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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
An Analysis of Gothic Features in Macbeth∗
Sino-US English Teaching, December 2016, Vol. 13, No. 12, 971-976 doi:10.17265/1539-8072/2016.12.008 D DAVID PUBLISHING An Analysis of Gothic Features in Macbeth∗ LI Bao-feng, ZHAO Xu-liang Harbin Engineering University, Harbin, China Macbeth as one of the Four Great Tragedies by Shakespeare depicts a great change of Macbeth from a hero of counter-insurgency into a tyrannical king. What impresses readers most is the frequent usage of Gothic features, like murders, ghost, witches, and so on. The paper will make a tentative study on Gothic settings, Gothic characters, and Gothic plots in Macbeth. The age of confusing right and wrong and horrible environmental settings will be expounded; then, the detailed analysis of Gothic characters like Macbeth, the trio of Witches and Lady Macbeth will be elaborated on; the plots of noumenal horror and mental terror will be elucidated finally. It is helpful for deeply understanding the drama’s theme and interpreting the work from a new perspective, which plays a positive role in the research and development of Gothic literature and possesses certain significance for literary reference. Keywords: Macbeth, Gothic settings, Gothic characters, Gothic plots Introduction Gothicism in literature has different stages of development and it is generally believed that it is pioneered by Horace Walpole’s The Castle of Otranto: A Gothic Story (1764) and flourished through the early 19th century. The Gothic fiction is characterized by depicting the events of horror, ghost, violence, nightmare, and so on; besides, its locale is often a gloomy and mysterious castle. The Gothic works are destined to depend on terror and horror, though bringing about emotional changes in distinctive ways. -
Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent Into Ennui in John Logan’S TV Series Penny Dreadful
doi: 10.17605/OSF.IO/H4YBT “Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent into Ennui in John Logan’s TV Series Penny Dreadful Dr. Richard Logsdon, Professor Emeritus, College of Southern Nevada Abstract ennui that has its counterpart in our own culture. The suggestion is that Logan uses While scholars have provided some Vanessa Ives as a symbolic representation of insight into Penny Dreadful, no one has a dying world view, which, somewhat addressed the relationship of the piece’s ironically, provided for her remaining overall design to the writer’s vision. Indeed, friends a hope that sustained them. Penny Dreadful is offered as a warning of a darker age to come. Accordingly, writer 1. Introduction: Old or New Gothic? John Logan sets his series in a late Victorian, Gothicized London that serves as Since the release of Francis Ford a microcosm for a contemporary Western Coppola’s Dracula in 1992, Gothic horror world experiencing a psychological and films that gave the traditional depiction of spiritual disintegration that touches the the Prince of Vampires have been replaced individual and the larger culture. Logan calls by tamer, even more domesticated versions attention to the anxieties generated by this of Bram Stoker’s monster (Hutchings 40- disintegration by incorporating into his 48). Indeed, in the world of cinema and TV, series characters from late Victorian Gothic the past two or three decades have seen a fiction: Frankenstein and his creature, movement away from the traditional Gothic Dracula, the Wolf Man, Dorian Gray, and horror with its dark and haunted landscapes, Dr. -
Locating Masculinities from the Gothic Novel to Henry James
Gero Bauer Houses, Secrets, and the Closet Lettre Gero Bauer is a research fellow at the Center for Gender and Diversity Research, University of Tübingen. His academic interests include gender and queer stu- dies, and European literary and cultural history. Gero Bauer Houses, Secrets, and the Closet Locating Masculinities from the Gothic Novel to Henry James An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3468-0. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2016 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover layout: Kordula Röckenhaus, Bielefeld Cover -
GOTHIC FICTION Introduction by Peter Otto
GOTHIC FICTION Introduction by Peter Otto 1 The Sadleir-Black Collection 2 2 The Microfilm Collection 7 3 Gothic Origins 11 4 Gothic Revolutions 15 5 The Northanger Novels 20 6 Radcliffe and her Imitators 23 7 Lewis and her Followers 27 8 Terror and Horror Gothic 31 9 Gothic Echoes / Gothic Labyrinths 33 © Peter Otto and Adam Matthew Publications Ltd. Published in Gothic Fiction: A Guide, by Peter Otto, Marie Mulvey-Roberts and Alison Milbank, Marlborough, Wilt.: Adam Matthew Publications, 2003, pp. 11-57. Available from http://www.ampltd.co.uk/digital_guides/gothic_fiction/Contents.aspx Deposited to the University of Melbourne ePrints Repository with permission of Adam Matthew Publications - http://eprints.unimelb.edu.au All rights reserved. Unauthorised Reproduction Prohibited. 1. The Sadleir-Black Collection It was not long before the lust for Gothic Romance took complete possession of me. Some instinct – for which I can only be thankful – told me not to stray into 'Sensibility', 'Pastoral', or 'Epistolary' novels of the period 1770-1820, but to stick to Gothic Novels and Tales of Terror. Michael Sadleir, XIX Century Fiction It seems appropriate that the Sadleir-Black collection of Gothic fictions, a genre peppered with illicit passions, should be described by its progenitor as the fruit of lust. Michael Sadleir (1888-1957), the person who cultivated this passion, was a noted bibliographer, book collector, publisher and creative writer. Educated at Rugby and Balliol College, Oxford, Sadleir joined the office of the publishers Constable and Company in 1912, becoming Director in 1920. He published seven reasonably successful novels; important biographical studies of Trollope, Edward and Rosina Bulwer, and Lady Blessington; and a number of ground-breaking bibliographical works, most significantly Excursions in Victorian Bibliography (1922) and XIX Century Fiction (1951). -
Science Fiction, Steampunk, Cyberpunk
SCIENCE FICTION: speculative but scientific plausability, write rationally, realistically about alternative possible worlds/futures, no hesitation, suspension of disbelief estrangement+cognition: seek rational understanding of NOVUM (D. Suvin—cognitive estrangement) continuum bw real-world empiricism & supernatural transcendentalism make the incredible plausible BUT alienation/defamiliarization effect (giant bug) Literature of human being encountering CHANGE (techn innovat, sci.disc, nat. events, soc shifts) origins: speculative wonder stories, antiquity’s fabulous voyages, utopia, medieval ISLAND story, scientifiction & Campbell: Hero with a 1000 Faces & Jules Verne, HG Wells (Time Machine, War of the Worlds, The Island of Dr Moreau), Mary Shelley (Frankenstein), Swift Gulliver’s Travels Imaginative, Speculative content: • TIME: futurism, alternative timeline, diff hist. past, time travel (Wells, 2001. A Space Odyssey) • SPACE: outer space, extra-terrestrial adventures, subterranean regions, deep oceans, terra incognita, parallel universe, lost world stories • CHARACTERS: alien life forms, UFO, AI, GMO, transhuman (Invisible Man), mad scientist • THEMES: *new scientific principles, *futuristic technology, (ray guns, teleportation, humanoid computers), *new political systems (post-apocalyptic dystopia), *PARANORMAL abilities (mindcontrol, telekinesis, telepathy) Parallel universe: alternative reality: speculative fiction –scientific methods to explore world Philosophical ideas question limits & prerequisites of humanity (AI) challenge -
Wail of an Ebbing Tide © 2016 Xena Torres
Wail of an Ebbing Tide © 2016 Xena Torres www.bitchofrome.com/pennydreadful Penny Dreadful is the copyright property of Showtime and Sky. It was created by John Logan and produced by Desert Wolf Productions and Neal Street Productions. This fan fiction story has been written for entertainment purposes only out of love for the show and out of respect to my fellow Dreadfuls. Dedicated to Eva Green for the gift of Vanessa Ives & my fellow Dreadfuls AUTHOR’S NOTE This story rewrites the ending of the final episode of Penny Dreadful, “The Blessed Dark,” from the moment Ethan enters the white bricked room with Vanessa. It is then divided into six parts (“episodes”) in which I attempt to conclude the series, wrapping up loose threads and plot points that I think most Dreadfuls would agree were left unresolved at the end of the series. Please note that I am not someone who is against tragic end- ings, nor do I think endings have to be sunshine and rainbows, where none of the characters die and they all go off to live perfect lives. I do, however, think endings to series need to give viewers closure and have to bring the characters to a point where we can accept they will live on without us watching. For my ending, I fol- lowed the threads already presented on the show. I also used the books Penny Dreadful drew from, directly and indirectly, while other parts were completely my own. Dr. Jekyll does not appear in this novel. While his story was disappointing, I felt it was as concluded as it could be without start- ing a new thread and this fan fiction is an attempt to conclude the show, not the first part of a virtual series. -
Exhibition Hall
exhibition hall 15 the weird west exhibition hall - november 2010 chris garcia - editor, ariane wolfe - fashion editor james bacon - london bureau chief, ric flair - whooooooooooo! contact can be made at [email protected] Well, October was one of the stronger months for Steampunk in the public eye. No conventions in October, which is rare these days, but there was the Steampunk Fortnight on Tor.com. They had some seriously good stuff, including writing from Diana Vick, who also appears in these pages, and myself! There was a great piece from Nisi Shawl that mentioned the amazing panel that she, Liz Gorinsky, Michael Swanwick and Ann VanderMeer were on at World Fantasy last year. Jaymee Goh had a piece on Commodification and Post-Modernism that was well-written, though slightly troubling to me. Stephen Hunt’s Steampunk Timeline was good stuff, and the omnipresent GD Falksen (who has never written for us!) had a couple of good piece. Me? I wrote an article about how Tomorrowland was the signpost for the rise of Steampunk. You can read it at http://www.tor.com/blogs/2010/10/goodbye-tomorrow- hello-yesterday. The second piece is all about an amusement park called Gaslight in New Orleans. I’ll let you decide about that one - http://www.tor.com/blogs/2010/10/gaslight- amusement. The final one all about The Cleveland Steamers. This much attention is a good thing for Steampunk, especially from a site like Tor.com, a gateway for a lot of SF readers who aren’t necessarily a part of fandom. -
Universidade Federal Da Paraíba Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Letras Espelhos E
UNIVERSIDADE FEDERAL DA PARAÍBA CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN AURICÉLIO SOARES FERNANDES JOÃO PESSOA - PB ABRIL DE 2020 AURICÉLIO SOARES FERNANDES ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN Tese submetida ao Programa de Pós- Graduação em Letras, da Universidade Federal da Paraíba, como pré-requisito para a obtenção do título de Doutor em Letras. Orientador: Prof. Dr. Luiz Antonio Mousinho Magalhães Área de Concentração: Literatura, Cultura e Tradução Linha de Pesquisa: Tradução e Cultura JOÃO PESSOA - PB ABRIL DE 2020 ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN FERNANDES, Auricélio Soares. Espelhos e retratos de Dorian Gray em Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan________ fls. Tese. (Doutorado em Letras) – Universidade Federal da Paraíba, João Pessoa, 2020. BANCA EXAMINADORA ____________________________________________________ Prof. Dr. Luiz Antonio Mousinho Magalhães – UFPB Orientador ____________________________________________________ Profª. Drª Laura Loguercio Cánepa – Universidade Anhembi Morumbi (Examinadora externa) ____________________________________________________ -
118 Reviews of Books Does, the Book Is a Pleasure. He Roots It in Feminist, Race, and Sf Scholarship, Just As He Grounds Butler
118 Reviews of Books does, the book is a pleasure. He roots it in feminist, race, and sf scholarship, just as he grounds Butler in black American women’s writing traditions and sf tropes. Moreover, he stays focused on his literary argument and doesn’t get lost in the weeds of debates about agency, humanism, and the problematic legacy of the Enlightenment. Ultimately, Of Bodies, Communities, and Voices is indispensable for any Butler scholar, primarily because of the ways he connects so many of her work’s central concerns without reducing its complexity or variety. It will function more as a source of research than pedagogy, except maybe in upper-level classes centered on Butler. I recommend it not only to scholars of Butler but sf in general, especially in terms of afrofuturism, posthumanism, or any of Bast’s focal points (agency, bodies, community, voice). Biopunk SF in Liquid Modernity. Lars Schmeink. Biopunk Dystopias: Genetic Engineering, Society and Science Fiction. Liverpool: Liverpool University Press, 2016. 288 pp. ISBN 978-1-78-138376-6. £75 hc. Reviewed by D. Harlan Wilson Biopunk is among the more recent sf subgenres to emerge from the virtual citadel of 1980s cyberpunk. There have been others—most prominently steampunk, but also splatterpunk, nanopunk, dieselpunk, bugpunk, even elfpunk and monkpunk—but biopunk narratives are perhaps the first truly authentic descendant of the cyberpunks, featuring gritty dystopian settings, beat characters, corporate terrorism, techno-pathology, and body invasion. Instead of hacking computers, however, biopunks hack DNA and operate in worlds where the processes and products of genetic engineering are brought to bear by various forms of mad scientism. -
Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction Alexandra Rivera
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction Alexandra Rivera Recommended Citation Rivera, Alexandra, "Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction" (2019). Scripps Senior Theses. 1358. https://scholarship.claremont.edu/scripps_theses/1358 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. HUMAN MONSTERS: EXAMINING THE RELATIONSHIP BETWEEN THE POSTHUMAN GOTHIC AND GENDER IN AMERICAN GOTHIC FICTION by ALEXANDRA RIVERA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR KOENIGS PROFESSOR MANSOURI APRIL 26, 2019 Acknowledgements I would like to thank my thesis readers, Professor Koenigs and Professor Mansouri, for working with me on developing this topic and helping strengthen my ideas. Thank you Professor Koenigs for always pushing me to take my writing further and to really dig deep into the subject of study. I am also deeply grateful for my parents, Ken and Maria Rivera, and their love and encouragement during the thesis process. I would also like to thank my friends and loved ones, especially Willow Winter, for supporting and believing in me. Finally, I have to thank my cats Grayson and Gracie for boosting my morale and helping me power through the late nights of writing. -
Gender Represented in the Gothic Novel
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 11, Ver. 3 (November. 2017) PP 73-77 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Represented In the Gothic Novel Asmat Nabi Contractual lecturer Department of English Govt Degree College For Women Baramulla. Corresponding Author: Asmat Nabi Abstract: The genre of Gothic became one of the most popular of the late 18th and early 19th century, and the novel usually regarded as the first Gothic novel is Horace Walpole's The Castle of Otranto, first published in 1764.1 The first great practitioner of the Gothic novel, as well as the most popular novelist of the eighteenth century in England, was Ann Radcliffe.2 She added suspense, painted evocative landscapes and moods or atmosphere, portrayed increasingly complex, fascinatingly-horrifying, evil villains, and focused on the heroine and her struggle with the male tyrant. Her work The Italian (1797) have the ability to thrill and enthrall readers. Inspired by Radcliffe, a more sensational type of Gothic romance, exploiting horror and violence, flourished in Germany and was introduced to England by Matthew Gregory Lewis with The Monk (1796). The novel follows the lust- driven monk Ambrosio from one abominable act to another - rape, incest, matricide, burial alive - to his death and well-deserved damnation. The different schools, which are Female Gothic represented by Radcliffe and Male Gothic represented by Lewis, are distinguished by some critics as novel of terror and novel of horror. Sometimes this same distinction is tied to gender, with female equated with terror Gothic, and with male being equated with horror Gothic because both female and male writers can produce female and male Gothic.