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Gothic Journeys: Imperialist Discourse, the Gothic Novel, and the European Other

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Gothic Journeys: Imperialist Discourse, the Gothic Novel, and the European Other University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 5-2010 Gothic Journeys: Imperialist Discourse, the Gothic Novel, and the European Other Charles Michael Bondhus University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the English Language and Literature Commons Recommended Citation Bondhus, Charles Michael, "Gothic Journeys: Imperialist Discourse, the Gothic Novel, and the European Other" (2010). Open Access Dissertations. 203. https://scholarworks.umass.edu/open_access_dissertations/203 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. GOTHIC JOURNEYS: IMPERIALIST DISCOURSE, THE GOTHIC NOVEL, AND THE EUROPEAN OTHER A Dissertation Presented by CHARLIE M. BONDHUS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 English © Copyright by Charles M. Bondhus 2010 All Rights Reserved GOTHIC JOURNEYS: IMPERIALIST DISCOURSE, THE GOTHIC NOVEL, AND THE EUROPEAN OTHER A Dissertation Presented by CHARLES M. BONDHUS Approved as to style and content by: ________________________________ Joseph Bartolomeo, Chair ________________________________ Jordana Rosenberg, Member ________________________________ Banu Subramaniam, Member ________________________________ Joseph Bartolomeo, Department Head Department of English DEDICATION To my parents, for always supporting my education. ACKNOWLEDGMENTS I am eternally grateful to Joseph Bartolomeo, who has supported me throughout my graduate study. Whether directing an independent study, chairing my dissertation committee, providing professional advice, giving feedback on chapters and articles, or simply having an animated discussion about the Boston Red Sox, Joe has consistently been my staunchest supporter. I am also grateful to Jordana Rosenberg for her invaluable feedback on my work and willingness to work with me while she was on leave. I further extend my thanks to Banu Subramaniam, not only for being a member of my committee but also for offering feedback on a seminar paper which evolved into my first published scholarly article. I also wish to acknowledge Judith Frank of Amherst College, for giving of her time and supporting me both as a scholar and a writer. I also thank my parents and friends for their moral support, particularly my colleague Sarah Finn, who has been a one-woman support network. Finally, I thank my partner, Eric Pflug, for his constant love and understanding— especially when my work on this project has kept me sequestered for long stretches of time in our home office. v ABSTRACT GOTHIC JOURNEYS: IMPERIALIST DISCOURSE, THE GOTHIC NOVEL, AND THE EUROPEAN OTHER MAY 2010 CHARLES M. BONDHUS, B.A., SAINT ANSELM COLLEGE M.F.A., GODDARD COLLEGE Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Joseph Bartolomeo In 1790s England, an expanding empire, a growing diaspora of English settlers in foreign territories, and spreading political unrest in Ireland and on the European continent all helped to contribute to a destabilization of British national identity. With the definition of “Englishperson” in flux, Ireland, France, and Italy—nations which are prominently featured in William Godwin’s Caleb Williams (1794), Ann Radcliffe’s The Romance of the Forest (1791), The Mysteries of Udolpho (1794), and The Italian (1797), and Mary Shelley’s Frankenstein (1818)—could be understood, similar to England’s colonies, as representing threats to the nation’s cultural integrity. Because the people of these European countries were stereotypically perceived as being economically impoverished victims of political and “popish” tyranny, it would have been easy to construct them in popular and literary discourse as being both socially similar to the “primitive” indigenous populations of colonized territories and as uneasy reminders of England’s own “premodern” past. Therefore, the overarching goal of this project is twofold. First, it attempts to account for the Gothic’s frequent—albeit subtle—use of imperialist rhetoric, which is largely encoded within the novels’ representations of sublimity, sensibility, and domesticity. Second, it claims that the novels under consideration are preoccupied with testing and reaffirming the salience of bourgeois English identity by placing English or Anglo-inflected vi characters in conflict with “monstrous” continental Others. In so doing, these novels use the fictions of empire to contain and claim agency over a revolutionary France, an uncertainly- positioned Ireland, and a classically-appealing but socially-problematic Italy. vii CONTENTS Page ACKNOWLEDGMENTS…………………………………………………………………………………………………………………v ABSTRACT………………………………………………………………………………………………………………………………….vi INTRODUCTION………………………………………………………………………………………………………………………….1 CHAPTER I: PRODUCING OTHERNESS AT HOME MALFEASANCE AND DERACINATION IN CALEB WILLIAMS …………………………………………………………………………………………………………………..42 Burke, Godwin, and the Discourses of Corruption…………………………………………………….….48 “Different Species of Aristocracy: Falkland and Tyrrel”…………………………………………..…...55 A Note on Texts and Identity Construction……………………………………………………….………….64 The English Bastille and Civilized Thieves: A Foreignized Homeland…………………..….…….66 “English but not quite”: Deracination and Border States…………………………………….……….74 “He writes them all to my mind extremely fine, and yet he is no more than a Jew”: Anti-Semitism, Anomaly, and Caleb Williams………………………………………………………….……83 Wandering Jew/Wandering Englishman: Caleb the Mythic………………………………….........92 “It was this circumstance, more than all the rest, that gradually gorged my heart with abhorrence”: Loss of Domesticity, Loss of Sympathy…………………………………………...96 “I have now no character that I wish to vindicate”: Abjectifying Sympathy…………….….102 II: PRODUCING SAMENESS ABROAD: FEELING, DOMESTICITY, AND THE SUBLIME IN THE NOVELS OF ANN RADCLIFFE………………………………………………………………….108 “A Vision of Herself [or Himself]”: What Caleb Lacks……………………………………………….…111 Position(s) and Conflict: Heroines and Ethnic Anomaly…………………………………………...…115 “An Obsessive Theme of Female Imprisonment”: Captive Travelers (Re)producing the Home……………………………………………………………………………………………………………….….122 “Relations with Distant Others”: Sensibility and Empire…………………………………….………125 Transport and Ravishment: Adeline, Ellena, and the Sublime………………………………….…148 viii Sublimity Producing the Private Sphere……………………………………………………………….…….158 Empire Mediating Conservative and Progressive Projects…………………………………….…….164 III: (NOT) PRODUCING THE SELF IN THE OTHER: THE FAILURE TO EFFACE DIFFERENCE IN FRANKENSTEIN ……………………………………………………………………………………….………174 Sameness and Difference in the Frankenstein Household…………………………..…….……….182 The Other(s) in the House………………………………………………………………………………...……….190 “I no longer see the world and its works as they before appeared to me”: Loss of Sympathy, Loss of Civilization………………………………………………………………………..202 The Failure of Aesthetics……………………………………………………………………………………...……208 Sublime and Beautiful Landscapes…………………………………………………………………………….212 Aesthetic Beings: Monstrosity and Beauty……………………………………………………………..…218 Conclusion………………………………………………………………………………………………………..………221 BIBLIOGRAPHY……………………………………………………………………………………………………………………...223 ix INTRODUCTION It is undeniable that the last twenty-five or so years have seen an impressive resurgence in critical interest in the eighteenth and nineteenth-century English Gothic. Considering the current critical trends in academia, it should not come as a surprise that many scholars who write on the Gothic seem to have gravitated towards historically gendered readings of the genre. 1 And while there is no scholarship that I know of which explicitly trumpets itself as “a psychoanalytic reading of the Gothic,” there is no denying that the critical tradition of psychoanalysis also plays a significant, though rather subtle, role in the existing academic literature. Admittedly, it is easy to accept the existing scholarly tradition without much resistance. It is quite accurate to say that the Gothic can be readily viewed through the lens of gender, its conventions, its queering, and the murky subconscious energy that powers characters’ and authors’ subversive moves against the established “spheres” of maleness and femaleness. And while I do believe that this kind of criticism is valid and useful, my interests are more focused on the Gothic’s historicity and its role in extending and reifying domestic values. Combining this approach with the contributions that gender-based criticism have made to discourse on the genre, it is interesting to note that female characters like those found in Walpole’s Otranto , Lewis’s Monk , and Radcliffe’s entire oeuvre tended to be pursued by villains within the enclosed space of the house, the castle, or the convent, whereas male characters like Godwin’s Caleb Williams, Shelley’s Frankenstein, and Maturin’s Melmoth seemed to be pursued across 1 Some key examples might be George Haggerty’s Queer Gothic. Urbana and Chicago: University of Illinois Press, 2006; Donna Heiland’s Gothic & Gender . Malden: Blackwell Publishing, 2004; Diane J. Hoeveler’s Gothic Feminism: The Professionalization of Gender from Charlotte Smith
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