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Essay from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Wuppertal (Anglistik/Amerikanistik), course: The British Novel in the Late 18th and Early 19th Century, language: English, abstract: [...] An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors [Isabella] had passed, and which grating on the rusty hinges were re-echoed through that long labyrinth of darkness. Every murmur struck her with new terror [...] (Walpole 61). This passage of Walpole’s The Castle of Otranto is only one example that shows how the construction of the setting in this novel strongly contributes to the atmosphere of the tale. Also in other passages it becomes obvious that the description of space and landscape conveys a specific meaning within the story, and even prefigures the development throughout the plot. Nünning and Nünning mention: „Räume [fungieren] nicht nur als Schauplätze [...], sondern [erfüllen] eine ‚Erzählfunktion’ [...], ‚räumliche Oppositionen [werden] zum Modell für semantische Oppositionen’“ (cf. 132). Thus, several places and the landscape depicted in the setting may function as semantic carriers (cf. ibid. 133). In this essay it will be examined in how far space is semantically charged in Walpole’s work, and how this influences the plot, the atmosphere within the story, and the reader’s perception of it. In addition, it will be shown that the semantic charging of the settings in The Castle of Otranto is also influenced by its being a Gothic novel. Therefore, a definition of the latter term will be given as well...
Essay from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Wuppertal (Anglistik/Amerikanistik), course: The British Novel in the Late 18th and Early 19th Century, language: English, abstract: [...] An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors [Isabella] had passed, and which grating on the rusty hinges were re-echoed through that long labyrinth of darkness. Every murmur struck her with new terror [...] (Walpole 61). This passage of Walpole's The Castle of Otranto is only one example that shows how the construction of the setting in this novel strongly contributes to the atmosphere of the tale. Also in other passages it becomes obvious that the description of space and landscape conveys a specific meaning within the story, and even prefigures the development throughout the plot. Nünning and Nünning mention: "Räume [fungieren] nicht nur als Schauplätze [...], sondern [erfüllen] eine 'Erzählfunktion' [...], 'räumliche Oppositionen [werden] zum Modell für semantische Oppositionen'" (cf. 132). Thus, several places and the landscape depicted in the setting may function as semantic carriers (cf. ibid. 133). In this essay it will be examined in how far space is semantically charged in Walpole's work, and how this influences the plot, the atmosphere within the story, and the reader's perception of it. In addition, it will be shown that the semantic charging of the settings in The Castle of Otranto is also influenced by its being a Gothic novel. Therefore, a definition of the latter term will be given as well...
»Houses, Secrets, and the Closet« investigates the literary production of masculinities and their relation to secrets and sexualities in 18th and 19th century fiction. It focusses on close readings of Gothic fiction, Sensation Novels, and tales by Horace Walpole, Ann Radcliffe, William Godwin, Mary Elizabeth Braddon, Wilkie Collins, and Henry James. The study approaches these texts through the lens of domestic space, gender, knowledge, and power. This approach serves to investigate the cultural roots of the ›closet‹ - the male homosexual secret - which reveals a more general notion of male secrecy in modern society. The study thus contributes to a better understanding of the cultural history of masculinities and sexualities.
Examines how themes and trends associated with the early Gothic novels were diffused in many genres in the Victorian period, including the ghost story, the detective story and the adventure story.
A collection of the author's essays on the history and development of female identity from the 18th to the early 20th centuries. Throughout the book are woven themes which are constant in Castle's work: fantasy, hallucination, travesty, transgression and sexual ambiguity.
Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century This book provides a robustly theorised and thoroughly historicised account of 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. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance.
Essay from the year 2020 in the subject Literature - Comparative Literature, grade: A-, The Chinese University of Hong Kong, course: ENGE5950 The Gothic in the Romantic Era, language: English, abstract: In this essay, the author will look into the five aspects of sublimity, using an example from Horace Walpole’s "Castle of Otranto" (1764), Matthew Gregory Lewis’s "The Monk" (1796) and Mary Shelley’s "Frankenstein" (1818), in order to trace the transformation of the Gothic genre from mid-18th century, when the genre began, to early 19th century, when the most famous novel of the genre was written. The conventions of the Gothic genre have always been changing as time goes on. The most notable and central one is the notion of sublimity, which can be further categorized into five aspects, namely passion, terror, obscurity, power and vastness.
Architecture and Modern Literature explores the representation and interpretation of architectural space in modern literature from the early nineteenth century to the present, with the aim of showing how literary production and architectural construction are related as cultural forms in the historical context of modernity. In addressing this subject, it also examines the larger questions of the relation between literature and architecture and the extent to which these two arts define one another in the social and philosophical contexts of modernity. Architecture and Modern Literature will serve as a foundational introduction to the emerging interdisciplinary study of architecture and literature. David Spurr addresses a broad range of material, including literary, critical, and philosophical works in English, French, and German, and proposes a new historical and theoretical overview of this area, in which modern forms of "meaning" in architecture and literature are related to the discourses of being, dwelling, and homelessness.
One of the central images conjured up by the gothic novel is that of a shadowy spectre slowly rising from a mysterious abyss. In The Rise of the Gothic Novel, Maggie Kilgour argues that the ghost of the gothic is now resurrected in the critical methodologies which investigate it for the revelation of buried cultural secrets. In this cogent analysis of the rise and fall of the gothic as a popular form, Kilgour juxtaposes the writings of William Godwin with Mary Wollstonecraft, and Ann Radcliffe with Matthew Lewis. She concludes with a close reading of the quintessential gothic novel, Mary Shelley's Frankenstein. An impressive and highly original study, The Rise of the Gothic Novel is an invaluable contribution to the continuing literary debates which surround this influential genre.