Through Fictions Mirror

Total Page:16

File Type:pdf, Size:1020Kb

Through Fictions Mirror Through Fiction’s Mirror Abjects in Neo-Victorian Fiction Dissertation zur Erlangung des philosophischen Doktorgrades im Studiengang Englische Philologie (Anglistik) an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Jan-Erik Ella aus Kiel Göttingen, 2016 Erstgutachter: Prof. Dr. Brigitte Glaser Zweitgutachter: Prof. Dr. Barbara Schaff Datum der mündlichen Prüfung: 28.06.2016 Revidierte Fassung August 2018 Table of Contents 1 Introduction ...................................................................................................................... 5 1.1 Defining a Genre ....................................................................................... 6 1.2 A Short History of the Victorian Revival and the Neo-Victorian Genre ............................................................................................ 14 1.3 Retro- vs. Neo-Victorian: Outlining two Contrary Trends .................... 18 2 Exploring the Collective Victorian Unconscious ..................................................... 24 2.1 Psychoanalysis, Post-Structuralism and Literature ............................. 24 2.2 Freud’s Uncanny and the ‘Domestic Gothic’ ...................................... 27 2.3 Abjection and the Abject ........................................................................ 28 2.4 Individual Self and Collective Cultural Identity .................................. 33 2.5 Confronting the Shadow/Purifying the Abject .................................. 34 2.6 Revisioning Victorian Sexuality ............................................................. 36 3 Lost Girls: Make Love, Not War .................................................................................. 38 3.1 Creating a Different Kind of Pornography ......................................... 38 3.2 Therapeutic Re-Telling ........................................................................... 45 4 Through Fiction’s Mirror 3.3 The World beyond Fiction’s Mirror ..................................................... 53 3.4 Daunting Shadows: Fencing the Middle-class in ................................ 62 3.4 Relating the Past to the Present: Lost Girls as a Neo-Victorian Text ...................................................................................................... 71 4 Two Sides of the Same Coin: Michel Faber’s The Crimson Petal and the White ...... 74 4.1 Abject Monogamy: A Scathing Look at Traditional Relationship Models ......................................................................................... 81 4.2 Following the Prostitute: A Journey into Abjection .......................... 95 5 Sexual Deviation: Beyond Heteronormativity ......................................................... 105 5.1 Afterimage: The Tyranny of the Norm ................................................ 111 5.2 Oscar Wilde and the Candlelight Murders: The Love that Dare Not Speak its Name ......................................................................... 121 5.3 The Master: A Life of Denial ................................................................ 126 6 Madness and Subversion: Victorian Spiritualism and Occultism ......................... 131 6.1 “The Conjugial Angel”: The Medium as Gifted............................... 137 6.2 Affinity: The Medium as Fraud ............................................................ 144 6.3 In the Red Kitchen: Mediumship as Repressed Trauma ...................... 147 6.4 Penny Dreadful: Mediumship as Aberrancy ......................................... 153 7 Conclusion: Abject Mirrors ........................................................................................ 162 Bibliography ..................................................................................................................... 175 1 Introduction Queen Victoria is everywhere. Despite her diminutive size, the erstwhile widow of Windsor continues to cast a long shadow. Not only as a monarch who came to be a symbol of British colonialism and of the vicissitudes of a society transformed by industrialization, but also as the embodiment of her era’s morality and culture. From modernism to the contemporary era, Victoria has loomed large in the collective cultural imagination. Even a cursory look at contemporary British popular culture reveals how strongly the Victorian era’s presence persists to this day. It manifests in the shape of numerous film adaptations of famous Victorian novels; it is reflected by the neo-Victorian aesthetic that can be found in certain works of architecture and design; and last but not least, it takes the form of a vast plethora of literary publications set during Queen Victoria’s reign, which have been amassing exponen- tially since the 1980s. These ‘neo-Victorian’ texts are not merely a nostalgic imitation of well-known predecessors, but tend to focus on the era’s repressed aspects: sexu- ality seems to be of particular interest to contemporary authors. Instead of portray- ing the Victorian era as nothing more than an exotic ‘other’, the taboos of the past reconnect it to contemporary cultural discourses and areas of conflict. Themes that could not be fully explored by 19th century authors without risk of censorship or even legal repercussions are now projected back into the past, highlighting the roots of present societal changes. Before any further analysis, however, it shall be prudent to establish some core terminology, starting with ‘neo-Victorianism’ itself. 6 Through Fiction’s Mirror 1.1 Defining a Genre Critical research has only recently started to explore the characteristics and generic boundaries of this particular phenomenon, as evidenced by the fact that the first issue of the Journal for Neo-Victorian Studies (henceforth abbreviated as NVS) only appeared in autumn 2008, and John Kucich and Dianne F. Sadoff still postulate a “critical gap” (xi) in regard to this topic as recently as the year 2000. The very term neo-Victorianism is still slightly under-defined and contested, even though it has “gained both popular and critical currency” (Hadley, 3) within the last decade. In its opening issue, the NVS published two essays that addressed this lack of specificity with regards to its principal critical term, yet neither of these could hope to resolve the issue conclusively. Instead, Marie-Luise Kohlke points out: What this introduction will not, indeed cannot pretend to do, then, is provide the (still) missing definitions or delineate possible generic, chronological, and aesthetic boundaries – objectives which more properly belong to the project ahead. The same refusal of pre-emption also underlies the editorial board’s decision to adopt the widest possible interpretation of ‘neo-Victorian’, so as to include the whole of the nineteenth century, its cultural discourses and products, and their abiding legacies, not just within British and British colo- nial contexts and not necessarily coinciding with Queen Victoria’s realm; that is, to interpret neo-Victorianism outside of the limiting nationalistic and tem- poral identifications that ‘Victorian’, in itself or in conjunction with ‘neo-’, conjures up for some critics. (2) Kohlke’s decision to settle on a deliberately open interpretation of both Neo-Vic- torianism and the historical era it alludes to is a prudent one, as the subject clearly merits some further research. In and of itself, such a loose definition need not be a stumbling block to further critical pursuits. Quite the contrary, by keeping the definition as open as possible, scholarly research can more easily focus on elements that might be overlooked if the genre’s established boundaries are too closely drawn. Furthermore, even firmly established literary genres are often quite difficult to pin down: for example, “[t]he term ‘science fiction’ resists easy definition. This is a strange thing, because most people have a clear sense of what science fiction is” (A. Roberts, 1). Roberts’s ob- servation reveals a problem at the heart of every categorization: genre-boundaries are ultimately arbitrary, a convenience of communication, providing a short cut. If they are too closely examined, post-structuralist deconstruction becomes virtually inevitable. Definitions that are too broad are insufficiently distinct from other cat- egorizations, while narrower terms will exclude texts that need to be considered part of the genre that is to be described. Nonetheless, it is debatable whether every con- temporary fictional text that is set in the nineteenth century qualifies as neo-Victo- rian by default, and it will be necessary to outline distinctive generic qualities of neo- Introduction 7 Victorianism in order to distinguish it sufficiently from other genres set within the same historical epoch. In the same issue of the NVS, Andrea Kirchknopf attempts to establish such a distinction in her essay “(Re-)Workings of Nineteenth-Century Century Fiction: Definitions, Terminology, Contexts”, which contrasts and evaluates the most com- monly used terms that had been suggested for this genre up to that point. Surpris- ingly, she concludes that the term post-Victorian should take precedence over the more commonly used neo-Victorian, arguing that the latter lacks “an emphasis on the postmodernist influence in these texts” (Kirchknopf, 66). Her suggestion has re- mained largely unheeded, however, as suggested by the fact that the term post-Vic- torian has been widely ignored by subsequent critical research – and this study is no exception to that trend, for reasons that will
Recommended publications
  • 2-Łamanie (11).Indd
    Yearbook of Conrad Studies (Poland) Vol. 11 2016, pp. 75–86 doi: 10.4467/20843941YC.16.005.6851 ROMEO AND JULIET: A NEW CONTEXT FOR VICTORY? Nic Panagopoulos National & Kapodistrian University of Athens Abstract: The contention of the present comparative study is that the closest Shakespearean work to Conrad’s Victory is not The Tempest, as has previously been thought, but Romeo and Juliet. Besides various thematic links between these two texts, also noted by Adam Gillon (1976), I argue that Victory and Romeo and Juliet are connected on the level of genre, plot, and characterization, with whole scenes in Conrad’s novel mirroring those in Shakespeare’s play. In conclusion I suggest that the striking similarities between the two works can either be explained by a conscious desire on Conrad’s part to imitate Shakespeare’s art, or by a kind of involuntary emulation, whereby the nov- elist had so far assimilated the Bard’s work as to follow it unconsciously while composing his own novel. Keywords: Conrad and Shakespeare, tragedy/comedy, mirroring, Victory, Romeo and Juliet, com- parative study, cryptomnesia In his famous extended essay “Joseph Conrad and Shakespeare,” the late Adam Gillon does a remarkable job of tracing the many textual and thematic parallels between Conrad’s major works and virtually the whole Shakespearean canon. He be- gins by pointing out that Conrad could have read The Two Gentlemen of Verona at the age of eight as his father was translating many of the Bard’s works into Polish around 1856. As is often the case, Shakespeare must have been one the fi rst writers that the young and impressionable Conrad was exposed to, and certainly one of the fi rst English writers in that category.
    [Show full text]
  • Three Approaches to a Cultural Object: the Film Under the Skin
    American Journal of Applied Psychology 2020; 9(6): 150-159 http://www.sciencepublishinggroup.com/j/ajap doi: 10.11648/j.ajap.20200906.12 ISSN: 2328-5664 (Print); ISSN: 2328-5672 (Online) Commentary Three Approaches to a Cultural Object: The Film Under the Skin Ana Belchior Melícias 1, Maria Aparecida Cabral 2, João Augusto Frayze-Pereira 3, * 1Portuguese Psychoanalytical Society, Lisbon, Portugal 2Brazilian Society of Psychoanalysis of São Paulo, São Paulo, Brazil 3Institute of Psychology and Master's and Doctoral Program in Aesthetics and Art History, University of São Paulo, São Paulo, Brazil Email address: *Corresponding author To cite this article: Ana Belchior Melícias, Maria Aparecida Cabral, João Augusto Frayze-Pereira. Three Approaches to a Cultural Object: The Film Under the Skin . American Journal of Applied Psychology . Vol. 9, No. 6, 2020, pp. 150-159. doi: 10.11648/j.ajap.20200906.12 Received : September 10, 2020; Accepted : October 15, 2020; Published : November 11, 2020 Abstract: This article presents three approaches to the film Under the Skin by Jonathan Glazer (2014) that correspond to three interpretative vertices. The film is an adaptation of Michel Faber´s science fiction novel set in Northern Scotland which follows an extraterrestrial that, manifested in a female human form, drives around the countryside picking up male travelers. She seduces and sends them to her home planet. Her experience on Earth is complex and causes tragical consequences. The impact of the film offered an opportunity for the authors to expand their perspectives on different directions. The first part of the article refers to psychoanalytic concepts that are applied to the film, mainly the psychoanalytical conceptualizations about the body and the starting point of mental functioning.
    [Show full text]
  • Scotland's Creative Writing Centre 2016 Programme
    SCOTLAND’S CREATIVE WRITING CENTRE 2016 PROGRAMME WWW.MONIACKMHOR.ORG.UK MONIACK MHOR Something is dealing from a deck of cards, face up, seven, a week of mornings, today’s revealing the hills at Moniack Mhor, shrugging off their mists. A sheepdog barks six fields away; I see the farm from here. Twelve-month cards, each one thumbed, flipped, weathered in its way – this the eighth, harvest-time, a full moon like a trump, a magic trick. It rose last night above this house, affirmative. I sensed your answer – hearts. Or a single hour is a smiling Jack, a diamond, or a spade learning a grave; charms or dark lessons. Something is shuffling; the soft breath of Moniack Mhor on the edge of utterance, I know it, the verbs of swifts riffling the air and the road turning itself into the loch, a huge ace into which everything folds. Here is the evening, displayed then dropped to drift to the blazon of barley, bracken, heather. Something is gifting this great gold gathering of cloud; a continual farewell. CAROL ANN DUFFY WELCOME Dear all, Welcome to Moniack Mhor Creative Writing Centre, based in the beautiful highlands of Scotland. Perched at 1000ft, just a stone’s throw from Loch Ness, the centre commands dramatic views of the mountain ranges of Ben Wyvis and Glen Strathfarrar. Our cosy converted croft is an inspiring atmosphere for doing what we love best, writing. 2015 was a thrilling and creative year in the life of the newly fledged, independent Moniack Mhor. We’ve been visited by many writers from all walks of life, each sharing a different story, breathing energy into the walls of the building.
    [Show full text]
  • 'The “I” Inside “Her”': Queer Narration in Sarah Waters's Tipping the Velvet and Wesley Stace's Misfortune
    This article was downloaded by: [Emily Jeremiah] On: 07 August 2012, At: 03:44 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Women: A Cultural Review Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rwcr20 ‘The “I” inside “her”’: Queer Narration in Sarah Waters's Tipping the Velvet and Wesley Stace's Misfortune Emily Jeremiah Version of record first published: 25 Jun 2008 To cite this article: Emily Jeremiah (2007): ‘The “I” inside “her”’: Queer Narration in Sarah Waters's Tipping the Velvet and Wesley Stace's Misfortune , Women: A Cultural Review, 18:2, 131-144 To link to this article: http://dx.doi.org/10.1080/09574040701400171 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • Garden Paths and Blind Spots
    LUCIE ARMITT ON SARAH WATERS’S THE LITTLE STRANGER Garden Paths and Blind Spots When I interviewed Sarah Waters in 2006, I reminded her of an attempt I had made on our first meeting to try and ‘claim’ her as a Welsh Writer. Though now residing in London, she was, of course, born in Pembrokeshire, and I continue to hope to see her to reflect on that aspect of her identity in her fiction. Her response, however, was candid: ‘I love London precisely because I have come to it from a small town in Pembrokeshire – which was a great place to grow up in, but London seemed to me to be the place to go to perhaps slightly re-invent yourself, or to find communities of people – in my case, gay people – that you couldn't find at home.’ 1 In her new novel, The Little Stranger , she does not return to Wales, but she does return to the countryside, setting the novel in the rural Warwickshire village of Lidcote, near Leamington Spa. Waters has, of course, established herself as a writer of lesbian historical fiction and has self-consciously situated her work within a lesbian literary tradition. In the months and weeks prior to the publication of The Little Stranger rumours circulated, allegedly prompted by Waters herself, that there were to be no lesbian characters in it and, indeed, at first sight there are not. The Little Stranger is set just after the end of the Second World War and just before the introduction of the National Health Service in 1948, therefore taking up where the 1947 section of her previous novel, The Night Watch (2006), ends.
    [Show full text]
  • The Crimson Petal and the White Free
    FREE THE CRIMSON PETAL AND THE WHITE PDF Michel Faber | 864 pages | 30 Jun 2015 | Canongate Books Ltd | 9781782114413 | English | Edinburgh, United Kingdom NPR Choice page The supporting cast includes Shirley HendersonRichard E. Grant and Gillian Anderson. Critical reviews of the miniseries were mixed but generally positive. Despite his dreams to become a renowned writer, he has no talent for it, and his father decides to cut his allowance until William starts working seriously in the company. William meets and becomes infatuated with a young and intelligent prostitute named Sugar Romola Garaiwho is writing a novel of her own, filled with hatred and revenge against all the men who abused her and her colleagues. William moves Sugar into a flat of her own on the condition that she sees him exclusively, while she helps him emotionally and financially by giving good advice on how to handle the company. Sugar becomes more and more attached to William and, as she comments to one of her old friends, "the world that comes with him". Eventually he moves her into the Rackham The Crimson Petal and the White under the pretence of working The Crimson Petal and the White a governess to his young daughter Sophie Isla Wattthe daughter Agnes has never acknowledged the existence of due to her madness. Agnes becomes increasingly unstable and desperate and, having caught glimpses of Sugar, believes her to be her own guardian angel who will bring her to the imaginary Convent of Health. With time Sugar grows close to Sophie, The Crimson Petal and the White the mother she never had, and Agnes, by reading her journals and helping her.
    [Show full text]
  • Urania: Science Fiction, Fantasy and Me
    Urania: Science Fiction, Fantasy and Me As soon as I could read, I was under the spell of Fantasy. Enid Blyton first, whose adventures in The Enchanted Wood and The Wishing Chair impressed on me a basic narrative of magical transformations; and a mythology of authorship itself. Then I found P. L. Travers’ Mary Poppins; and Mary Stewart, whose school for young witches pre-dated Harry Potter, in The Little Broomstick (1971); both charging the power of childhood imagination. My early teachers of storytelling included Norman Juster, whose The Phantom Tollbooth bordered clashing cities of Dictionopolis and Digitopolis; less famous but nonetheless named too, in Mendlesohn and James’ seminal The Short History of Fantasy (2009). This required reading for geeks gives a groovy definition: 'The most obvious construction of fantasy in literature and art is the presence of the impossible and the unexplainable. This helps to cut out most science fiction (sf) which, while it may deal with the impossible, regards everything as explicable...' (p.3) Thus it defines a fantasy canon, perhaps for the first time; though the players lined up on these pages are familiar favourites, from Greek and Roman myth, Celtic and Arthurian legend, French fairytales and English ghost stories; from gothic horror to blockbusting children’s fiction. I never set out to write fantasy, as such, but it is culture’s central narrative. Not just for questing youths cloaked in anoraks, not all sword-and-sorcery; writers in its ‘short history’ range from Bram Stoker to Beatrix Potter. Indeed, on the bookshelves at the start of my personal literary timeline, the whole series of Armada Ghost Books (1970-1982), many volumes edited by Mary Danby are prominent, before this childhood crush on the uncanny became a teenage craze for Stephen King and even James Herbert.
    [Show full text]
  • LGBTQ+ Literature: a Guide Dr Emma Clark Contents
    LGBTQ+ Literature: A Guide Dr Emma Clark Contents Page Background and introductory reading 1 Background to the guide and key reading 2 Nine fiction texts covered: 1) Rubyfruit Jungle, Rita Mae Brown (1973) 9 2) A Boy’s Own Story, Edmund White (1983) 13 3) Stone Butch Blues, Leslie Feinberg (1993) 19 4) Midnight in the Garden of Good and Evil, John Berendt (1994) 25 5) Tipping the Velvet, Sarah Waters (1998) 29 6) Call Me by Your Name, André Aciman (2007) 33 7) Why Be Happy When You Could be Normal?, Jeanette Winterson (2011) 37 8) Mr Loverman, Bernardine Evaristo (2013) 41 9) Under the Udala Trees, Chinelo Okparanta (2015) 45 © Pearson Education Limited 2019 1 Background and introductory reading The purpose of this LGBTQ+ guide is to give you and your students some new fiction texts and ideas to consider for the A level Literature and A level Language and Literature coursework titles. In the guide, we focus on nine different fiction texts. These texts cover the themes of love, loss, identity, self-discovery, fear, prejudice and hope, from many different perspectives and voices. Many of the writers use explicit language and terminology to describe the experiences and situations of their characters, and you may want to consider this before you recommend some of the texts to your students. Each text has the following: 1. a brief plot summary 2. a list of the main themes 3. examples of how meanings are shaped 4. ideas about further reading and some other possible texts that may go well as comparison texts.
    [Show full text]
  • Department of English July 2020
    Department of English Summer Reading for Students Continuing Studies in English Literature at Level 5 in September 2020 July 2020 All books listed can be obtained from: https://www.johnsmith.co.uk/chester [email protected] EN5004 The Gothic Module convenor: Dr Alex Tankard ([email protected]) Key Texts: The following are recommended editions of the novels we will be studying. This list will be supplemented at the start of the year (by the addition, for example, of some short stories), but it is important that you get ahead with as much reading as possible during the vacation: • Mary Shelley, Frankenstein, ed. Paul Hunter (Norton Critical Edition) ISBN 978-0-393-92793- 1 • Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde, ed. Katherine Linehan (Norton Critical Edition) ISBN 978-0-393-97465-2 • Bram Stoker, Dracula, eds. Nina Auerbach and David J. Skal (Norton Critical Edition) ISBN 978-0-393-97012-8 • Anne Rice, Interview with the Vampire (London: Sphere, 2008) 978-0751541977 • Stephen King, The Shining (London: Hodder, 2011) ISBN 978-1444720723 We recommend that you read and make notes on as many of these texts as you can over the summer. Particularly in the case of the first three texts on the list we strongly recommend that you buy the specified editions – the Norton Critical Editions have been chosen because they contain a wealth of contextual and critical material which you will find useful not only in coming to grips with the individual texts but also in building your understanding of the Gothic as a whole.
    [Show full text]
  • The Paying Guests by Sarah Waters ______
    The Paying Guests by Sarah Waters __________________________________________________________________________________________ About the author: Sarah Waters is the bestselling author of five previous novels: Tipping the Velvet, Affinity, Fingersmith, The Night Watch; and The Little Stranger. Winner of many literary awards, she has been shortlisted for both the Man Booker and Orange Prizes. She lives in London. Source: Publisher’s website (http://penguinrandomhouse.ca/) About this book: The year is 1922, and London is tense. Ex-servicemen are disillusioned, the out-of- work and the hungry are demanding change. In South London, in a large silent house now bereft of brothers, husband, and even servants, life is about to be transformed, as Mrs. Wray and her daughter Frances are obliged to take in lodgers. With the arrival of Lilian and Leonard Barber, the routines of the house and the lives of its inhabitants will be shaken up in unexpected ways. And as passions mount and frustration gathers, no one can foresee just how far, and how devastatingly, the disturbances will reach. In this psychological and dramatic tour-de-force, beloved international bestseller Sarah Waters proves once again that her eye for the telling details of class and character that draw people together as well as tear them apart is second to none. Source: Publisher’s website (http://penguinrandomhouse.ca/) March 2016 Discussion Questions: 1 If you’ve read other novels by Sarah Waters, how do you feel this fits into her existing work? What similarities and differences did you notice? 2. How do you think Sarah Waters deals with questions of morality in The Paying Guests? 3.
    [Show full text]
  • In Another Time and Place: the Handmaiden As an Adaptation
    In another time and place: The Handmaiden as an adaptation SHIN, Chi Yun <http://orcid.org/0000-0002-0629-6928> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/22714/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version SHIN, Chi Yun (2018). In another time and place: The Handmaiden as an adaptation. Journal of Japanese and Korean Cinema. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Journal of Japanese and Korean Cinema ISSN: 1756-4905 (Print) 1756-4913 (Online) Journal homepage: http://www.tandfonline.com/loi/rjkc20 In another time and place: The Handmaiden as an adaptation Chi-Yun Shin To cite this article: Chi-Yun Shin (2018): In another time and place: TheHandmaiden as an adaptation, Journal of Japanese and Korean Cinema, DOI: 10.1080/17564905.2018.1520781 To link to this article: https://doi.org/10.1080/17564905.2018.1520781 © 2018 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 19 Sep 2018. Submit your article to this journal Article views: 64 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjkc20 JOURNAL OF JAPANESE AND KOREAN CINEMA https://doi.org/10.1080/17564905.2018.1520781 In another time and place: The Handmaiden as an adaptation Chi-Yun Shin Department of Humanities, Sheffield Hallam University, Sheffield, United Kingdom ABSTRACT KEYWORDS This article considers the South Korean auteur director Park Chan- The Handmaiden; wook’s latest film The Handmaiden, which is the film adaptation of transnational adaptation; British writer Sarah Waters’s third novel Fingersmith.
    [Show full text]
  • A Companion to Literature, Film, and Adaptation Blackwell Companions to Literature and Culture
    A Companion to Literature, Film, and Adaptation Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post-canonical texts, orientating the beginning student in new fields of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. Published Recently 62. A Companion to T. S. Eliot Edited by David E. Chinitz 63. A Companion to Samuel Beckett Edited by S. E. Gontarski 64. A Companion to Twentieth-Century United States Fiction Edited by David Seed 65. A Companion to Tudor Literature Edited by Kent Cartwright 66. A Companion to Crime Fiction Edited by Charles Rzepka and Lee Horsley 67. A Companion to Medieval Poetry Edited by Corinne Saunders 68. A New Companion to English Renaissance Literature and Culture Edited by Michael Hattaway 69. A Companion to the American Short Story Edited by Alfred Bendixen and James Nagel 70. A Companion to American Literature and Culture Edited by Paul Lauter 71. A Companion to African American Literature Edited by Gene Jarrett 72. A Companion to Irish Literature Edited by Julia M. Wright 73. A Companion to Romantic Poetry Edited by Charles Mahoney 74. A Companion to the Literature and Culture of the American West Edited by Nicolas S. Witschi 75. A Companion to Sensation Fiction Edited by Pamela K. Gilbert 76. A Companion to Comparative Literature Edited by Ali Behdad and Dominic Thomas 77.
    [Show full text]