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Haunted Narratives: the Afterlife of Gothic Aesthetics in Contemporary Transatlantic Women’S Fiction
HAUNTED NARRATIVES: THE AFTERLIFE OF GOTHIC AESTHETICS IN CONTEMPORARY TRANSATLANTIC WOMEN’S FICTION Jameela F. Dallis A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2015 Approved by: Minrose Gwin Shayne A. Legassie James Coleman María DeGuzmán Ruth Salvaggio © 2016 Jameela F. Dallis ALL RIGHTS RESERVED ii ABSTRACT Jameela F. Dallis: Haunted Narratives: The Afterlife of Gothic Aesthetics in Contemporary Transatlantic Women’s Fiction (Under the direction of Minrose Gwin and Shayne A. Legassie) My dissertation examines the afterlife of eighteenth- and nineteenth-century Gothic aesthetics in twentieth and twenty-first century texts by women. Through close readings and attention to aesthetics and conventions that govern the Gothic, I excavate connections across nation, race, and historical period to engage critically with Shirley Jackson’s The Haunting of Hill House, 1959; Angela Carter’s “The Lady of the House of Love,” 1979; Shani Mootoo’s Cereus Blooms at Night, 1996; and Toni Morrison’s Love, 2003. These authors consciously employ such aesthetics to highlight and critique the power of patriarchy and imperialism, the continued exclusion of others and othered ways of knowing, loving, and being, and the consequences of oppressing, ignoring, or rebuking these peoples, realities, and systems of meaning. Such injustices bear evidence to the effects of transatlantic commerce fueled by the slave trade and the appropriation and conquering of lands and peoples that still exert a powerful oppressive force over contemporary era peoples, especially women and social minorities. -
10 Vital Ways to Spot a Werewolf
12 What is a Werewolf? 13 Once they have experienced raw All werewolves have excessive 10 Vital Ways to 4meat in their wolf form, even as 8 body hair. This does not mean a human the werewolf will enjoy the that all people with extra body taste of fresh, bloody meat. hair are werewolves, but check for Spot a Werewolf hair on the palms of the hands, a Some werewolves exhibit pronounced “widow’s peak” or heightened senses of hearing, 5 marked hair loss either side of the Spotting a werewolf is not easy, especially when they are smell, and sight. forehead, and – harder to check – in human form. However, there are a few telltale clues All werewolves will be nervous, hair growing inside the skin. even secretive, as the full moon 6 When in human form a that you can use to make it easier: approaches. Some will enjoy this werewolf may show signs of time of power; others may meet this 9 In human form, check for than their middle finger is likely to increased agression or periods of prospect with sadness, even fear. eyebrows that meet in the be a werewolf in human guise. unprovoked rage. 1 middle. This has long been A werewolf will avoid silver of Werewolves have a pronounced Keep an eye on anyone who considered a sign of a werewolf. any kind, whether in wolf or ability to heal themselves, unless hangs about in the woods or 3 7 10 It is well known that any person human form, and will react as if struck by silver or, especially, shot moors during a full moon and comes 2 who has a ring finger longer burnt when touched by silver. -
Reorienting the Female Gothic: Curiosity and the Pursuit of Knowledge
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2020 REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE Jenna Guitar University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Guitar, Jenna, "REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE" (2020). Open Access Dissertations. Paper 1145. https://digitalcommons.uri.edu/oa_diss/1145 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE BY JENNA GUITAR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2020 DOCTOR OF PHILOSOPHY DISSERTATION OF JENNA GUITAR APPROVED: Dissertation Committee: Major Professor Jean Walton Christine Mok Justin Wyatt Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2020 ABSTRACT This dissertation investigates the mode of the Female Gothic primarily by examining how texts utilize the role of curiosity and the pursuit of knowledge, paying close attention to how female characters employ these attributes. Existing criticism is vital to understanding the Female Gothic and in presenting the genealogy of feminist literary criticism, and yet I argue, this body of criticism often produces elements of essentialism. In an attempt to avoid and expose the biases that essentialism produces, I draw from Sara Ahmed’s theory of queer phenomenology to investigate the connections between the way that women pursue and circulate knowledge through education and reading and writing practices in the Female Gothic. -
Transcript 0:00 Ronak Patel (RP): Before Coming in Here I've Never
Interview with Ronak Patel: Transcript 0:00 Ronak Patel (RP): Before coming in here I've never tattooed before, getting used to the tattoo machine and that, that was a struggle of it's own. starting out wasn't very confident in my skills and my abilities, and you know just came with time and practice and tips from other artists around me, watching how other people did things and now I feel more confident. Am I the best tattoo artist already? No. I have a long road to go but have I improved since I began? Absolutely! 0:30 Guy Prandstatter (GP): Hello everybody and welcome to the tattoo trainer podcast my name is Guy Prandstatter and I am the tattoo trainer. My guess on the show today is Ronak Patel from our Philadelphia location and Ronak is a really talented graphic artist who found himself working and managing a liquor store and he's gonna share with you how he went from working at that liquor store and managing that liquor store to be one of our premier tattoo artist in our PA location. So let's get right in to the interview and could tell you his story. 1:01 Alright, Ronak, welcome to ART tattoo trainer podcast, man, thanks for being here I'm really really glad you're here. I was really looking forward to this today co'z you're just somebody who I've really admired, y'know watching your development watching you grow and become someone that we can all count on here. -
Songs for Waiters: a Lyrical Play in Two Acts
SONGS FOR WAITERS: A LYRICAL PLAY IN TWO ACTS Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment for the Requirements for The Degree of Master of Arts in English By Andrew Eberly Dayton, Ohio May, 2012 SONGS FOR WAITERS: A LYRICAL PLAY IN TWO ACTS Name: Eberly, Andrew M. APPROVED BY: ___________________ Albino Carillo, M.F.A. Faculty Advisor ____________________ John P. McCombe, Ph.D. Faculty Reader ____________________ Andrew Slade, Ph.D. Faculty Reader ii ABSTRACT SONGS FOR WAITERS: A LYRICAL PLAY IN TWO ACTS Name: Eberly, Andrew M. University of Dayton Advisor: Albino Carillo, M.F.A. Through the creative mediums of lyrical poetry, monologues, and traditional dramatic scenes, Songs for Waiters concerns an owner and two employees at an urban bar/restaurant. Through their work, their interactions with the public and each other, and reflecting on their own lives, the three men unpack contemporary debates on work, violence, and sexuality. The use of lyrical poetry introduces the possibility of these portions of the play being put to music in a performance setting, as the play is written to be workshopped and performed live in the future. iii TABLE OF CONTENTS ABSTRACT……………………………………………………………….…………..…iii ACT I…………………………………………………………………………...…………1 ACT II……………………………………………………………………………………35 iv ACT I The play begins with no actors onstage. The set consists of café tables upstage right and left and a bar upstage center. The décor is that of a classic bar with some history. The bar is George’s—known for good food. It’s independent, casual, eclectic, open late, and located on High Street in Columbus, Ohio. -
Transcending Antinomies in Maggie Stiefvater’S Shiver Series
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons 1 ‘But by blood no wolf am I’: Language and Agency, Instinct and Essence – Transcending Antinomies in Maggie Stiefvater’s Shiver series The sympathetic vampire is now a familiar creature. Stephenie Mayer’s Twilight (2005) has made us aware of the attraction of radical otherness, where the mysterious non-humanity of the love object becomes a powerful source of desire rather than terror alone.1 Other paranormal species have also become somewhat domesticated and are now lovers rather than monstrous Others, resulting in the new hybridised genre of paranormal romance, where Gothic horror couples with romantic fiction.2 Each species of monster (whether vampire, shapeshifter, faerie, angel, or zombie) lends itself to different domains of enquiry. The shapeshifter, especially the werewolf, is particularly useful as an instrument for exploring the boundaries of humanity and animality, culture and nature. Werewolves are far more tied to animality and the physiological than the present-day vampire, despite the latter’s often compulsive blood-lust.3 The werewolf, too, is bound to a hierarchical pack society; this group membership necessarily evokes a different perspective on the social than the usually solitary vampire. Of course, the blurring of the boundary between animal and human recurs throughout literature. Yet wolves in particular have long played a versatile role in exploring these demarcations. Wolves are ambiguously social animals yet savage outsiders, predators on the community, and disruptors of the pastoral (with all the additional allegorical weight that arrives with Christianity). -
The Werewolf of Paris
The Werewolf of Paris Guy Endore The Werewolf of Paris Table of Contents The Werewolf of Paris........................................................................................................................................1 Guy Endore..............................................................................................................................................1 INTRODUCTION..................................................................................................................................2 CHAPTER ONE.....................................................................................................................................9 CHAPTER TWO..................................................................................................................................15 CHAPTER THREE..............................................................................................................................20 CHAPTER FOUR.................................................................................................................................25 CHAPTER FIVE..................................................................................................................................37 CHAPTER SIX.....................................................................................................................................42 CHAPTER SEVEN..............................................................................................................................51 CHAPTER EIGHT...............................................................................................................................64 -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
The Beast Inside
University of Southern Maine USM Digital Commons Stonecoast MFA Student Scholarship Fall 12-15-2016 The Beast Inside Steve Cave University of Southern Maine Follow this and additional works at: https://digitalcommons.usm.maine.edu/stonecoast Part of the Creative Writing Commons Recommended Citation Cave, Steve, "The Beast Inside" (2016). Stonecoast MFA. 4. https://digitalcommons.usm.maine.edu/stonecoast/4 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at USM Digital Commons. It has been accepted for inclusion in Stonecoast MFA by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. The Beast Inside _______________ A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF SOUTHERN MAINE STONECOAST MFA IN CREATIVE WRITING BY Steve Cave _______________ 2016 i Abstract This thesis contains the first seven chapters of the novel Ravenous, the short story “Faithfall,” and the academic paper “From Hellhound to Hero: Tracking the Shifting Shape of the 21st Century Werewolf.” Both of the stories deal with werewolves as a common element, but use very different types of werewolves in each. The werewolves of Ravenous transform through losing control or giving in to their passions, while the werewolves in “Faithfall” change only with the full moon, and retain no control once transformed. Both stories have a gay male protagonist, though also in very different ways. Ravenous follows the story of a seventeen-year-old young man learning that he is a werewolf, and uses this to explore themes such as coming of age, hungering for belonging, and dealing with feeling like a monster. -
2017: a Werewolf Odyssey, Or a Study of the Werewolf Myth from Rome to Today
2017: A WEREWOLF ODYSSEY, OR A STUDY OF THE WEREWOLF MYTH FROM ROME TO TODAY By ANASTASIA IORGA AN HONORS THESIS PRESENTED TO THE CLASSICS DEPARTMENT OF THE UNIVERSITY OF FLORIDA UNIVERSITY OF FLORIDA SPRING 2017 © 2017 Anastasia Iorga 2 TABLE OF CONTENTS Page ABSTRACT.....................................................................................................................................4 INTRODUCTION...........................................................................................................................5 BACK TO THE FUTURE: WEREWOLF EDITION......................................................................7 The Werewolf as the Monster in the Modern Age....................................................7 The Werewolf as the Victim in the Middle Ages....................................................11 The Werewolf as the Shape-Shifter in Folklore......................................................16 I WAS A ROMAN WEREWOLF..................................................................................................22 The Werewolf in Classical Antiquity.....................................................................22 The Werewolf as Fiction........................................................................................26 The Werewolf as Fact.............................................................................................29 A Roman and His Werewolf...................................................................................32 CONCLUSION..............................................................................................................................34 -
Metamorphoses of the Werewolf Svitlana Krys University of Alberta
Metamorphoses of the Werewolf Svitlana Krys University of Alberta 404 Sconduto, Leslie A. Metamorphoses of the Werewolf: A Literary Study from Antiquity Through the Renaissance. Jefferson, NC and London: McFarland & Company, Inc., Publishers, 2008. Pp. 220. US $39.95 paper. Virtually everyone today is familiar with the mythical werewolf, thanks to pop cul- ture media, especially horror films such asGinger Snaps (2000), Underworld (2003), the remake of the 1941 classic, The Wolf Man (2009), music videos (for instance, a werewolf/werecat character in Michael Jackson’s famous Thriller [1983]), comic books and computer games, or bestselling mystery novels, such as the recent Twilight series by Stephenie Meyer (2005-2008). However, it is less widely known that this stereotypically fright-invoking figure of Hollywood film lore has frequently changed its image in the past. Boasting a long line of predecessors, originating in antiquity, werewolves have been portrayed in contradictory fashion as either savage preda- tors or noble heroes, their image vacillating on the border between good and evil. Precisely this evolution or metamorphosis of the werewolf’s depiction in various nar- ratives from antiquity through the Renaissance is the focus of Leslie A. Sconduto’s monograph, which occupies a prominent place among recent scholarly studies of the werewolf, such as Brad Steiger’s The Werewolf Book: Encyclopedia of Shape Shifting Beings (Detroit, MI: Visible Ink P, 1999), Leonard R.N. Ashley’s The Complete Book of Werewolves (Fort Lee, NJ: Barricade Books, 2001), Brian J. Frost’s The Essential Guide to Werewolf Literature (Madison, WI: U of Wisconsin P, 2003), and Rosemary Ellen Guiley’s The Encyclopedia of Vampires, Werewolves, and Other Monsters (New York: Checkmark Books, 2004). -
The Monster As Romantic Hero in Contemporary Fiction
Cleveland State University EngagedScholarship@CSU ETD Archive 2014 Taming the Perfect Beast: the Monster as Romantic Hero in Contemporary Fiction Lara Klaber Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the English Language and Literature Commons How does access to this work benefit ou?y Let us know! Recommended Citation Klaber, Lara, "Taming the Perfect Beast: the Monster as Romantic Hero in Contemporary Fiction" (2014). ETD Archive. 841. https://engagedscholarship.csuohio.edu/etdarchive/841 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. TAMING THE PERFECT BEAST: THE MONSTER AS ROMANTIC HERO IN CONTEMPORARY FICTION LARA KLABER Bachelor of Arts in Communication, English Literature, and Film & Digital Media Cleveland State University December 2010 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSITY August 2014 We hereby approve this thesis For Lara Klaber Candidate for the Master of Arts in English degree for the department of English and CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by Dr. Frederick J. Karem Department and Date Dr. Adam T. Sonstegard Department and Date Dr. Rachel K. Carnell Department and Date Defended on August 7, 2014 ACKNOWLEDGMENTS I owe thanks to many people who fostered my interest in this project and helped me shape it. Enormous gratitude goes to Dr. F. Jeff Karem, who saw this in its earliest iterations and graciously signed on to suffer through four years of its development as my Advisor.