04422nam 2200745Ia 450 991054478380332120200520144314.01-282-07027-497866120702730-226-89903-910.7208/9780226899039(CKB)1000000000724297(EBL)432313(OCoLC)368727649(SSID)ssj0000105847(PQKBManifestationID)11138442(PQKBTitleCode)TC0000105847(PQKBWorkID)10102188(PQKB)11502963(MiAaPQ)EBC432313(DE-B1597)535703(OCoLC)1135570710(DE-B1597)9780226899039(Au-PeEL)EBL432313(CaPaEBR)ebr10286148(CaONFJC)MIL207027(PPN)234971215(EXLCZ)99100000000072429719940728d1995 uy 0engur|n|---|||||txtccrArt of darkness[electronic resource] a poetics of Gothic /Anne WilliamsChicago University of Chicago Press19951 online resource (325 p.)Description based upon print version of record.0-226-89907-1 0-226-89906-3 Includes bibliographical references (p. 285-300) and index.Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION. Gothic Fiction's Family Romances -- Part One. Riding Nightmares; or, What's Novel about Gothic? -- Part Two. Reading Nightmeres; or, The Two Gothic Traditions -- EPILOGUE. The Mysteries of Enlightenment; or Dr. Freud's Gothic Novel -- APPENDIX A. Inner and Outer Spaced The Alien Trilogy -- APPENDIX B. Gothic Families -- APPENDIX C. The Female Plot of Ghotic Fiction -- Notes -- Bibliography -- IndexArt of Darkness is an ambitious attempt to describe the principles governing Gothic literature. Ranging across five centuries of fiction, drama, and verse-including tales as diverse as Horace Walpole's The Castle of Otranto, Shelley's Frankenstein, Coleridge's The Rime of the Ancient Mariner, and Freud's The Mysteries of Enlightenment-Anne Williams proposes three new premises: that Gothic is "poetic," not novelistic, in nature; that there are two parallel Gothic traditions, Male and Female; and that the Gothic and the Romantic represent a single literary tradition. Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions such as the haunted castle and the family curse signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions: In the Male plot, the protagonist faces a cruel, violent, and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible. By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics. Lucidly and gracefully written, Art of Darkness alters our understanding of the Gothic tradition, of Romanticism, and of the relations between gender and genre in literary history.English literature18th centuryHistory and criticismTheory, etcEnglish literature19th centuryHistory and criticismTheory, etcHorror tales, EnglishHistory and criticismTheory, etcGothic revival (Literature)Great BritainRomanticismGreat BritainPoeticsElectronic books.English literatureHistory and criticismTheory, etc.English literatureHistory and criticismTheory, etc.Horror tales, EnglishHistory and criticismTheory, etc.Gothic revival (Literature)RomanticismPoetics.823/.0872909Williams Anne1947-1151237MiAaPQMiAaPQMiAaPQBOOK9910544783803321Art of darkness2694478UNINA