scholarly journals The Function of Sound in the Gothic Novels of Ann Radcliffe, Matthew Lewis and Charles Maturin

2016 ◽  
Author(s):  
Angela M. Archambault
Keyword(s):  
Ann Radcliffe ◽  
Matthew Lewis ◽  
Gothic Novels

Spectres of Antiquity

2020 ◽  
Author(s):  
James Uden
Keyword(s):  
Ann Radcliffe ◽  
Gothic Literature ◽  
Horace Walpole ◽  
Matthew Lewis ◽  
Roman Culture ◽  
Gothic Novels ◽  
History Of ◽  
New Vision ◽  
The Relationship ◽  
Of Greece

Gothic literature imagines the return of ghosts from the past. What about the classical past? Spectres of Antiquity is the first full-length study describing the relationship between Greek and Roman culture and the Gothic novels, poetry, and drama of the eighteenth and early-nineteenth century. Rather than simply representing the opposite of classical aesthetics and ideas, the Gothic emerged from an awareness of the lingering power of antiquity, and it irreverently fractures and deconstructs classical images and ideas. The Gothic also reflects a new vision of the ancient world: no longer inspiring modernity through its examples, antiquity has become a ghost, haunting and oppressing contemporary minds rather than guiding them. Through readings of canonical works by authors including Horace Walpole, Ann Radcliffe, Matthew Lewis, and Mary Shelley, Spectres of Antiquity argues that these authors’ ghostly plots and ideas preserve the remembered traces of Greece and Rome. In comprehensive detail, Spectres of Antiquity rewrites the history of the Gothic, demonstrating that the genre was haunted by a far deeper sense of history than readers had previously assumed.

scholarly journals O GÓTICO, O SUBLIME E A DISTOPIA: UMA LEITURA DE 1984

Abusões ◽  
2020 ◽  
Vol 12 (12) ◽  
Author(s):  
João Pedro Bellas
Keyword(s):  
George Orwell ◽  
Ann Radcliffe ◽  
Matthew Lewis

Este trabalho tem como principal objetivo refletir sobre uma possível aproximação entre o gótico e a distopia a partir de um estudo do romance 1984, de George Orwell. Apesar das diversas dificuldades existentes em qualquer tentativa de definição de ambos como gêneros discursivos, pretendo delimitar algumas características formais recorrentes tanto em narrativas góticas como naquelas tomadas como distópicas. Com isso em vista, buscarei explorar mais profundamente um elemento específico, a saber, o sublime. No Gótico setecentista, esse conceito estético foi amplamente mobilizado por autores como Matthew Lewis e, principalmente, Ann Radcliffe, tanto como um elemento formal para a construção do enredo – especialmente em descrições do espaço narrativo – quanto como um efeito de recepção que se buscava suscitar no leitor. Portanto, pretendo verificar se o sublime é um elemento constitutivo de 1984 para, a partir dele, analisar se é possível descrever o romance de Orwell como uma obra de influxos góticos.

scholarly journals ‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction

2015 ◽  
Vol 49 (2) ◽  
pp. 105-123 ◽  
Author(s):  
Manuel Aguirre
Keyword(s):  
Corpus Linguistics ◽  
Ann Radcliffe ◽  
The Novel ◽  
Prose Fiction ◽  
Formulaic Language ◽  
Gothic Fiction ◽  
Northanger Abbey ◽  
Key Word ◽  
Free Translation ◽  
Gothic Novels

Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.

Northanger Abbey, Lady Susan, The Watsons, Sanditon

2008 ◽  
Author(s):  
Jane Austen ◽  
Claudia L. Johnson
Keyword(s):  
Ordinary Life ◽  
Northanger Abbey ◽  
Gothic Novels

‘… in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty.’ Northanger Abbey is about the misadventures of Catherine Morland, young, ingenuous, and mettlesome, and an indefatigable reader of gothic novels. Their romantic excess and dark overstatement feed her imagination, as tyrannical fathers and diabolical villains work their evil on forlorn heroines in isolated settings. What could be more remote from the uneventful securities of life in the midland counties of England? Yet as Austen brilliantly contrasts fiction with reality, ordinary life takes a more sinister turn, and edginess and circumspection are reaffirmed alongside comedy and literary burlesque. Also including Austen's other short fictions, Lady Susan, The Watsons, and Sanditon, this valuable new edition examines the ambitious and innovative works with which she inaugurated as well as closed her career.

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