DOCSLIB.ORG

Durham E-Theses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Durham E-Theses Durham E-Theses Dracula's Inky Shadows: The Vampire Gothic of Writing OWEN, LAUREN,ELIZABETH,SARAH How to cite: OWEN, LAUREN,ELIZABETH,SARAH (2017) Dracula's Inky Shadows: The Vampire Gothic of Writing, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12317/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 1 Dracula’s Inky Shadows: The Vampire Gothic of Writing Lauren Elizabeth Sarah Owen Abstract Always a story about a story, the vampire tale is forever in dialogue with the past, conscious of its own status as a rewrite. This makes the vampire a figure onto which readers and authors can project ambivalence about writing – the gothic of living with texts. Bram Stoker’s Dracula (1897) vividly illustrates this connection. The novel presents textual interactions as both dangerous and pleasurable. What is more, Dracula has accumulated significance through criticism and adaptation. These retellings tie the novel even more closely to the processes of writing and rewriting. This thesis will begin by examining Dracula’s gothic of reading and writing. After this follows a consideration of the vampire fiction preceding Stoker’s novel, beginning with the figure of the embodied author in early nineteenth-century works like John William Polidori’s The Vampyre’ (1819), and James Malcolm Rymer’s Varney, the Vampyre (1845-47). The thesis will then address the gothic of scientific and institutional language in the vampire fiction of the mid nineteenth-century, including Sheridan Le Fanu’s ‘Carmilla’ (1872). A return to the fin de siècle follows, with a consideration of degeneracy and art vampirism outside Dracula, and discussion of works including Florence Marryat’s The Blood of the Vampire (1897) and George Sylvester Viereck’s The House of the Vampire (1907). The thesis will proceed to the twentieth century, studying the gothic interplay of film and literature in works like F. W. Murnau’s Nosferatu (1922). It will then trace the resemblance between Victorians and their modern adapters, suggesting that re-imaginings of Dracula, like Francis Ford Coppola’s Bram Stoker’s Dracula (1992), betray an affinity between Victorians and the ‘enlightened’ twentieth century. The thesis will conclude by examining the vampire as a figure of intertextuality, and considering the way in which postmodern vampires like those of Joss Whedon’s Buffy the Vampire Slayer (1997-2003) acknowledge that their world is comprised of other texts. Buffy offers the possibility that the world shaped by narratives may also be rewritten, with results that can be either terrifying or liberating. 2 Dracula’s Inky Shadows: The Vampire Gothic of Writing Lauren Elizabeth Sarah Owen A thesis presented for the degree of Doctor of Philosophy Department of English Studies, Durham University 2017 3 Table of Contents Declaration, Statement of Copyright and Acknowledgements...…5 Introduction: ‘Monstrous, Unnatural, or Preposterous’: Vampires as Disreputable Literature, Dracula as ‘Respectable’ Critical Text I. A Fearful Vision of Literature………………………………………………….6 II. Making a Vampire Genre: Dracula and its Criticism..………………………17 Chapter One: Gothic Readings and Writings of Dracula I. Dracula’s Gothic Texts……………………………………………………….47 II. Dracula’s Gothic Criticism…………………………………………………..65 Chapter Two: Bodies, Identities, Texts: Lord Ruthven to Varney the Vampyre I. Vampire Bodies, Author Bodies……………………………………………...81 II. Sold to the ‘Reading Mob’………………………………………………….100 Chapter Three: ‘Juridically Attested, and by Persons of Probity’: Vampire-Slaying by the Book I. An Open Verdict and A Wrongful Conviction: ‘What Was It?’ and ‘The Fate of Madame Cabanel’…………………………………………………………..119 II. Caught Red-Handed: ‘The Mysterious Stranger’ and ‘Carmilla’…………..136 Chapter Four: Art in the Blood: Fin-de-siècle Vampires, Heredity, and Tainted Art I. ‘A decadent race’: ‘John Barrington Cowles’, The Parasite, ‘Aylmer Vance and the Vampire’, ‘Olalla’, The Blood of the Vampire……………………......153 II. Dangerous Art: ‘A True Story of a Vampire’, Trilby, The Picture of Dorian Gray, The House of the Vampire, ‘A Mystery of the Campagna’…….......…...178 Chapter Five: Sluts and Playboys: Gothic Adaptation in the Dracula Films I. ‘The book which had frightened him with its visions’: Nosferatu (1922) and Dracula (1931)……………...…………………………………………………201 II. What to do with the women?: Dracula (1958), Dracula (1979), and Bram Stoker’s Dracula (1992)……….………………………………………………212 III. Genuine Fakes: Bram Stoker’s Dracula (1992) and Shadow of the Vampire (2000)………………………………………………………………………….229 4 Chapter Six: Our Vampires are Different I. Worlds of Tropes: Buffy the Vampire Slayer and Twilight…………….....…245 II. Remixing and Rewriting in Buffy: Change the Story, Change the World..…278 Conclusion…………………………………………………………………..298 Works Cited Primary Sources…………………………………………………………….....307 Secondary Sources…………………………………………………………….310 Webpages, Blog Posts, and YouTube Videos…………………………………332 Television Episodes……………………………………………………………334 Films…………………………………………………………………………...337 5 Declaration No material in this thesis has been previously submitted for a degree at this or any other University. The work is solely that of the author, Lauren Owen, under the supervision of Professor Simon James. Statement of Copyright The copyright of this thesis rests with the author. No quotation from it should be published without the author's prior written consent and information derived from it should be acknowledged. Acknowledgements I would like to thank my supervisor, Professor Simon James, for his assistance. I would also like to thank my parents for their support and encouragement. 6 Introduction ‘Monstrous, Unnatural, or Preposterous’: Vampires as Disreputable Literature, Dracula as ‘Respectable’ Critical Text I. A Fearful Vision of Literature In August 1872, an ‘Original Burlesque’ by satirical writer Robert Reece opened at the Royal Strand Theatre.1 The play, titled The Vampire, was a parody of Dion Boucicault’s 1852 drama of the same name. According to Roxana Stuart’s summary, Reece’s vampire, Alan Raby, is ‘an Irish writer of gothic penny dreadfuls who attempts to steal plots from lady novelists.’2 This comic vampire is more interested in ink than blood – the Illustrated London News commented that ‘[t]he interest accordingly of the action is purely literary.’3 The ‘literary’ focus of Reece’s play extends beyond the linking of vampirism and plagiarism: according to the Era, Reece cited his inspiration as ‘a German legend, Lord Byron’s story, and a Boucicaultian drama’.4 In its review of the play, Bell’s described the vampire myth as a ‘celebrated German legend’, and listed earlier examples written by Byron, Boucicault, and Planché.5 Reece was not only engaging in direct parody, he was also drawing on an established literary figure. The year before The Vampire debuted, Charles Dickens Jr. wrote, ‘[f]ifty years ago, vampire literature had a temporary run of public favour’, going on to list notable examples like the story ‘purporting to be by 1 Roxana Stuart, Stage Blood: Vampires of the Nineteenth-Century Stage (Bowling Green, OH: Bowling Green State University Popular Press, 1994), p. 165. 2 Stuart, p. 166. 3 ‘The Theatres’, Illustrated London News, 24 August 1872, p. 186, in The Illustrated London News Historical Archive [accessed 6 February 2017]. 4 ‘The London Theatres’, Era, 18 August 1872, p. 11, in British Library Newspapers [accessed 6 February 2017]. 5 ‘Music and Drama’, Bell’s Life in London and Sporting Chronicle, 17 August 1872, p. 3, in 19th Century UK Periodicals [accessed 6 February 2017]. 7 the Right Honourable Lord Byron’ (this was ‘The Vampyre’ of 1819, written by Byron’s physician John William Polidori).6 Reece’s play extends its literary satire beyond the vampire, singling out the female sensation novelist for ridicule. Stuart observes that ‘[t]he concept of female writers was apparently funny on its own.’7 The play also called attention to its own language – Bell’s alerted its readers to the fact that the play contained considerable ‘punning, and word-torturing’.8 The Illustrated London News warned that ‘there is scarcely a sentence which is not rendered unintelligible by a double meaning’.9 Mingling plagiarism, satire, intertextual reference and outrageous punning, Reece’s play makes the vampire into a creature of writing – literary reference combined with a riot of playful, self-conscious language so elaborate that it threatens to obscure its own significance. The vampire story often deals with writing as both verb and noun – the act of setting the vampire encounter down on paper, and the resulting text which others may read and quote. David Seed identifies Robert Southey’s Thalaba the Destroyer (1801) as the ‘first substantial mention of vampires in English Literature’.10 Yet even this early example looks backwards to prior tales of the undead – in a lengthy footnote, Southey lists a number of sources, including the famous case of Arnod Paole (or Arnold Paul), first publicized in Britain in 1732 by the London Journal.11 Erik Butler 6 Charles Dickens Jr, ‘Vampires and Ghouls’, All The Year Round, 20 May 1871, 579-600 (p. 597) in British Periodicals [accessed 6 February 2017]. 7 Stuart, p. 166. 8 ‘Music and Drama’, p. 3. 9 ‘The Theatres’, p. 186. 10 David Seed, ‘“The Platitude of Prose”: Byron’s Vampire Fragment in the Context of His Verse Narratives’, in Byron and the Limits of Fiction, ed.
Load more

Recommended publications
  • Investigation of Un-American Propaganda Activities in The
    INVESTIGATION OF UN-AMERICAN PROPAGANDA ACTIVITIES IN THE UNITED STATES SPECIAL COMMITTEE ON UN-AMERICAN ACTIVITIES HOUSE OF REPRESENTATIVES SEVENTY-EIGHTH CONGRESS FIRST SESSION ON H. Res. 282 TO INVESTIGATE (1) THE EXTENT, CHARACTER, AND OBJECTS OF UN-AMERICAN PROPAGANDA ACTIVITIES IN THE UNITED STATES, (2) THE DIFFUSION WITHIN THE UNITED STATES OF SUBVERSIVE AND UN-AMERICAN PROP- AGANDA THAT IS INSTIGATED FROM FOREIGN COUNTRIES OR OF A DOMESTIC ORIGIN AND ATTACKS THE PRINCIPLE OF THE FORM OF GOVERNMENT AS GUARANTEED BY OUR. CONSTITUTION, AND (3) ALL OTHER QUESTIONS IN RELATION THERETO THAT WOULD AID CONGRESS IN ANY NECESSARY REMEDIAL LEGISLATION APPENDIX-PART VII REPORT ON THE AXIS FRONT MOVEMENT IN THE UNITED STATES FIRST SECTION-NAZI. ACTIVITIES Printed for the use of the Special Committee on Un-American Activities UNITED STATES GOVERNMENT PRINTING OFFICE 1VASIIINGTON : 1943 IN VESTIGATION OF UN-AMERICAN PROPAGANDA ACTIVITIES IN THE UNITED STATES • • INTRODUCTION The following report is the first. section of a comprehensive digest which the committee has prepared dealing solely with the activities of Axis agents and organizations in the• United States. This com- mittee came into existence in 1938 several years after Adolf Hitler • and his Nazi Party had put in motion their ptan of spreading nazi-ism throughout the world. The United States was no exception to this diabolical scheme, fur Hitler had already planted in our midst many of his trusted agents who were carrying on their treasonable Work SPECIAL COMMITTEE ❑NT UN-A MERI CAN ACTIVITIES, WASHINGTON, D. C. unmolested. Many of the legitimate and traditional German societies in the United States had already been diverted to the cause of nazi- mARTIN DIES, Tccm, Clialrmag JOE .5TARNE.S, Alabama ism.
    [Show full text]
  • Fringe Review: Renfield: in the Shadow of the Vampire 3 STARS
    Fringe Review: Renfield: In the Shadow of the Vampire 3 STARS A retelling of Bram Stoker’s ‘Dracula’ from the perspective of Renfield – the spider eating inmate of Dr Seward’s Asylum. By Rod Lewis on Mar 05, 2020 Fa Presented by Grist To the Mill Productions Ltd Reviewed 5 March 2020 The world premiere of this work-in-progress introduces the audience to the mind of one of classic literature’s most cherished madmen. Renfield is a character from Bram Stoker’s 1897 gothic-horror novel Dracula, who is locked in an asylum for the insane. He eats live insects in the hope of consuming their life-force. His overseer, Dr John Stewart, believes Renfield to be delusional when, in fact, he has a psychic link to the master vampire. Solo performer Ross Ericson engages for the hour-long show, but this is currently an actor’s piece, potentially limiting any attraction to broader fans of the original tale. The script is stagey and at times, slightly abstract as the character jumps between conversations with himself, an alternative personality, and the audience. The distinction is not always immediately clear and the unfolding dialogue relies a little too much on the audience knowing the source material. Death by blackout is a real possibility long before Dracula arrives on the scene. There’s no less than 10 of them over the course of the hour. The play needs some reworking and the dialogue needs checking – at one point, Renfield questions how a sparrow could enter his cell since it can’t fly through walls despite having earlier admired the moon, presumably through a cell window.
    [Show full text]
  • University of Birmingham Oscar Wilde, Photography, and Cultures Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Oscar Wilde, photography, and cultures of spiritualism Dobson, Eleanor License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Dobson, E 2020, 'Oscar Wilde, photography, and cultures of spiritualism: ''The most magical of mirrors''', English Literature in Transition 1880-1920, vol. 63, no. 2, pp. 139-161. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility 12/02/2019 Published in English Literature in Transition 1880-1920 http://www.eltpress.org/index.html General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • East-West Film Journal, Volume 5, No. 1
    EAST-WEST FILM JOURNAL VOLUME 5 . NUMBER 1 SPECIAL ISSUE ON MELODRAMA AND CINEMA Editor's Note I Melodrama/Subjectivity/Ideology: The Relevance of Western Melodrama Theories to Recent Chinese Cinema 6 E. ANN KAPLAN Melodrama, Postmodernism, and the Japanese Cinema MITSUHIRO YOSHIMOTO Negotiating the Transition to Capitalism: The Case of Andaz 56 PAUL WILLEMEN The Politics of Melodrama in Indonesian Cinema KRISHNA SEN Melodrama as It (Dis)appears in Australian Film SUSAN DERMODY Filming "New Seoul": Melodramatic Constructions of the Subject in Spinning Wheel and First Son 107 ROB WILSON Psyches, Ideologies, and Melodrama: The United States and Japan 118 MAUREEN TURIM JANUARY 1991 The East-West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Editor's Note UNTIL very recent times, the term melodrama was used pejoratively to typify inferior works of art that subscribed to an aesthetic of hyperbole and that were given to sensationalism and the crude manipulation of the audiences' emotions. However, during the last fifteen years or so, there has been a distinct rehabilitation of the term consequent upon a retheoriz­ ing of such questions as the nature of representation in cinema, the role of ideology, and female subjectivity in films.
    [Show full text]
  • Pale Spectrum Part Two of the Book of Gray Magic
    Looking for voices for 1) Pale Spectrum by Ithaqua Labs ​ An Adventure Visual Novel Major characters Voice Acting Auditions sheet for Pale Spectrum Part Two of the Book of Gray Magic Character total for this round of auditions: 6 ● Priamos (m) ~300 lines at $115 ​ ● Ogland (m) ~300 lines at $115 ​ ● Vrayis (m) ~100 lines at $40 ​ ● Rheswenn (m) ~100 lines at $40 ​ ● Gwen (f) ~100 lines at $40 ​ ● Swan (f) ~30 lines at $15 ​ This is a commercial visual novel that will be available on PC/Mac/Linux. You will be required to sign an NDA and give us permission to use your voice in a commercial game. General rule of thumb for line payment is 30 cents a line + a bit extra base. Payment: Payment for the lines will be sent via paypal once all of the lines are completed. (Or half before, half after for larger payments/line counts.) Pale Spectrum is a visual novel and a sequel to Brilliant Shadows. Both are chapters/games from the Book of Gray Magic. Before you decide to audition, please make sure you understand the rules. ● Please use a quality mic! (no background noises, puffs, peaking, etc) ​ ​ ● There is a possibility that you will be asked to voice the same character in future games containing the character. Deadline for auditions: July 1st, 2016 ​ Deadline for readings: If you are chosen for the role, all lines must be completed within 3 months ​ ​ of being given the script. Make sure you save and send your files properly. ● Record in 44100hz 16­bit Mono wav format ​ ​ ● Save files as: Username_Character Name [ex: John Doe_Gwen] ​ ​ ● Do NOT say your name in the audio clip.
    [Show full text]
  • Xavier Aldana Reyes, 'The Cultural Capital of the Gothic Horror
    1 Originally published in/as: Xavier Aldana Reyes, ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’, Journal of Italian Cinema and Media Studies, 5.2 (2017), 229–44. DOI link: 10.1386/jicms.5.2.229_1 Title: ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’ Author: Xavier Aldana Reyes Affiliation: Manchester Metropolitan University Abstract: Dario Argento is the best-known living Italian horror director, but despite this his career is perceived to be at an all-time low. I propose that the nadir of Argento’s filmography coincides, in part, with his embrace of the gothic adaptation and that at least two of his late films, The Phantom of the Opera (1998) and Dracula 3D (2012), are born out of the tensions between his desire to achieve auteur status by choosing respectable and literary sources as his primary material and the bloody and excessive nature of the product that he has come to be known for. My contention is that to understand the role that these films play within the director’s oeuvre, as well as their negative reception among critics, it is crucial to consider how they negotiate the dichotomy between the positive critical discourse currently surrounding gothic cinema and the negative one applied to visceral horror. Keywords: Dario Argento, Gothic, adaptation, horror, cultural capital, auteurism, Dracula, Phantom of the Opera Dario Argento is, arguably, the best-known living Italian horror director.
    [Show full text]
  • Adult Learning Courses Vampires
    Adult Learning Courses www.bl.uk/events/adult-learning-courses Course Description Vampires Dates Thursdays 27 October and 3, 10, 17, 24 November 2016 Times 18.00–20.00 Location Harry M Weinrebe Learning Centre Level All levels – some preparatory reading required Class size Maximum 16 participants Course description “Dearest, your little heart is wounded; think me not cruel because I obey the irresistible law of my strength and weakness” says Sheridan Le Fanu’s Carmilla to her fascinated victim. Seductive yet repellent, ancient yet new, the vampire is a creature of contradictions – hero, villain and victim all in one. An accomplished crosser of thresholds, the vampire has travelled from the page to the stage, and to screens both big and small. Timed for Halloween, our five-week course is devoted to vampire narratives of the last 200 years. We’ll consider the vampire’s victims – those who are ‘innocent’, those who are negligent, and those who are made complicit by their confused and confusing desires. We’ll also discuss the often strangely unattractive characters who are the vampire’s would-be destroyers, the hinterlands they inhabit and the instruction manuals they take with them. And, of course, we’ll be looking at vampires themselves, following their transformations through time and across a variety of genres and media. Amongst those making an appearance will be vampires male and female; Byronic heroes; femmes fatales; the mixed-race vampires of Victorian fiction; vampires who threaten the very psychic survival of their all-too-willing victims; and (a more recent development) comic vampires.
    [Show full text]
  • Akins Papers: Finding Aid
    http://oac.cdlib.org/findaid/ark:/13030/c8h132ss No online items Zoë Akins Papers: Finding Aid Finding aid prepared by Gayle M. Richardson. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2008 The Huntington Library. All rights reserved. Zoë Akins Papers: Finding Aid mssZA 1-7330 1 Overview of the Collection Title: Zoë Akins Papers Dates (inclusive): 1878 - 1959 Collection Number: mssZA 1-7330 Creator: Akins, Zoë, 1886-1958. Extent: 7,354 pieces in 185 boxes + ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the personal and professional papers of American writer Zoë Akins (1886-1958). It includes correspondence with various literary, theatrical and motion picture figures of the first half of the twentieth century. There are also manuscripts of novels, plays, poems, short stories, outlines for plays, and articles. There is also correspondence related to her husband, Hugo Rumbold (d. 1932), and the Rumbold family. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
    [Show full text]
  • Notions of the Gothic in the Films of Alfred Hitchcock. CLARK, Dawn Karen
    Notions of the Gothic in the films of Alfred Hitchcock. CLARK, Dawn Karen. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19471/ 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 CLARK, Dawn Karen. (2004). Notions of the Gothic in the films of Alfred Hitchcock. Masters, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE ProQuest Number: 10694352 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694352 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Notions of the Gothic in the Films of Alfred Hitchcock Dawn Karen Clark A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of Philosophy July 2004 Abstract The films of Alfred Hitchcock were made within the confines of the commercial film industries in Britain and the USA and related to popular cultural traditions such as the thriller and the spy story.
    [Show full text]
  • Gothic Substance
    Gothic Style(s), Gothic Substance Gothic Manchester Festival Conference Saturday 28th October 2017 No 70 Oxford Street Introduction After the great success of last year’s Gothic North conference, our attention turns this year to the topic of Gothic Style(s). At the start of the twenty first century, the Gothic is ubiquitous. Fiction and film, television and graphic novels have not only made the Gothic’s plots and protagonists their own, but have brought Gothic style(s) even more firmly into the mainstream. Victorian Gothic architecture looms large over modern cities such as Manchester, contemporary Goth fashion and music tirelessly reference the mode, and our streets and bars, clubs and homes have generated new Gothic styles of their own. But is there substance to the Gothic’s many styles? Does the Gothic continue to reveal the great unspoken truths of our world? Did it ever? Is the Gothic anything more than a commercial product that may be sold, as a recognisable style, to a new generation of consumers? Was it ever thus? What cultural functions do Gothic styles serve? And how have these evolved from the Enlightenment to the neoliberal present? This year’s conference will address such questions, offering a cornucopia of perspectives on the theme. We have papers that draw on political, theological and sociological theory, panels as diverse as Gothic Gaming and Gothic Subcultures and participants who range from undergraduate students to seasoned academics, writers and performers. So, welcome to Gothic Styles, the fifth annual conference of the Gothic Manchester Festival. Again, we think, a wonderfully Gothic time will be had by all.
    [Show full text]
  • The Poems of Ossian
    0/^A\^, 1 / "-^//c-^^^^ t / //^^> ' ^^^' ; POEMS OF OSSIAN, TRANSLATKl) BY JAMES MACPHERSON, Esq. DISSERTATIONS (l?ra antr poem^ xi( 0ifiian DR. BLAIR'S CRITICAL DISSERTATION. GLASGOW: PRINTED BV THOMAS BRrCE, HIGH STREEX. J821. TEMOllA, AN EPIC POEM, BOOK I. ARGUMENT. Cairbar, the son of Borbar-duthiil, lord of A'Jia, in Con- naiiglit, the most potent chief of the race of the Fir- hol^S having murdered, at Temcra, the royal palace. Cormac, the son of Ariho, the young kirg of Ireland, usurped tlie throne. Cormac was lineally descended from Couar, the son of Trenmor, the great-grandfather of Fin^ral, king of those Caledonians who inhabited the western coast of Scotland. Fingal resented the be- haviour of Cairbar, and resolved to pass over into Ire- land with an army, to re-establish the royal family on the Irish throne. Early intelligence of his designs coming; to Cairbar, he assembled some of his tribes in Ulster, and at the same time ordered his brother Cath- mor to follow him speedily with an army from Temora. Such was the situation of affairs when the Caledoniaa invaders appearijd on the coast of Ulster. The poem opens in the morning. Cairbar is represented as retired from the rest of the army, when one of his scouts brouglit him news of the landing of Fingal. He assembles a council of his chiefs. Foldath, the chief of Jrloma, liaughtily despises the enemy ; and is repri- manded warmly by Malthos. Cairbar, after hearing their debate, orders a feast to be prepared, to which, by his bard Oila, he invites Oscar, the son ot Ossian ; resolving to pick a quarrel with that hero, snd so have home pretext for killing f^ist him.
    [Show full text]