aborda a religião e a ciência. Com base nessas leituras, procura-se observar se o autor dá mais credibilidade a algum desses ramos ou se ambos se mostram ineficazes perante os elementos sobrenaturais. Neste estudo também será levada em consideração a ambientação das narrativas e a quem pertence a voz narrativa de cada um dos relatos, que não permanecem as mesmas em todos os contos. Para fins teóricos, foram utilizados autores que estudaram o gênero do fantástico – Todorov e Roas – e do horror – Carroll / This work aims to analyze how the religious and scientific mentalities relate in “The Familiar”, “Green Tea” and “Carmilla”,short stories included in the collection In a Glass Darkly, written by the Irish author Joseph Sheridan Le Fanu. In these short stories, the representatives of both faith and reason are presented in distinct perspectives, which makes it possible to observe Le Fanu’s different approaches to science and religion in these works. Based on these readings, there is an attempt to observe whether the author gives more credibility to any of these branches of thought or if both prove to be ineffective in dealing with the supernatural events. This study will also take into account the settings of these short stories and their narrative voices, which do not remain the same in all short stories considered here. Authors who worked with the fantastic genre – Todorov and Roas – and with horror – Carroll – provided the theoretical support for this dissertation

Les membres de la classe des professions, qu'ils soient narrateurs ou personnages, occupent une place à la fois centrale et équivoque dans le texte victorien, dans sa construction, sa composition. En effet, si cette place prépondérante paraît indiquer une prise de pouvoir de ces derniers, elle s'accompagne fréquemment d'une mise en question, voire d'une mise en danger de leur statut au sein du récit. Cette position paradoxale semble être le résultat du lien quasi-systématique (mais souvent sous-jacent) entre l'apparition d'un narrateur ou d'un personnage issu des professions et la déstabilisation des notions de signification et de vérité dans l'ensemble du texte. Nous étudierons les modalités et les outils de cette déstabilisation, mais aussi ses conséquences sur le corps du texte. Pour ce faire, nous nous concentrerons sur le support de la nouvelle véhiculée par les périodiques pour son caractère propice à l'expérimentation et sa grande diffusion auprès du lectorat victorien. Par ailleurs, nous avons centré notre corpus de textes sur Conan Doyle, Wilkie Collins et Le Fanu car ces derniers ont participé activement à la diffusion dans la littérature des idées propres aux classes moyennes et ont abondamment illustré les mutations sociales de cette classe durant la seconde moitié du XIXème siècle. Cela s’est fait à travers leurs nouvelles notamment, qui apparaissent comme le lieu privilégié de l’expression des interrogations concernant l'instabilité de certains discours structurants de la société : loi, religion et médecine. Ainsi, Joseph Sheridan Le Fanu, fils d’un homme d’église et féru de théologie, Arthur Conan Doyle, lui-même médecin de formation et William Wilkie Collins, homme de lettres portant un grand intérêt à la chose scientifique (comme le suggère son long roman didactique Heart and Science paru en 1883) ont tous trois contribué à la définition des relations particulières entre les membres des professions et le reste de la société victorienne. De plus, leur participation active à la publication des périodiques les plus lus de leur époque atteste de leur contribution importante à la définition de la pensée victorienne. / Members of the middle class, particularly clergymen, doctors, and lawyers occupy a central place in Victorian literature, both as narrators and characters. However, it seems that this prominent place fosters questioning as much as empowerment. This paradoxical position seems to stem from the recurrent appearance of members of the professions in texts within which the principles of truth and meaning are undermined. Therefore, we will show how members of the professions, both as narrators and characters, put forward discursive strategies which allow them to manipulate the notion of truth and to destabilize meaning. In order to do so, we will study predominantly short stories, as this genre was favoured by Victorian writers as the locus of narrative and literary experimentation. Besides, this genre was widely read by Victorian audiences and can be seen as a privileged media for authors to express their doubts and commentaries on contemporary society. We have chosen to study the works of three authors in particular, who played a vital role in the bringing of the middle classes on the forefront of Victorian literary representation. Indeed, we will focus on Joseph Sheridan Le Fanu, the son of a clergyman and a man fascinated by the arcana of theology, Arthur Conan Doyle, a doctor himself, before he became a writer and William Wilkie Collins, who had a passion for science and the transformations its growing influence imposed on Victorian society. What is more, these three writers' active role in the establishment of the most popular Victorian periodicals attests to their vast contribution to the development of Victorian values.

This dissertation is a text analysis of the short novel Carmilla (1872) by the Irish ghost story-author Joseph Sheridan Le Fanu. It is a close reading analysis where I apply a queer theoretical perspective using Mia Franck’s model to analyze different silence practices in Carmilla. I focus on the female vampire Carmilla and her companion Laura and how they are portrayed in this short novel. I will ask the questions: do the characters Carmilla and Laura show a non-heterosexual relationship, passion and desire? How do they depart from the gender norm and can they be seen as characters who deviate from what society considers ‘normal’ behaviour? And can Carmilla and Laura’s relationship be seen as an example of silenced homosexuality and in what way is it expressed? Carmilla and Laura’s behaviour can certainly be described as queer and it is effective to examine the novella using silence practices through a queer perspective. Many of the practices are written silences. Mostly, its things that the reader realizes before the storyteller Laura does herself. They reveal numerous oddities in the story, taking the form of narrative, camouflaged, performative, ritualized and existential silences. Prominent examples are the way Carmilla hides both her vampiric and lesbian sides which Laura is repelled at in addition to her own lustful and passionate emotions. As a future teacher, one of my most important jobs will be to educate my pupils about democratic values and that all kinds of discrimination should be discouraged. An essay of this sort is one way to educate them in how gender and sexuality can be seen from historical, political and cultural perspectives.

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.

Devenu célèbre sous les traits de Dracula, le vampire est un monstre révélateur et résilient qui s'est fait archétype incontournable de la culture populaire et dont l'existence diégétique précède le roman de Bram Stoker. Du folklore à la fiction et de l'ombre à la lumière, son évolution est représentative des sociétés et des époques dans lequel il revient à la vie. A la fois transgressifs et normatifs, ses avatars jouent un rôle cathartique en incarnant le refus des lois humaines naturelles et divines, mais aussi la réitération de ces règles et la création de canons littéraires. Cette étude diachronique centrée sur "Carmilla" (1872), "Dracula" (1897) et les vampires d'Anne Rice démontre que leurs aventures invitent à réfléchir autant aux conséquances des fautes qu'à la validité des normes, à l'essence de la nature et des failles humaine et à la fonction libératrice des personnages de fiction et particulièrement des monstres. / Known to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-22Bitstream added on 2014-06-13T21:00:16Z : No. of bitstreams: 1 campos_lr_me_sjrp.pdf: 696640 bytes, checksum: 9fd8fdc49f20d3c0d98f77a5b2b314c5 (MD5) / Este trabalho teve como objetivo realizar uma análise comparativa entre duas obras literárias que têm como foco a questão da representação literária feminina. Ao analisar os textos Carmilla (1872), de Joseph Sheridan Le Fanu, e Sabella (1980), de Tanith Lee, buscamos apontar alguns traços comuns característicos quanto às descrições das personagens femininas e as posturas que assumem diante da sociedade na qual estão inseridas, a fim de encontrar alguns possíveis aspectos norteadores para a construção da identidade feminina literária. A partir de um olhar mais aprofundado para as personagens-título Carmilla e Sabella — ambas vampiras e representativas de dois momentos distintos da literatura de ficção inglesa — retratamos os contextos histórico-sociais em que os autores se inserem. A análise baseou-se em algumas teorias feministas desenvolvidas e disseminadas ao longo dos anos 70 e 80, que visam discutir os novos posicionamentos da mulher dentro de contextos sociais até então “proibidos”, tais como trabalho, política e sexualidade. Interagimos também com textos que relacionam a representação social da mulher ligada à figura mitológica do vampiro – representação essa diretamente associadas às transformações emocionais que tratam do embate primitivo do bem vs. o mal. / The aim of this study was to make a comparative analysis focusing on the female literary representations present in two English novels. Through the study of the novels Carmilla (1872), by Joseph Sheridan Le Fanu, and Sabella (1980), by Tanith Lee, we examined the main common characteristics from female characters and their attitudes within the society to which they belong, and with the purpose of finding some possible points leading to a literary female identity construction. From a deep contact with the title-characters Carmilla and Sabella – both female vampires and also representatives of distinct English literary fiction periods – we depict the social-historical contexts to which each author belongs. The analysis is based on some feminist theories developed and propagated along of the 70’s and the 80’s, which discuss the new places occupied by women in social contexts so far known as “banned”, like out-of-house works, politics and sexuality. We also interact with texts related to social female representations linked to the mythological vampire figure – a kind of representation directly associated to some emotional transformations dealing with the primitive opposition between good vs. evil.