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This is a wide-ranging book about aspects of the Gothic, from classic texts such as Frankenstein and Wuthering Heights to contemporary fiction by Iain Banks, William Gibson and many others. It approaches the texts through looking at the opposition between the Gothic and the law, suggesting ways in which Gothic at all points produces transgression. It looks at horror fiction by, for example, Stephen King and Robert Bloch, as well as stories from China and Hong Kong, and suggests new ways in which contemporary literary and psychological theory might relate to and address the Gothic.
These essays reexamine the literary, historical and cultural significance of the Gothic. Examples range from Horace Walpole to Angela Carter and the modern television programme, The X-Files, as well as new and more familiar texts.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. The first full-length study of incest in the Gothic genre, this book argues that Gothic writers resisted the power structures of their society through incestuous desires. It provides interdisciplinary readings of incest within father-daughter, sibling, mother-son, cousin and uncle-niece relationships in texts by authors including Emily Brontë, Eliza Parsons, Ann Radcliffe and Eleanor Sleath. The analyses, underpinned by historical, literary and cultural contexts, reveal that the incest thematic allowed writers to explore a range of related sexual, social and legal concerns. Through representations of incest, Gothic writers modelled alternative agencies, sexualities and family structures that remain relevant today.
The Encylopedia of the Gothic features a series of newly-commissioned essays from experts in Gothic studies that cover all aspects of the Gothic as it is currently taught and researched, along with the development of the genre and its impact on contemporary culture. Comprises over 200 newly commissioned entries written by a stellar cast of over 130 experts in the field Arranged in A-Z format across two fully cross-referenced volumes Represents the definitive reference guide to all aspects of the Gothic Provides comprehensive coverage of relevant authors, national traditions, critical developments, and notable texts that define, shape, and inform the genre Extends beyond a purely literary analysis to explore Gothic elements of film, music, drama, art, and architecture. Explores the development of the genre and its impact on contemporary culture
This volume offers a comprehensive account of modern literary criticism, presenting the field as part of an ongoing historical and intellectual tradition. Featuring thirty-nine specially commissioned chapters from an international team of esteemed contributors, it fills a large gap in the market by combining the accessibility of single-authored selections with a wide range of critical perspectives. The volume is divided into four parts. Part One covers the key philosophical and aesthetic origins of literary theory, while Part Two discusses the foundational movements and thinkers in the first half of the twentieth century. Part Three offers introductory overviews of the most important movements and thinkers in modern literary theory, and Part Four looks at emergent trends and future directions.
The Gothic began as a designation for barbarian tribes, was associated with the cathedrals of the High Middle Ages, was used to describe a marginalized literature in the late eighteenth century, and continues today in a variety of forms (literature, film, graphic novel, video games, and other narrative and artistic forms). Unlike other recent books in the field that focus on certain aspects of the Gothic, this work directs researchers to seminal and significant resources on all of its aspects. Annotations will help researchers determine what materials best suit their needs. A Research Guide to Gothic Literature in English covers Gothic cultural artifacts such as literature, film, graphic novels, and videogames. This authoritative guide equips researchers with valuable recent information about noteworthy resources that they can use to study the Gothic effectively and thoroughly.
The English Gothic novel has recently attracted renewed attention by modern critics who have argued its importance as a mirror of late 18th-century discomfort with the political, psychological, and sexual climate of the times. Elizabeth Napier's work challenges these views, suggesting that the instability of the form may be more successfully addressed through a study of generic structure and its relationship to the designs of the fictional works that preceded it. The first full-length study of narrative conventions in the Gothic, The Failure of Gothic examines the disjunctive form of much Gothic fiction, and its repeated, troubling failure to deal conclusively with both the ethical and the formal issues it raises.
In recent years there has been a massive upsurge in academic, professional and lay interest in mortality. This is reflected in academic and professional literature, in the popular media and in the proliferation of professional roles and training courses associated with aspects of death and dying. Until now the majority of reference material on death and dying has been designed for particular disciplinary audiences and has addressed only specific academic or professional concerns. There has been an urgent need for an authoritative but accessible reference work reflecting the multidisciplinary nature of the field. This Encyclopedia answers that need. The Encyclopedia of Death and Dying consolidates and contextualizes the disparate research that has been carried out to date. The phenomena of death and dying and its related concepts are explored and explained in depth, from the approaches of varied disciplines and related professions in the arts, social sciences, humanities, medicine and the sciences. In addition to scholars and students in the field-from anthropologists and sociologists to art and social historians - the Encyclopedia will be of interest to other professionals and practitioners whose work brings them into contact with dying, dead and bereaved people. It will be welcomed as the definitive death and dying reference source, and an essential tool for teaching, research and independent study.
Pity represents a combination of fear, helplessness and overwhelming agitation. It is a term which suffuses our everyday lives; it is also a dangerous term hovering between approval of sympathy and disapproval of emotional wallowing (as in 'self-pity'). This book traces an entire history of pity, as an emotion and as an element in the arts, engaging as it does so with a wealth of theoretical ideas including Freud, Derrida, Levinas and others. It begins with an 'Introduction: Distinguishing Pity', followed by chapters on the Aristotelian framework; Buddhism and pity; the pieta in the Middle Ages and Renaissance; Shakespeare on pity; Milton's pitiless Christianity; pity and charity in the early novel; Blake's views on pity; the Victorian debate, from Austen to Dickens and George Eliot; Brecht and Chekhov on pity and self-pity; 'war, and the pity of war'; Jean Rhys and Stevie Smith; pity, immigration and the colony; and finally three contemporary texts by Michel Faber, Kazuo Ishiguro and Cormac McCarthy.Features* Original treatment of the concept of pity providing detailed textual criticism and speculative argument* Wide-ranging: running from ancient Greek theory to the present day* Covers a wide variety of texts, including fiction, poetry and drama* Engages with the most recent theoretical debates about literature and the emotions
'Among his associates no one loved him, many disliked him, and more feared him.' Father Schedoni is enlisted by the imperious Marchesa di Vivaldi to prevent her son from marrying the beautiful Ellena. Schedoni has no scruples in kidnapping Ellena and in undertaking whatever villainy will further his own ends. His menacing presence dominates a gripping tale of love and betrayal, abduction and assassination, and incarceration in the dreadful dungeons of the Inquisition. Uncertainty and doubt lie everywhere, in Radcliffe's last and most unnerving novel. Ann Radcliffe defined the 'terror' genre of writing and helped to establish the Gothic novel, thrilling readers with her mysterious plots and eerie effects. In The Italian she rejects the rational certainties of the Enlightenment for a more ambiguous and unsettling account of what it is to be an individual - particularly a woman - in a culture haunted by history and dominated by institutional power. This new edition includes Radcliffe's important essay 'On the Supernatural in Poetry', in which she distinguishes terror writing from horror.