DOCSLIB.ORG

AMERICAN GOTHIC AMERICAN GOTHIC 21 and Louise Erdrich

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AMERICAN GOTHIC AMERICAN GOTHIC 21 and Louise Erdrich I 14 AINSWORTH, WILLIAM HARRISON AMERICAN GOTHIC 15 this (Ainsworth to day 1881: I, IV). Ainsworth The Lancashire Witches is the only of Ai0. M. G. W. (George William MacAr- to tell about itself. It has also superseded Maturin and brought the sworth’s forty-three novels to have geyfl°’ offered a voice to the remained St dImon, Robert Louis; Romanticism; repressed and Gothic to the mainland (see MATURIN, CHARLES consistently thut); oppressed, to those left out or in print, often shelved alongsj Terror; Urban Gothic; Victorian Gothic. Tales of pushed into the shadows. The Gothic ROBERT). Rookwood represents a bridge be Dennis Wheatley and Montague Summers is a lit erature of borderlands, suited to tween the eighteenth-century Gothic and the (both of whom it undoubtedly influenced). a country defined by its frontier. It also has contemporary urban nightmares of the penny In their role of Gothic Other to patriarchal EfERC patrolled dreadful and literary other shifting and unstable boundaries, and the novel, being sty versions of femininity, Ainsworth’s powerful W. H. (1881) The Original Mnsw0t Illustrated provides an index of American listically and historically liminal, somewhere Faustian protagonists know, like Eve, that Novels of fears, anxieties, they Edition of the William Harrison Am and self-doubt. between Romantic and Victorian (see pENNY have a much better chance with Satan 31 vols. London: Routledge. than sworth, The DREADfULS; ROMANTICISM). Life sources of American Gothic go back with God. Although the primary plot offirs Carvet, S. (2003) The and Works of the Lan a much further, before the Revolution, A craze for criminal romance ensued, and more moral interpretation, the possibility casinre Novelist: William Harrison Ainsworth, to early that colonial experience. When Ainsworth returned to the Newgate Calendars it is good to be bad remains forever teasing 1805_1882 New York: Edwin Mellen. Puritans looked and from the deck of the in 1839, serializing Jack Sheppard in Bentley’s present. At times the author appears Mayflower upon the on the inhospitable Miscellany, which ran concurrently with Otiver coast of New England, they saw a threshold of more serious comment on per.. READING FURTHER wilderness filled with wild animals, Twist. As both stories were set in the London secution but chooses, instead, magic realism savages, A. (1902) William and devils. The story they told underworld and illustrated by Cruikshank, The narrative therefore works according to xv. F. Harrison Ainsworth: about them the selves A Memoir. London: Gibbings. in this wild land, and that their leader critical comparisons were common, much to logic of a fairy tale, which is really where Ellis, S. M. (1911) William Harrison Ainsworth and William Bradford Wrote in his history OfPlym Dickens’ annoyance (see DICKENS, CHARLES). witches belong, and much of the story takes His friends, 2 vols. London: John Lane. outh Plantation (1651), was An editorial moral panic, the “Newgate contro place in an enchanted wood. This anachronis based on the Book Elwin, M. (1934) Victorian Wallflowers. London: of Exodus. The experience versy,” followed, originally led by the Examiner, tic synergy of history, folktale, romance, of these English and Jonathan Cape. Christians Punch, and the Athenaeum, centering around melodrama paralleled that of the Israelites, is the last English novel that can Hollingsworth, K. (1963) The Newgate Novel 1830— the Newgate novels fleeing the Egyptians and seeking their Prom of Lytton, Ainsworth, and truly be said to belong to the original Gothic 47. DeIroil, MI: Wayne State University Press. Dickens, and ised Land. Like them, the Puritans would have their potential to corrupt young, tradition. John, J. fed.) (1998) Cult Criminals, Tile Ne14’gate their faith tested in the wilderness. Such working-class males. When the valet François Ainsworth subsequently dropped from the Novels 1830—1847, 8 vols. London: Routledge. a test was experienced by Mary Courvoisier murdered his master, Lord William literary mainstream, although the “Lancashire Meredith, M. (1992) A fine distancing: Browning’s Rowlandson, wife of debt to Harrison Ainsrorth. a minister, whose account (1682) Russell, allegedly after reading Jack Sheppard, Novelist” was honored at a Lord Mayor’s Browning Society of being cap Notes 21. tured by Indians during the the charge against Ainsworth seemed incon banquet in Manchester in 1881 as “an expres uprising known Schroeder, N. (1986) Jack Sheppard and Barnaby as King Phillip’s War was the first best-selling trovertible and his status as a good Victorian sion of the high esteem in which he is held by Rudge: Yet more “humbug” from a “jolter head.” work of the English experience and a serious literary novelist never recovered. his Fellow townsmen and of his services to in New Eng Lit Studies in the Novel 18(1), 27—35. Dickens publicly and privately distanced land. Narratives of Indian captivity, an innova erature.” An accompanying article in Punch Worth, G. (1972) J. William Harrison Ainsworth. tion at the beginning of American himself from his friend, Thackeray criticized affectionately described him as “the greatest New York: Twayne. literature in English, often containing and lampooned, and Poe savaged Ainsworth axe-and-neck-romancer of our time” (Carver proto-Gothic graphic descriptions of violence and in Graham’s Magazine, later sending him up in 2003: 389, 402). Ainsworth died a few weeks the suffering of the captive, “The Balloon-Hoax” (1844). later. would remain a popular form for the next two hundred Down but not out, Ainsworth took over the Although rejected by his contemporaries years. Eventually, Native American voices would editorship of Bentley’s Miscellany from Dickens as a hack, and still often critically overlooked, American Gothic begin to complicate in this story. 1839, and began two historical romances, Ainsworth contributed significantly to the CHARIF S L CROW In the New Guy Fawkes and The Tower ofLondon, transfer development of the literary novel after Scott, England master narrative, carried forward ring his Gothic sensibilities from the under and The Unitetl by later-seventeenth-century to the new urban Gothic of Dickens, Reyfl States and the Gothic have common J Puritan intellectuals such as Cotton world to the kings and queens of England. A olds, and Stevenson (see REYNOLDS, G. W. N. origins in the turmoil Mather, of European thought the success of stream of popular romances followed; forty (GEORGE WILLIAM STEVENSON, in the late the colonists was resisted by MACARTHUR); eighteenth century. The cusp of the years on Ainsworth Enlight Satan and his allies. In this nearly Manichean was still turning national ROBERT LOUIS; URBAN GOTHIC). His approad and Romanticism earls’ produced vision, Satan ruled the wilderness landmarks into sublime spaces, and populating to history, while flying in the face of Lttk.icSian Englisl Gothic and continu novels, the Declaration of ally attempted them with ill omens, fated monarchs, paupers theory, can still be seen in popular narratives Independeice to infiltrate the settlements and and the United States Constitu create of noble birth, star-crossed lovers, Gothic vil such as tion. Deeply a secret cadre of his followers. Thus, Rome, Titanic, and The Tudors. entwined with American thought lains, hot gypsies, and plenty of from the when a few girls began to exhibit strange hys ghosts. His last beginning the Gothic a dark has produced terical symptoms in major work, however, was The Lancashire SEE ALSO: Dickens, Charles; Maturin, Char tWin of the Salem, Massachusetts, in of national narrative, a critique 1692, Witches. Robert; Penny Alh°, the Sto investigation into suspected witchcraft Dreadfuls; Poe, Edgar the United States has been tng was begun, and a special court was appointed. 16 AMERICAN GOTHIC AMERICAN GOTHIC 17 0 Accusations and indictments multiplied, and this encounter with slavery in its most mon his sadism, energy, and obscene humor, antici and Melville’s Captain Ahab and Pierre (see ultimately nineteen men and women were strous form, a true Gothic moment, Crève pates by some two hundred years the character HAWTHORNE, NATHANIEL; MELVILLE, HERMAN; hanged and one man pressed to death with coeur exposed the irreconcilability ofAmerica’s of Al Sweareflgen in the television series Dead POE, EDGAR ALLAN). heavy stones (see wITCHCRAFT). original sin with its dream of perfection and wood (2004—6). During the middle years of the nineteenth The Salem witch scare was traumatic for innocence. The cultural explosion called the “American century, one of the country’s greatest writers, New England, and its implications for its nar Thus, by the time the English colonies Renaissance” (roughly from 1836, when Emer as we now know, was a woman living a clois rative of place were debated even while the earned independence — despite Hawthorne’s son’s Nature was published, to the Civil War) tered and eccentric life in Amherst, Massachu trials were in progress. The witchcraft outbreak later, and probably ironic, assertion in the was the late flowering of American Romanti setts. Emily Dickinson published little during was proof of New England’s success, argued preface to The Marble Faun that America had cism, and can be divided between Emerson and her lifetime, and well into the twentieth century Cotton Mather (1692), since the righteousness “no dark and gloomy wrong” (1930: 590) his followers, and Poe, Hawthorne, and Mel her writings were available only in altered ver of its people enraged Satan and motivated his — there was ample material for Gothic ville — the “dark Romantics,” whom we would sions that obscured her startling originality. jealous attacks against its communities. Yet, literature. now label Gothic writers. James Fenimore Dickinson, like the dark Romantics and unlike others doubted Mather’s assurances and sus The first great American Gothic novelist, Cooper also included Gothic elements in his Emerson, found the gap between human spirit pected that a great injustice had been done, Charles Brockden Brown, originated most of work, as in his Leatherstocking wilderness and nature unbridgeable.
Load more

Recommended publications
  • Conference Schedule
    Gothic: Culture, subculture, counterculture Conference Programme (Please see from p.7 onwards for abstracts and participants’ contact details) Key to rooms: AR= Anteroom RR= Round Room WDR = Waldegrave Drawing Room SCR = Senior Combination Room BR = Billiard Room/D121 Day 1: Friday, 8 March 9.00 Coffee, Danish Pastries and Introductions (AR) 9.30-10.45: Parallel Session 1 Panel 1A (WDR): Gothic and Genre Fiction: Ghosts and Crime (Chair: Brian Ridgers) Marta Nowicka, ‘Gothic Ghosts from Horace Walpole to Muriel Spark’ Victoria Margree, ‘(Other) Wordly Goods: Gothic Inheritances in the Ghost Stories of Charlotte Riddell’ Andalee Motrenec, ‘Gothic Elements and Crime Fiction in Dracula and Frankenstein’ Panel 1B (BR): Southern European Gothic Architecture Graça P. Corrêa, ‘Gothic Spatial Theory and Aesthetics: The Ecocentric Conjoining of Underworld and Otherworld in Regaleira (Sintra, Portugal)’ Viviane Delpech, ‘The château d’Abbadia in Hendaye (France) : Antoine d’Abbadie’s romantic and political utopia’ Giulio Girondi, ‘Gothic Heritage in Renaissance Mantova’ Panel 1C (SCR): Gothic in Contemporary Fiction (Chair: Fred Botting) Andrew Teverson, ‘Blood Relations: Salman Rushdie and Anish Kapoor’s Gothic Nights’ Nadia van der Westhuizen, ‘Happily Ever Aftermath: Fairy Tales in Contemporary Gothic Fiction and Television’ Martin Dines, ‘American Suburban Gothic’ Panel 1D (RR): Horace Walpole and the Cultures of the Eighteenth Century (Chair: Fiona Robertson) Hsin Hsuan (Cynthia) Lin, ‘The Castle of Otranto and Strawberry Hill House: the Curious Cases’ Jonanthan Dent, ‘History’s Other: Horace Walpole’s Castle of Otranto and David Hume’s The History of England’ Zara Naghizadeh, ‘Horace Walpole’s ”Guardianship of Embryos and Cockleshells”’ Gothic: Culture, Subculture, CounterCulture An interdisciplinary Conference, 8-9 March 2013 www.smuc.ac.uk/gothic – Twitter: @StrawHillGothic – FB Group: ‘Gothic: Culture, Subculture, Counterculture’ 10.45 Refreshments (AR) 11.00 Plenary 1 (WDR): Avril Horner, ‘Walpole, the Gothic, and Surrealism’.
    [Show full text]
  • Power, Domesticity, and Whiteness in Conjure Wife, the Witches Of
    1 The Suburban Witch: Power, Domesticity, and Whiteness in Conjure Wife, The Witches of Eastwick, and The Love Witch by © Krysta Fitzpatrick A Thesis, Dissertation, or Report submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Masters of Gender Studies Memorial University of Newfoundland May 2020 2 The Suburban Witch: Power, Domesticity, and Whiteness in Conjure Wife, The Witches of Eastwick, and The Love Witch Krysta Fitzpatrick 200518751 3 Table of Contents Introduction……….5 Methodology……….17 Theory……….27 Analysis……….54 Conclusion……….77 Bibliography……….79 4 Acknowledgments First and foremost, I would like to thank my advisors, Dr. Jennifer Dyer and Dr. Dwayne Avery, for being so helpful and supportive during what was often a gruelling and difficult process. I would never have been able to finish this without the two of you. I would like to thank the Memorial university Gender Studies department for guiding me (and tolerating me) on this lengthy journey. I would also like to thank some of my long-time mentors from the English department, Dr. Christopher Lockett, Dr. Jennifer Lokash, and Dr. Andrew Loman, who have been supporting me in my academic career for over ten years. I would like to thank my family, especially my husband Scott, for bearing with me throughout this, and always believing in me. I would like to thank my sons, Jack and Wyatt, who I hope will not follow stereotypical white, male, patriarchal roles. I hope they will someday read their mother’s research and take the feminine experience seriously. I would like to dedicate this work to all of my sisters—not merely my biological family, my cis- ters, or my white sisters, but all women, who are worthy of power, autonomy, and agency.
    [Show full text]
  • Kirkus Reviews on Our BOARD & NOVELTY BOOKS
    Featuring 340 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books KIRKUSVOL. LXXXIX, NO. 8 | 15 APRIL 2021 REVIEWS SPECIAL Indie ISSUE Plus interviews with: Celebrating the spark & spirit of Kaitlyn Greenidge, Justine Bateman, independently published books Laekan Zea Kemp, and Jay Hosler With a sampler of great Indie writing and conversations with the authors FROM THE EDITOR’S DESK | Karen Schechner Chairman Direct Access Reading HERBERT SIMON President & Publisher MARC WINKELMAN # When writing about independent publishing, I usually trot out the Chief Executive Officer stats. The point being: Read more Indie! Millions of people already do. MEG LABORDE KUEHN For this year’s Indie Issue, instead of another rundown of Bowker’s lat- [email protected] Editor-in-Chief est figures, we wanted to offer direct access to Indieland’s finest. Look TOM BEER for excerpts in various genres, like a scene from Margaret F. Chen’s eerie [email protected] Vice President of Marketing short story collection, Suburban Gothic, and in-depth conversations with SARAH KALINA several authors, including Esther Amini, who talks about Concealed, her [email protected] memoir of growing up as a Jewish Iranian immigrant. And, since it’s been Managing/Nonfiction Editor ERIC LIEBETRAU one of our worst, most isolating, stressful years, we checked in with Indie [email protected] authors; here’s how they coped with 2020-2021. Fiction Editor LAURIE MUCHNICK During the lockdown, author and beekeeper J.H. Ramsay joined an [email protected] online network of writers and artists, and he completed his SF debut, Young Readers’ Editor VICKY SMITH Predator Moons.
    [Show full text]
  • Rereading Haunted House Films from a Gothic Perspective ᐙᗞෆ࡟࠶ࡿ༴ᶵ  ࢦࢩࢵࢡ◊✲࠿ࡽ ㄞࡳ┤ࡍᗃ㟋ᒇᩜᫎ⏬㸧
    Chiho Nakagawa Dangers Inside the Home: Rereading Haunted House Films from a Gothic Perspective ᐙᗞෆ࡟࠶ࡿ༴ᶵ ࢦࢩࢵࢡ◊✲࠿ࡽ ㄞࡳ┤ࡍᗃ㟋ᒇᩜᫎ⏬㸧 Chiho Nakagawa* SUMMARY IN JAPANESE: ᮏㄽᩥࡣ 1970 ᖺ௦࠿ࡽ 80 ᖺ௦ ࡟බ㛤ࡉࢀࡓࠗᐙ࠘ࠊࠗᝏ㨱ࡢ᳇ࡴᐙ࠘ࠊࠗࢩࣕ࢖ࢽࣥࢢ࠘࡞࡝ ࡢᗃ㟋ᒇᩜᫎ⏬ࡀࠊ࢔࣓ࣜ࢝ࡢᐙ᪘ࡢၥ㢟ࢆ᥈ࡿࡶࡢ࡛࠶ࡿ ࡜ᣦ᦬ࡋࠊ 21 ୡ⣖ࡢᗃ㟋ᒇᩜᫎ⏬࡟࠾࠸࡚ࡑࡢၥ㢟ࡀ࡝࠺ ኚ໬ࡋࡓ࠿ࢆ᳨ドࡍࡿࡶࡢ࡛࠶ࡿࠋ⌧௦࢔࣓ࣜ࢝ࡢᗃ㟋ᒇᩜ ᫎ⏬ࡣࠊዪᛶࡀ⮬ศ࡜ᐙ࡜ࡢ㛵ಀࢆ᥈ࡿዪᛶࢦࢩࢵࢡࠊࡑࡋ ࡚ᐙ∗㛗ࡀ⮬ศ࡜ᐙࡢ㛵ಀࢆ᥈ࡿ࢔࣓࣭ࣜ࢝ࣥࢦࢩࢵࢡࡢఏ ⤫ࢆཷࡅ⥅࠸࡛࠸ࡿࠋࡑࡢࣇ࢛࣮࣑ࣗࣛࢆࢹ࢖࣭ࣝ࣋࢖࣮ࣜ ࡢᗃ㟋ᒇᩜ≀ㄒࡢ㆟ㄽ࡟ᇶ࡙࠸࡚♧ࡋࡓୖ࡛ࠊ 1982 ᖺබ㛤 ࡢ࣏ࠗࣝࢱ࣮࢞࢖ࢫࢺ࠘࡜ 2015 ᖺබ㛤ࡢ࣓ࣜ࢖ࢡࡢ㐪࠸ࢆ ୰ᚰ࡟⌧௦ࡢᗃ㟋ᒇᩜᫎ⏬ࢆ⪃ᐹࡍࡿࠋࡑࡢ⤖ᯝࠊ 20 ୡ⣖ ᚋ༙ࡢᗃ㟋ᒇᩜ≀ㄒࡀᐙ∗㛗ไ࣭㈨ᮏ୺⩏♫఍ࡢ∗ぶࡢ⌮᝿ ീࡢኻᩋࢆ᳨ドࡋࡓࡢ࡟ᑐࡋࠊ 21 ୡ⣖࡛ࡣࡑࡢኻᩋࢆㄆࡵ ࡓୖ࡛ಟ᚟࡟ດຊࡍࡿ≀ㄒ࡬࡜ኚ໬ࡋ࡚࠸ࡿ࡜ᣦ᦬࡛ࡁࡿࠋ 㸨୰ᕝࠉ༓ᕹࠉ Associate Professor, Faculty Division of Humanities and Social Sciences, Nara Women's University, Nara, Japan. ࠉ 75 5.中川論文 最終稿 Dangers Inside the Home.indd 75 2018/04/16 13:46:21 Dangers Inside the Home: Rereading Haunted House Films from a Gothic Perspective Every year we see new haunted house films, and many directors and writers are taking pains to offer the audience new twists, not just to follow and recreate old tricks. One of the most commercially successful haunted house fi lms in the 1980s, Poltergeist, was remade in 2015, and its reworking refl ects the changes in one of the most important themes of haunted house fi lms, family. In this paper, I will fi rst attempt to defi ne the American haunted house fi lm as an established genre rooted in the formulas of Gothic fi ction.
    [Show full text]
  • Financial Speculation in Victorian Fiction
    Financial Speculation in Victorian Fiction Financial Speculation in Victorian Fiction Plotting Money and the Novel Genre, 1815–1901 Tamara S. Wagner The Ohio State University Press • Columbus Copyright © 2010 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Wagner, Tamara S., 1976– Financial speculation in Victorian fiction : plotting money and the novel genre, 1815–1901 / Tamara S. Wagner. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1119-9 (cloth : alk. paper)—ISBN 978-0-8142-9217-4 (cd-rom) 1. English fiction—19th century—History and criticism. 2. Finance in literature. 3. Money in literature. I. Title. PR468.F56W34 2010 823.'8093553—dc22 2009039277 Cover illustration: “Celebrated Comic Scene Between the Railway Clown (Hudson) and the Indignant Shareholders,” from Punch (artist unknown), 1849. Courtesy of The Ohio State Uni- versity Billy Ireland Cartoon Library & Museum. This book is available in the following editions: Cloth (ISBN 978-0-8142-1119-9) CD-ROM (ISBN 978-0-8142-9217-4) Cover design by Laurence Nozik Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction 1 Plotting Financial Speculation: The Making of Stock-Market Villains 3 Narrating Financial and Emotional
    [Show full text]
  • The 15Th International Gothic Association Conference A
    The 15th International Gothic Association Conference Lewis University, Romeoville, Illinois July 30 - August 2, 2019 Speakers, Abstracts, and Biographies A NICOLE ACETO “Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut”: The Terror of Domestic Femininity in Shirley Jackson’s The Haunting of Hill House Abstract From the beginning of Shirley Jackson’s The Haunting of Hill House, ordinary domestic spaces are inextricably tied with insanity. In describing the setting for her haunted house novel, she makes the audience aware that every part of the house conforms to the ideal of the conservative American home: walls are described as upright, and “doors [are] sensibly shut” (my emphasis). This opening paragraph ensures that the audience visualizes a house much like their own, despite the description of the house as “not sane.” The equation of the story with conventional American families is extended through Jackson’s main character of Eleanor, the obedient daughter, and main antagonist Hugh Crain, the tyrannical patriarch who guards the house and the movement of the heroine within its walls, much like traditional British gothic novels. Using Freud’s theory of the uncanny to explain Eleanor’s relationship with Hill House, as well as Anne Radcliffe’s conception of terror as a stimulating emotion, I will explore the ways in which Eleanor is both drawn to and repelled by Hill House, and, by extension, confinement within traditional domestic roles. This combination of emotions makes her the perfect victim of Hugh Crain’s prisonlike home, eventually entrapping her within its walls. I argue that Jackson is commenting on the restriction of women within domestic roles, and the insanity that ensues when women accept this restriction.
    [Show full text]
  • Disturbia 1 the House Down the Street: the Suburban Gothic In
    Notes Introduction: Welcome to Disturbia 1. Siddons, p.212. 2. Clapson, p.2. 3. Beuka, p.23. 4. Clapson, p.14. 5. Chafe, p.111. 6. Ibid., p.120. 7. Patterson, p.331. 8. Rome, p.16. 9. Patterson, pp.336–8. 10. Keats cited in Donaldson, p.7. 11. Keats, p.7. 12. Donaldson, p.122. 13. Donaldson, The Suburban Myth (1969). 14. Cited in Garreau, p.268. 15. Kenneth Jackson, 1985, pp.244–5. 16. Fiedler, p.144. 17. Matheson, Stir of Echoes, p.106. 18. Clapson; Beuka, p.1. 1 The House Down the Street: The Suburban Gothic in Shirley Jackson and Richard Matheson 1. Joshi, p.63. Indeed, King’s 1979 novel Salem’s Lot – in which a European vampire invades small town Maine – vigorously and effectively dramatises this notion, as do many of his subsequent narratives. 2. Garreau, p.267. 3. Skal, p.201. 4. Dziemianowicz. 5. Cover notes, Richard Matheson, I Am Legend, (1954: 1999). 6. Jancovich, p.131. 7. Friedman, p.132. 8. Hereafter referred to as Road. 9. Friedman, p.132. 10. Hall, Joan Wylie, in Murphy, 2005, pp.23–34. 11. Ibid., p.236. 12. Oppenheimer, p.16. 13. Mumford, p.451. 14. Donaldson, p.24. 15. Clapson, p.1. 201 202 Notes 16. Ibid., p.22. 17. Shirley Jackson, The Road Through the Wall, p.5. 18. Friedman, p.79. 19. Shirley Jackson, Road, p.5. 20. Anti-Semitism in a suburban setting also plays a part in Anne Rivers Siddon’s The House Next Door and, possibly, in Richard Matheson’s I Am Legend (in which the notably Aryan hero fends off his vampiric next-door neighbour with a copy of the Torah).
    [Show full text]
  • Horror Begins at Home: Family Trauma In
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HORROR BEGINS AT HOME: FAMILY TRAUMA IN PARANORMAL REALITY TV by ANDREW J. BEARD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2012 DISSERTATION APPROVAL PAGE Student: Andrew J. Beard Title: Horror Begins at Home: Family Trauma in Paranormal Reality TV This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Dr. Carol Stabile Chairperson Dr. Anne Laskaya Member Dr. Priscilla Ovalle Member Dr. Lynn Fujiwara Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Andrew J. Beard iii DISSERTATION ABSTRACT Andrew J. Beard Doctor of Philosophy Department of English June 2012 Title: Horror Begins at Home: Family Trauma in Paranormal Reality TV This dissertation argues that paranormal reality television is a form of what some have referred to as “trauma television,” a site of struggle between meanings of family and the violence often found in the hegemonic nuclear family ideal. Programs such as A Haunting and Paranormal State articulate family violence and trauma through a paranormal presence in the heteronormative family home, working to make strange and unfamiliar the domestic and familial milieus in which their episodes take place.
    [Show full text]
  • The Gothic As a Practice, by TGS Jones
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ResearchArchive at Victoria University of Wellington THE GOTHIC AS A PRACTICE: Gothic Studies, Genre and the Twentieth Century Gothic by Timothy Graham Stanford Jones A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in English Victoria University of Wellington 2010 ABSTRACT Gothic studies, the specialist academic field that explores the Gothic text, has developed substantially over the last twenty-five years. The field often frames the Gothic as a serious literature, involved in historic discourse, and having special psychological acuity; this thesis suggests that there are a number of problems with these argumentative strategies, and that the academy now makes claims for the Gothic that are discontinuous with how this popular genre is understood by most readers. While Gothic studies is the study of a genre, curiously, it has seldom engaged with theorisations of genre. Nevertheless, an understanding of what genre is, and how it alters reading practice, is crucial to understanding the Gothic text. This thesis attempts to reconcile and develop a number of disparate approaches to genre through Pierre Bourdieu’s notion of habitus. It argues that genre is not a set of textual conventions but a group of procedures that facilitate and modify both writing and reading practices. Consequently, genres like the Gothic should be seen as discrete historicised phenomena, which retain a cohesive practical sense of how they ought to be performed before they hold discursive properties. Rather than arguing for the literary value of the Gothic, this thesis understands the genre as a popular practice.
    [Show full text]
  • Transformation, Paradox and Continuity in the Poetry of James Mcauley
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS “So many voices urging:” Transformation, Paradox and Continuity in the Poetry of James McAuley Rosemary Jean Page Orientador: Prof. Doutor Mário Vítor Fernandes Araújo Bastos, Professor Auxiliar, Faculdade de Letras da Universidade de Lisboa Tese especialmente elaborada para obtenção do grau de Doutor no ramo de Estudos da Literatura e Cultura, na Especialidade de Estudos da Literatura e Cultura de Expressão Inglesa 2018 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS “So many voices urging:” Transformation, Paradox and Continuity in the Poetry of James McAuley Rosemary Jean Page Orientador: Prof. Doutor Mário Vítor Fernandes Araújo Bastos Tese especialmente elaborada para obtenção do grau de Doutor no ramo de Estudos da Literatura e Cultura, na Especialidade de Estudos da Literatura e Cultura de Expressão Inglesa Júri: Presidente: Doutora Maria Cristina de Castro Maia de Sousa Pimentel, Professora Catedrática e Membro do Conselho Científico da Faculdade de Letras da Universidade de Lisboa Vogais: - Doutor François-Xavier Giudicelli, Maître de Conférences, Département d’Anglais, UFR Lettres et Sciences Humaines, Université de Reims Champagne-Ardenne, França - Doutor Kenneth David Callahan, Professor Associado, Departamento de Línguas e Culturas da Universidade de Aveiro - Doutora Isabel Maria da Cunha Rosa Fernandes, Professora Catedrática, Faculdade de Letras da Universidade de Lisboa - Prof. Doutor Mário Vítor Fernandes Araújo Bastos, Professor Auxiliar, Faculdade de Letras da Universidade de Lisboa - Doutora Maria Teresa Correia Casal, Professora Auxiliar, Faculdade de Letras da Universidade de Lisboa 2018 i ii Copyright information The copyright of this thesis is held by the Universidade de Lisboa The copyright of James McAuley is held by the James McAuley Estate (executor Curtis Brown, Sydney) iii DEDICATÓRIA Time out of mind And out of the heart too Yet I am not resigned To be what I do.
    [Show full text]
  • "Amped About Hell": Representations of the Suburban Gothic in Serial Television Simone Marjorie Perry Lake Forest College, [email protected]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lake Forest College Publications Lake Forest College Lake Forest College Publications Senior Theses Student Publications 4-28-2014 "Amped About Hell": Representations of the Suburban Gothic in Serial Television Simone Marjorie Perry Lake Forest College, [email protected] Follow this and additional works at: http://publications.lakeforest.edu/seniortheses Part of the American Studies Commons, Critical and Cultural Studies Commons, Film and Media Studies Commons, and the Television Commons Recommended Citation Perry, Simone Marjorie, ""Amped About Hell": Representations of the Suburban Gothic in Serial Television" (2014). Senior Theses. This Thesis is brought to you for free and open access by the Student Publications at Lake Forest College Publications. It has been accepted for inclusion in Senior Theses by an authorized administrator of Lake Forest College Publications. For more information, please contact [email protected]. "Amped About Hell": Representations of the Suburban Gothic in Serial Television Abstract Derived from the work of Bernice M. Murphy, "Suburban Gothic" is a subgenre in popular culture providing continuous commentary on American society. Though she writes extensively about depictions of Suburban Gothic throughout the last several decades, Murphy’s research has shown little interest in television. The advent of complex narrative in serial television, particularly over the last twenty-five years, is crucial to homing in on the format. Viewing the Suburban Gothic as a "genre television,” we can see it evolving into a higher art form. Using essays in aesthetics and film theory to enhance the understanding of Suburban Gothic, three shows are using a combination of these theories.
    [Show full text]
  • The Uncanny Child in Transnational Cinema
    FILM CULTURE IN TRANSITION The Uncanny Child in Transnational Cinema Ghosts of Futurity at the Turn of the Twenty-First Century jessica balanzategui The Uncanny Child in Transnational Cinema The Uncanny Child in Transnational Cinema Ghosts of Futurity at the Turn of the Twenty-First Century Jessica Balanzategui Amsterdam University Press Excerpts from the conclusion previously appeared in Terrifying Texts: Essays on Books of Good and Evil in Horror Cinema © 2018 Edited by Cynthia J. Miller and A. Bowdoin Van Riper by permission of McFarland & Company, Inc., Box 611, Jefferson NC 28640. Excerpts from Chapter Four previously appeared in Monstrous Children and Childish Monsters: Essays on Cinema’s Holy Terrors © 2015 Edited by Markus P.J. Bohlmann and Sean Moreland by permission of McFarland & Company, Inc., Box 611, Jefferson NC 28640. Cover illustration: Sophia Parsons Cope, 2017 Cover design: Kok Korpershoek, Amsterdam Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 651 0 e-isbn 978 90 4853 779 2 (pdf) doi 10.5117/9789462986510 nur 670 © J. Balanzategui / Amsterdam University Press B.V., Amsterdam 2018 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Table of Contents Acknowledgements 7 Introduction 9 The Child as Uncanny Other Section One Secrets and Hieroglyphs: The Uncanny Child in American Horror Film 1.
    [Show full text]