Gothic Feminism

Hoeveler, Diane Long

doi:10.5325/j.ctv14gnztb

Cited by 103 publications

(1 citation statement)

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“…Hoeveler argues that the real-life subjection of women to the oversight of "juridical institutions" (including "the prison, the school, the asylum, the confessional, and the bourgeois family") in the eighteenth and nineteenth centuries directly inspired Female Gothic narrative by, among others, Ann Radcliffe, Charlotte Dacre, Charlotte Smith and Mary Shelley. 23 In their novels, the heroine is variously policed, terrorized, and subjugated by various forms of patriarchal control until she manages to redeem both her person and her financial and legal independence (usually by marriage). To escape from institutional oppression, whether this be a guardian's unwanted care or imprisonment in a madhouse, she or her helpers must prove that institutional control was wrongly applied, whether in the heroine's case or systematically.…”

Section: Gothic Predecessors: British Fictional Edificesmentioning

confidence: 99%

Institutional Gothic in the novels of Vladimir Sharov and Evgenii Vodolazkin

Maguire

2019

Canadian Slavonic Papers

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The author would like to thank the editors of this special issue for inspiring this article by inviting me to the 2017 ACLA conference in Utrecht, and for their patience with me during the writing process. I am also grateful to the anonymous peer reviewers for their invaluably helpful advice on improving the article. Finally, I want to thank my Exeter colleague and fellow Gothicist Dr Joseph Crawford (English Studies), for spot-on book recommendations (and book loans), as well as stimulating conversation on Hall Caine and Bulwer-Lytton.

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Section: Gothic Predecessors: British Fictional Edificesmentioning

confidence: 99%

Institutional Gothic in the novels of Vladimir Sharov and Evgenii Vodolazkin

Maguire

2019

Canadian Slavonic Papers

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Gothic Novel, Female

Hoeveler¹

2012

The Encyclopedia of Romantic Literature

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Ellen Moers was the first critic to coin the term ‘female Gothic’ in relation to a type of literature written by women that explored specifically female fears associated with sexuality and childbirth (1974, 1976). Using the novels of Ann Radcliffe, as well as Mary Shelley's Frankenstein , Emily Bronte's Wuthering Heights , and Christina Rossetti's ‘Goblin Market’ as her key texts, Moers argues that literature written by British women in the late eighteenth century and through the nineteenth century was concerned with ‘fear … [while] fantasy predominates over reality, the strange over the commonplace, and the supernatural over the natural, with one definite auctorial intent: to scare’ (1976: 90). Literary theorists writing during the next two decades tended to follow suit, seeing the confluence of gender and genre as the most pertinent factor in understanding the Gothic as a distinctly feminized form (Doody 1977; Gilbert and Gubar 1979; Kahane 1980; Fleenor 1983; Ellis 1989; Massé 1992; Hoeveler 1998; Becker 1999). But, following developments in the broader field of feminist studies, other critics (DeLamotte 1990; Heller 1992, 1993; Millbank 1992; Craciun 2003; Davison 2009) began to accuse such approaches of ‘essentialism’, or ‘universalism’, that is, of reducing women's literature to an exclusive and narrow concern with bodily issues or of making false and facile generalizations based on the limited experiences of a few white middle‐ or upper‐class women.

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R adcliffe, A nn, Poetry

Bailey¹

2012

The Encyclopedia of Romantic Literature

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In the last decade of the eighteenth century, Ann Radcliffe (1764–1823) was England's most popular writer of Gothic fiction and her fame today continues to rest primarily on her novels: The Castles of Athlin and Dunbayne (1789), A Sicilian Romance (1790), The Romance of the Forest (1791), The Mysteries of Udolpho (1794), The Italian (1797), and Gaston de Blondeville (published posthumously in 1826). In the Romantic era, however, Ann Radcliffe was also recognized as an accomplished poet by many of her contemporaries, and recently scholars have begun re‐examining the significance of her poetry, both to the novels within which she published it and in its own right. Radcliffe's poetry is, to use her word, ‘interspersed’ throughout her novels and serves to enhance mood (typically, melancholy or fear) and develop character; on occasion, a poem may provide, or become, a clue to the Gothic mystery being presented in the prose narrative. Structurally, Radcliffe preferred rhyming iambic pentameters and tetrameters; thematically, she gravitated towards scenes of twilight and darkness (its beauty as well as its terror), storm and shipwreck. The poems tend to be exceptionally visual and auditory, focused on subtle variations in colour and sound. Painterly descriptions of sunrise and sunset, light reflected on water or falling through leaves, and solitary figures in a sublime natural setting are abundant, as are lines devoted to the song of the nightingale, the sound of the wind, and the evocative power of the human voice or the individual musical instrument (typically, the lute). Radcliffe's poems are also quintessentially Romantic in their close attention to natural detail and to the interior landscape of the individual of ‘sensibility’, the man or woman emotionally and spiritually connected to nature.

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Gothic Feminism

Cited by 103 publications

References 0 publications

Institutional Gothic in the novels of Vladimir Sharov and Evgenii Vodolazkin

Institutional Gothic in the novels of Vladimir Sharov and Evgenii Vodolazkin

Gothic Novel, Female

R adcliffe, A nn, Poetry

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