Gothic (Re)Visions: Writing Women as ReadersSUNY Press, 1 Ιαν 1993 - 201 σελίδες Gothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers. Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here--by Ann Radcliffe, Mary Shelley, Charlotte Brontë, Harriet Beecher Stowe, George Eliot, and Edith Wharton--explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader." |
Περιεχόμενα
Dreams and Visions | 3 |
Woman as Gothic Vision The Italian | 15 |
The Woman on the Bed Frankenstein | 37 |
Charlotte Brontës PostGothic Gothic | 57 |
Gothic Undone | 79 |
Evas Curl Uncle Toms Cabin | 81 |
Exorcising the Mother Daniel Deronda | 105 |
Tableau Mort The House of Mirth | 127 |
Why Would a Textual Mother Haunt a House Like This? | 147 |
NOTES | 157 |
189 | |
197 | |
Άλλες εκδόσεις - Προβολή όλων
Gothic (Re)Visions: Writing Women as Readers Susan Wolstenholme Δεν υπάρχει διαθέσιμη προεπισκόπηση - 1992 |
Συχνά εμφανιζόμενοι όροι και φράσεις
actress acts appears artist audience becomes Bertha body Cassy character Charlotte Brontë confessional cultural Daniel Deronda desire double dream Elizabeth Ellena essay Eva's example fantasy father female feminine feminist feminist criticism fetishized figure film finally Frankenstein Freud function Fuseli's painting gaze gender George Eliot gests Ginevra girl Gothic fiction Gothic novels Grandcourt Gwendolen Harriet Beecher Stowe haunted House of Mirth issue Italian Jane Eyre Jane's language Legree Legree's letters Lily Bart Lily's literary Lucy Lucy's male Mary Shelley Mary Shelley's masculine maternal metaphor Mirah mode Monk Monster Mordecai mother narrative narrator nightmare object play position presence Radcliffe Radcliffean reader realism relationship representation represents rewriting role romance Schedoni Selden sexual Shelley spectator story Stowe's structure suggests tableau tableau vivant textual tion Tompkins uncanny Uncle Tom's Cabin University Press Vashti veil Victor Frankenstein Villette vision visual Vivaldi voice Wharton woman women writers writing