You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
The dramatic monologue is traditionally associated with Victorian poets such as Robert Browning and Alfred Tennyson, and is generally considered to have disappeared with the onset of modernism in the twentieth century. Glennis Byron unravels its history and argues that, contrary to belief, the monologue remains popular to this day. This far-reaching and neatly structured volume: * explores the origins of the monologue and presents a history of definitions of the term * considers the monologue as a form of social critique * explores issues at play in our understanding of the genre, such as subjectivity, gender and politics * traces the development of the genre through to the present day. Taking as example the increasingly politicized nature of contemporary poetry, the author clearly and succinctly presents an account of the monologue's growing popularity over the past twenty years.
This guide provides an overview of the most significant issues and debates in Gothic studies. The guide is divided into four parts: The opening section explains the origins and development of the term ‘Gothic’, considers the particular features of the Gothic within specific periods, and explores its evolution in both literary and non-literary forms, such as art, architecture and film. The following section contains extended entries on major writers of the Gothic, pointing to the most significant features of their work. The third section features authoritative readings of key works, ranging from Horace Walpole’s The Castle of Otranto to Bret Easton Ellis’s American Psycho. Finally, the text considers recurrent concerns of the Gothic such as persecution and paranoia, key motifs such as the haunted castle, and figures such as the vampire and the monster. Supplementary material includes a chronology of key Gothic texts, listing literature and film from 1757 to 2000, and a comprehensive guide to further reading.
‘The dead travel fast and, in our contemporary globalised world, so too does the gothic.’ Examining how gothic has been globalised and globalisation made gothic, this collection of essays explores an emerging globalgothic that is simultaneously a continuation of the western tradition and a wholesale transformation of that tradition which expands the horizons of the gothic in diverse new and exciting ways. Globalgothic contains essays from some of the leading scholars in gothic studies as well as offering insights from new scholars in the field. The contributors consider a wide range of different media, including literary texts, film, dance, music, cyberculture, computer games, and graphic novels. This book will be essential reading for all students and academics interested in the gothic, in international literature, cinema, and cyberspace.
The Gothic World offers an overview of this popular field whilst also extending critical debate in exciting new directions such as film, politics, fashion, architecture, fine art and cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections look at: Gothic Histories Gothic Spaces Gothic Readers and Writers Gothic Spectacle Contemporary Impulses. The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries and creates, indeed, its own ‘World’.
These essays explore some of the most significant current issues concerning the terrain of the Gothic perspective, offering a variety of possible answers to the crucial question: What is Gothic? The collection begins by addressing general issues about the locations and structure of Gothic; this is followed by various considerations of Gothic as a specific historical phenomenon, linked with specific aspects of British, American, and European society; and, finally, by an exploration of Gothic writing during recent decades.
On 7 June 1838 Letitia Elizabeth Landon married George Maclean; on 5 July they sailed for Cape Coast; on 16 August they landed and one month later, Landon, at the age of thirty six, was found dead, slumped against her bedroom door with an empty bottle of prussic acid in her hand. This is the first full account of the literary career, life and death of the woman who achieved fame as the poetess L.E.L. Glennis Stephenson begins with an account of the rise of the poetess in the early nineteenth century, and then, drawing upon contemporary memoirs and reviews and upon many of Landon's own unpublished letters, moves on to her early life, and shows how Landon fit herself into this category of 'poetess' by constructing the persona of L.E.L. The book concludes with a discussion of Landon's sudden and mysterious death, and how various readings and misreadings offered by friends and acquaintances struggled to reconcile the dual persona of Woman and poetess. The life and works of this fascinating figure illuminate the conflicts, both personal and artistic, for women writers in the nineteenth century.
Literary Guide.
In Gothic Shakespeares, Shakespeare is considered alongside major Gothic texts and writers - from Horace Walpole, Ann Radcliffe, Matthew Lewis and Mary Shelley, up to and including contemporary Gothic fiction and horror film. This volume offers a highly original and truly provocative account of Gothic reformulations of Shakespeare, and Shakespeare’s significance to the Gothic.
Selected by a poll of more than 180 Gothic specialists (creative writers, professors, critics, and Gothic Studies program developers at universities), the fifty-three original works discussed in 21st-Century Gothic represent the most impressive Gothic novels written around the world between 2000-2010. The essays in this volume discuss the merits of these novels, highlighting the influences and key components that make them worthy of inclusion. Many of the pioneer voices of Gothic Studies, as well as other key critics of the field, have all contributed new essays to this volume, including David Punter, Jerrold Hogle, Karen F. Stein, Marie Mulvey-Roberts, Mary Ellen Snodgrass, Tony Magistrale,...
Engaging critically with the political and aesthetic agenda behind the project of recovery, this collection of specially commissioned essays offers revisionary readings of both established canonical Victorian women poets and re-discovered writers.