Tesis sobre el tema "Entrapment in the gothic"

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Bachelors
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At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.

This thesis examines forms of Gothic fiction on television, and defines the ways in which television produces Gothic drama which is medium-specific (e.g. formally distinct from versions of the genre in other media). This work employs a textual analysis to explore Gothic television, and combines this with archival research and an examination of the changing climate of television production in a range of national and historical contexts. The thesis is organised into four case studies, each dealing with different national industries during different periods: British anthology drama of the 1960s and 70s (e.g. Mystery and Imagination (ABC/Thames, 1966-70), Ghost Story for Christmas (BBC1, 1971-78)); Danish art television in the mid-nineties (Riget (Danmarks Radio/Zentropa, 1994)); British adaptations of female Gothic literature, (e.g. Rebecca (BBC2, 1979), The Wyvern Mystery (BBC1/The Television Production Company, 2000); and big-budget, effects-laden series from North America in the 1990s (e.g. American Gothic, CBS/Renaissance, 1995-96), Millennium (20th Century Fox/10:13, 1996-1999). I argue that Gothic television plays on the genre's inherent fascination with the domestic/familial, to produce television drama with an overt consciousness of the contexts in which the programmes are being viewed, a consciousness which is locatable within the text itself; as such, the thesis defines the Gothic as a genre which is well suited to presentation on television. Furthermore, an examination is offered of the 'model' viewer as presented within the television text, enabling an understanding of the ways in which conceptions of television viewership are inscribed into television drama at the moment of production. I also interrogate the notion that television is an 'uncanny' medium by locating the precise sources of uncanniness with Gothic television, and delineate the ways in which innovations in television production have been showcased through the representation of the supernatural and the uncanny with Gothic Television.

Despite increasing critical interest in Gothic in non-Western cultures, Turkish Gothic writing remains an undiscovered area of research within worldwide Gothic studies. My thesis fills this gap by bringing together Glennis Byron’s concept of ‘globalgothic’, historically informed understandings of the Gothic and Turkish national identity to theorise Turkish Gothic as a mode intimately linked to the ideological processes of Turkish identity construction. Central to this thesis is the understanding of Turkish national identity as a fragmented construct due to Turkey’s ambivalent relationship with the West over the centuries and its commonly referenced role as a bridge between the West and the East. Accordingly, the thesis begins by positioning Turkey in relation to its historical and cultural ties to the Western Gothic tradition. I reveal the origins of the multidirectional flows of globalgothic between Western and Turkish Gothic traditions, through the examination of selected works from British and American cultures depicting Turkish identity through a Gothic lens. Thereafter, taking particular times of political and social change in Turkey into account, I focus on novels and films from 1923 to 2017, with regards to their employment and transformation of Western Gothic tropes using discussions of Turkish national identity. I argue that Turkish Gothic manifests the nation’s anxieties concerning the in-betweenness of Turkish national identity and its ideological repercussions as being either Western and secular or Eastern and conservative. In doing so, the Gothic in Turkey interchangeably becomes a counternarrative for both ideologies, each demonising and undermining the other, and therefore representing the tension between two poles of the political spectrum in contemporary Turkey. As the definitions of Turkish national identity change according to the emerging political stresses in Turkey, Turkish Gothic will continue to haunt its audiences with the dark undersides of Turkishness.

The figure of the Wandering Jew in British Gothic literature has been generally regarded as a static and romantic Everyman who signifies religious punishment, remorse, and alienation. In that it fails to consider the fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism, this reading has overlooked the significance of this figure's specific ethno-religious aspect and its relation to the figure of the vampire. It has hindered, consequently, the recognition of the Wandering Jew's relevance to the "Jewish Question," a vital issue in the construction of British national identity. In this dissertation, I chronicle the "spectropoetics" of Gothic literature---how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel. I trace this "spectropoetics" through medieval anti-Semitism, and consider its significance in addressing anxieties about the Crypto-Jew and the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature---the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution, a cataclysmic event to which many Gothic works responded. In the light of this complex of concerns, I examine the role of the Wandering Jew in five Gothic works---Matthew G. Lewis's The Monk (1795), William Godwin's St. Leon (1799), Charles Robert Maturin's Melmoth the Wanderer (1820), Joseph Sheridan Le Fanu's "Carmilla" (1872), and Brain Stoker's Dracula (1897). In my conclusion, I delineate the vampiric Wandering Jew's "eternal" role in addressing nationalist concerns by examining his symbolic preeminence in Nazi Germany.

This thesis explores the relationship between the Gothic tradition and Dystopian novels in order to illuminate new perspective on the body in Charlotte Perkins Gilman’s Herland (1915), Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), Anthony Burgess’ A Clockwork Orange (1962), Margaret Atwood’s The Handmaid’s Tale (1985) and Michel Houellebecq’s Atomised (1999). The key concerns are those of the Labyrinth, Dark Places, Connectedness and the Loss of the Individual, Live Burials, Monsters and Fragmented Flesh. A thematic approach allows for the novels to be brought together under common Gothic themes in order to show not only that they have such tendencies, but that they share common ground as Gothic Dystopias. While the focus is on bodily concerns in these novels, it is also pertinent to offer a discussion of past critical perspectives on the Dystopia and this is undertaken in Chapter One. Chapter Two looks at the narrative structure of the novels and finds similarities in presentation to Gothic novels, which leads to exploration of the position of the body in such a narrative of the unseen. The third chapter looks to the spaces inhabited by characters in the novels to examine their impact on the threat faced by these individuals. The Gothic convention of doubling is the focus of Chapter Four, which finds not only doubling operating in Dystopian novels, but the more complex relationship of triangles of doubling holding characters, fixing them in relation to those around at the expense of selfhood. Chapter Five takes Eve Kosofsky Sedgwick’s musings on the Gothic as its point of departure and finds that Dystopian bodies occupy a very similarly trapped position. Chapter Six identifies two types of monsters that inhabit the Gothic Dystopian space: those people who transform between the human and the monstrous, and those individuals who form a larger monster based on power that lives parasitically on transgressive bodies. The final chapter displays the impact of the Gothic Dystopia on individual bodies: ‘Fragmented Flesh’. The destruction of a coherent whole, a body with defined and sustainable boundaries, is the outcome of the novels where fear, repression, and the hidden combine to leave little space for cohesion and identification in the Gothic Dystopia.

The project explores the ‘Gothic Line’ as observed in ornament. Escaping strictly geometrical means of defining, the study focuses on capturing the Line’s elusive properties in connection to chosen architectural elements. With selected properties, the two-dimensional principles are extracted into the 3D environment. Using parametric design tools each feature is transformed into multiple prototypes of three-dimensional interpretation. The project aims to capture subtlety of the Gothic Line while providing a system enabling creation of architecturally relevant ornamental structures.

This project begins by asking why so many realist novels of the Victorian period also exhibit tropes borrowed from the eighteenth-century gothic romance—its locales, characters, and thematics. While theorizations of realism and of the gothic are plentiful, most studies consider them to be essentially opposed, and so few attempts have been made to explain why they frequently coexist within the same work, or what each figural mode might lend to the other. This dissertation addresses this deficit by arguing that gothic hauntings interpolated into realist fictions figure socio-economic traumas, the result of uneasy, uneven historical change. Realism's disinterested, empiricist epistemology made it ideal for examining relationships between individuals and social processes, especially the marketplace and public institutions against and through which the modern subject is defined. The gothic's emphases on hidden forces and motives, therefore, became the ideal vehicle for novelists to express anxieties surrounding the operation of these social and economic processes, especially the fear that they are somehow rigged or malevolent. The gothic mode is by definition historiographical, and its haunting returns stage conflicts between the values of a despotic past and those of an ostensibly enlightened present. Realism, often understood as the investigation of social reality, also develops within its narrative a causal model of history. This is required for the sequence of events it narrates to be understandable in their proper contexts and indeed for whole meaning(s) to emerge out of the sum of disparate incidents depicted. Gothic materialist texts, therefore, are obsessed with time and its changes and especially how aspects of competing forms of bureaucracy and modes of capital and exchange determine and confront the modern subject.

En aquesta tesis doctoral, s’ha desenvolupat un material fotocròmic òpticament transparent amb resposta cinètica ràpida i similar a la dissolució líquida, i hi ha descrita la metodologia per produir aquest material. Aquesta tecnologia es basa en la tècnica de l’atrapament de nanoemulsions (NEE), en la qual primer es forma una nanoemulsió i s’estabilitza amb un polímer en dissolució, i després s’elimina el dissolvent de la fase contínua, per generar una pel·lícula polimèrica que conté les gotetes d’emulsió atrapades en ella. Tenir els colorants fotocròmics dissolts en la fase líquida dispersa de les gotes, garanteix un impediment estèric mínim per a la isomerització i per tant la cinètica fotocròmica més ràpida del colorant utilitzat (és a dir, un comportament similar al líquid), mentre que la pel·lícula polimèrica contínua proporciona una plataforma sòlida, que és el més convenient per a la majoria d’aplicacions. A més, les pel·lícules NEE són transparents visualment (> 90 %T), ja que les gotetes disperses es redueixen a la mida nanoescala (<100 nm), ja sigui mitjançant una irradiació ultrasònica o una homogeneïtzació a alta pressió, minimitzant la dispersió de la llum. Al llarg d’aquesta tesi, s’ha demostrat que les propietats de les pel·lícules NEE es poden ajustar fàcilment per complir els requisits clau de les diferents aplicacions. Simplement canviant els colorants fotocròmics és possible controlar els colors fotoinduïts, la velocitat de coloració / decoloració i la intensitat del color de l’estat activat. Les velocitats de coloració i decoloració es poden ajustar finament substituint l’oli hidrofòbic de les gotetes. La modificació de la matriu polimèrica va permetre suportar la humitat i l’exposició a temperatures més elevades. La producció de pel·lícules NEE es va ampliar fins als 200 g. Es van produir alguns prototips funcionals per a aplicacions industrials potencials, com ara ulleres, finestres intel·ligents, parabrises i viseres de casc, presentats al final d’aquesta tesi.
En esta tesis doctoral, se ha desarrollado un material fotocrómico ópticamente transparente con respuesta cinética rápida y similar a la disolución líquida, y hay descrita la metodología para producir este material. Esta tecnología se basa en la técnica del atrapamiento de nanoemulsiones (NEE), en la que primero se forma una nanoemulsión y se estabiliza con un polímero en disolución, y después se elimina el disolvente de la fase continua, para generar una película polimérica que contiene las gotitas de la emulsión atrapadas en ella. Tener los colorantes fotocrómicos disueltos en la fase líquida dispersa de las gotas, garantiza un impedimento estérico mínimo para la isomerización y por tanto la cinética fotocrómico más rápida del colorante utilizado (es decir, un comportamiento similar a la disolución líquida), mientras que la película polimérica continua proporciona una plataforma sólida, que es lo más conveniente para la mayoría de aplicaciones. Además, las películas NEE son transparentes visualmente (> 90% T), ya que las gotitas dispersas se reducen al tamaño de la nanoescala (<100 nm), ya sea mediante una irradiación ultrasónica o una homogeneización a alta presión, minimizando la dispersión de la luz. A lo largo de esta tesis, se ha demostrado que las propiedades de las películas NEE se pueden ajustar fácilmente para cumplir los requisitos clave de las diferentes aplicaciones. Simplemente cambiando los colorantes fotocrómicos es posible controlar los colores fotoinducidos, la velocidad de coloración / decoloración y la intensidad del color del estado activado. Las velocidades de coloración y decoloración se pueden ajustar finamente sustituyendo el aceite hidrofóbico de las gotitas. La modificación de la matriz polimérica permitió soportar la humedad y la exposición a temperaturas más elevadas. La producción de películas NEE se amplió hasta los 200 g. Se produjeron algunos prototipos funcionales para aplicaciones industriales potenciales, tales como gafas, ventanas inteligentes, parabrisas y viseras de casco, presentados al final de esta tesis.
Along this thesis, an optically transparent photochromic material with fast and liquid-like kinetic response has been developed, and the methodology to produce said material is described herein. This technology is based on the nanoemulsion entrapment (NEE) technique, in which an nanoemulsion is first formed and stabilized by a film-forming polymer, and then the solvent of the continuous phase is removed, to generate a film containing the emulsion droplets entrapped in it. Having the photochromic dyes dissolved in the dispersed liquid phase of the droplets ensures minimal steric hindrance for the dye to isomerize and therefore the fastest photochromic kinetics for the dye used (i.e. liquid-like behavior), while the continuous polymeric film provides a solid platform, which is the most convenient for the majority of applications. Moreover, the NEE films are visually transparent (> 90 %T), since the dispersed droplets are reduced to the nanoscale size (< 100 nm), by either ultrasonic irradiation or high-pressure homogenization, minimizing light scattering. It has been demonstrated that the properties of the NEE films are easily tunable to match the key requirements of different applications. By simply changing the photochromic dyes it is possible to control the photoinduced colors, the coloration/discoloration rates and the color intensity of the activated state. The coloration and discoloration rates can be finely tuned by substituting the hydrophobic oil of the droplets. The modification of the polymeric matrix allowed to withstand moisture and higher temperatures exposure. The production of NEE films was scaled up to the 200 g. Some working prototypes for potential industrial applications were produced such as eyewear, smart windows, car windshields and helmet visors, and are presented at the end of this thesis.

Une lubrification suffisante est essentielle au bon fonctionnement des mécanismes et/ou composants comme par exemple les paliers à roulement. Par contre, les lubrifiants contiennent souvent des débris d’usure ou des polluants extérieurs. Ces particules micrométriques peuvent pénétrer des contacts d’épaisseur inférieure au micromètre induisant des empruntes ou indents pouvant conduire à des endommagements irréversibles pour les surfaces en contact. L’objet de ce travail est l’étude du piégeage de polluants solides à l’aide de particules sphériques d’acier, d’un point de vue théorique, numérique et expérimental. Dans un premier temps, une étude phénoménologique a été proposée à l’aide d’une nouvelle méthode expérimentale basée sur la technique PIV combinée à un tribomètre bille/disque. Les trajectoires des polluants à l’entrée du contact ont pu ainsi être identifiées. En parallèle, un modèle numérique d’écoulement du lubrifiant a été développé pour permettre l’évaluation des conditions menant au piégeage ou non de particules. Finalement, des expériences sur une machine bi-disques en conditions de lubrification polluée contrôlée ont permis de valider les tendances observées pour le piégeage. Une première série de résultats a montré que le piégeage de contaminants est fortement dépendant du profil de vitesse du lubrifiant. Un taux de piégeage très hétérogène a été observé sur des contacts avec une ellipticité transverse à l’écoulement variable. De manière surprenante, malgré une augmentation de la largeur de contact, une forte diminution du nombre de particules piégées a été observée dans des contacts elliptiques. Il a été démontré que cette diminution pouvait être imputée à la présence d’importants reflux de lubrifiant dans les contacts elliptiques larges. L’étude de contacts hybrides, nitrure de silicium–acier, a montré une bonne résistance à l’indentation du nitrure de silicium. Il est à noter que les contacts hybrides présentent des niveaux de piégeage similaire à un contact tout acier
Contact lubrication is essential in a wide range of mechanical systems like rolling element bearings (REBs). A minimum quantity of clean lubricant all along the bearing life is necessary but difficult to ensure. In fact, lubricants contain inevitably wear debris or external particles, like dust. Carried by the lubricant in the vicinity of elastohydrodynamic (EHD) contacts, particles can be entrapped with disastrous consequences for contacting surfaces. Entrapment of micrometric particles in submicrometric contacting gaps means irreversible damages for the surfaces. Damages weaken the surfaces and reduce significantly the REBs lifetime. The goal of this work is to analyze the critical particle entrainments in the contact inlet. Entrapment of steel spherical particles was investigated from the numerical and experimental point of view. Firstly, the phenomenology of entrapment was explored with a new experimental method based on Particle Image Velocimetry (PIV) technique installed on a tribometer. It enabled the evaluation of velocity profiles in the contact inlet and the tracking of particles within EHD contacts. Secondly, a numerical modelling of the inlet flow for EHD contacts, including the particle tracking, was developed. Finally, tests on a twin-disc machine with a controlled level of well-defined contamination were conducted to validate previous conclusions. A first set of results showed that particle entrapment is highly dependent on the lubricant velocity profile. Depending on contact geometry, from point to wide elliptical contacts, different entrapment probability were revealed. Surprisingly, increasing contact width with wide elliptical contacts leads to a drop of entrapped particles. It was demonstrated that this phenomenon is due to backflows occurring upstream from these contacts. Introducing a hybrid pair of contacting materials (silicon nitride–steel), dents on the surfaces due to entrapped particles were explored. It has been confirmed that silicon nitride surface offers a real ability to resist to indentation. It was also noticed that the entrapment probability for silicon nitride–steel contacts is equivalent to a steel–steel one

Adolescence – that tricky time when children have not yet reached adulthood – is a time of much disturbance, change and growth. Faced with a body that changes, stretches and grows in all directions, as does the mind, the adolescent finds that they are not who they once were, and that their concerns are not what they once were. According to David Punter, the nature of adolescence is integral to Gothic writing; for him, adolescence can be seen as a time when there is a fantasised inversion of boundaries: ‘where what is inside finds itself outside (acne, menstrual blood, rage) and what we think should be visibly outside (heroic dreams, attractiveness, sexual organs) remain resolutely inside and hidden’ (Punter 1998, 6). However, this is to ‘Gothicise’ adolescents - to view adolescents themselves as Gothic beings – rather than to understand what the true nature of their concerns and fears really are. This thesis intends to investigate, therefore, those fears and concerns as they are represented through the medium of Gothic texts written for adolescents. I propose to examine what happens to the Gothic mode in the gap between young children’s literature and adult fiction and will look at, through the Gothic lens, Young Adult literature which explores the teenager's relationships with issues such as sex, death and autonomy. As the Gothic is ‘erotic at root’ (Punter 1996, 191) and often focused on the centrality of sexuality, I explore the nature of ‘changing bodies’ and consider the adolescent’s burgeoning sexuality and desire for romantic relationships; however, the Gothic is not just about sex, and I also examine adolescent engagement with the concept of death, before finally going on to study issues of adolescent power and autonomy.

Niniejsza rozprawa poświęcona jest zagadnieniu wpływu teorii kulturowych na współczesne koncepcje literatury grozy. W rezultacie, bezpośrednim przedmiotem analizy są w niej teksty krytyczne. W tekstach tych badaniom podlegają możliwe wpływy teorii kulturowych na konceptualizacje zarówno poszczególnych tekstów grozy jak i literatury gotyckiej jako takiej. Perspektywa badawcza, przyjęta w niniejszej rozprawie, jest zatem bliska perspektywie nowego historyzmu. Opiera się ona w znacznej mierze na teorii dyskursu Michela Foucaulta oraz na jego koncepcji przedmiotu jako dyskursywnego konstruktu. Z tej perspektywy, krytyka literatury grozy funkcjonuje w obrębie dyskursu, czy też sama reprezentuje dyskurs, w wyniku czego aktywnie konstruuje własny przedmiot badań. Z przyjętego w rozprawie punktu widzenia, koncepcja literatury grozy postrzegana jest jako konstrukt powstały w procesie przekształcania i dopasowywania do określonych ram dyskursywnych. Aby uwidocznić ten proces, niniejsza praca przyjmuje, iż groza charakteryzuje się nade wszystko swą ‘współczesnością’: tym, że jest niezmiennie zanurzona w swym własnych kontekście historycznych, właściwym dla danej epoki i znanym zarówno autorowi, jak i bezpośredniemu odbiorcy. Co więcej, na kontekst ten składają się nie tyle dane wydarzenia historyczne, co współczesne tekstom grozy dyskursy – społeczne, polityczne, ekonomiczne i kulturowe. Wydaje się, że tylko poprzez uwzględnienie wpływu owych dyskursów na tekst grozy i jego odbiór, tekst taki może zostać odpowiednio skontekstualizowany i opisany. Przez teorie kulturowe rozumie się tu szereg szerszych perspektyw społecznokulturowych do których od lat siedemdziesiątych dwudziestego wieku odwoływali się w swych analizach krytycy grozy. Najważniejszymi z nich wydają się psychoanaliza, Marksizm i feminizm i to im rozprawa poświęca najwięcej uwagi. Są to bowiem teorie, które wedle współczesnych przedstawień historii krytyki literatury grozy, pomogły ustanowić współczesny społeczno-kulturowy status literatury gotyckiej. Decyzja o skupieniu się na analizie tekstów krytycznych, nie literackich, jest wynikiem refleksji nad paradoksalnym, jak mogłoby się wydawać, statusem, jakim w dzisiejszych czasach cieszy się literatura grozy. Stanowi ona przedmiot rozległych badań od około półwiecza, umożliwiając badaczom wgląd zarówno w tło historycznoliterackie poszczególnych tekstów, jak i w ogólną historię współczesnej kultury zachodu. Jednakże, bardzo trudno jest odpowiedzieć choćby na tak proste pytanie, jak „Czym jest literatura gotycka?” Wydaje się, że mimo lat badań, jesteśmy coraz dalsi od udzielenia takich odpowiedzi. Fakt ten kieruje naszą uwagę na rolę krytyki literackiej w kształtowaniu postrzegania tekstu literackiego. Wydaje się, że koniecznym jest postawienie następującego pytania: dlaczego współcześni badacze grozy ukazują tą literaturę jako niedefiniowalną, wysoce zróżnicowaną i hybrydyczną, w stopniu uniemożliwiającym jej pełne uchwycenie i opisanie, pomimo całych lat owocnych badań? Niniejsza rozprawa przyjmuje jako swój punkt wyjścia założenie, że wyżej wspomniane teorie kulturowe, używane niejednokrotnie jako narzędzia analizy tekstu, dążą do odkrycia ponadczasowej prawdy, jednocześnie same będąc ‘bytami’ historycznymi. W wyniku tego, oparcie się na nich bez jednoczesnego uwzględnienia dyskursywnego tła danego tekstu prowadzi do przetworzenia i niejako ‘napisania’ owego tekstu na nowo, zgodnie z przyjętą perspektywą. Dzieje się tak, ponieważ krytyk literacki, w trakcie analizy, skupia się na tych elementach tekstu, na które wrażliwa jest dana teoria, pomijając te, których ramy dyskursywne, właściwe dla tej teorii, nie są w stanie objaśnić. Rezultatem jest przetworzenie tekstu grozy według ramy dyskursywnej współczesnej badaczowi, ale obcej dla samego tekstu. Niniejsze rozprawa, jednocześnie, sama oparta jest na teorii. Jej celem nie jest jednak odrzucenie teorii jako narzędzia badawczego. Zamiast tego, rozprawa przyjmuje stanowisko, że analiza teoretyczna musi być koniecznie poparta analizą historyczną. W ten sposób, możliwe jest uniknięcie projekcji założeń właściwych danej teorii na dany tekst. Dlatego też analizy prowadzone w trakcie rozprawy, siłą rzeczy, podparte są rozważaniami na temat dyskursów, które mogły mieć wpływ zarówno na powstanie jak i odbiór danych tekstów literackich w przeszłości. W rozprawie szczególny nacisk kładziony jest na rozważenie kwestii subwersywności literatury gotyckiej. Podczas gdy współczesna krytyka grozy ukazuje ową literaturę jako niemożliwą do pełnego zdefiniowania, mimo wszystko podkreśla subwersywność i transgresywność jako jej nieodłączne cechy charakterystyczne, czy wręcz ‘gatunkowe.’ Te, z kolei, znajdują odzwierciedlenie, z jednej strony, w założeniu niedefiniowalności literatury grozy (groza z natury podważa obowiązujące normy i przekracza granice gatunkowe), a z drugiej strony, w założeniu marginalizacji grozy (przy czym, fakt, że literatura grozy podlegała marginalizacji uznawany jest za dowód na jej ‘gatunkowe’ zaangażowanie w kontestację porządku społeczno-kulturowego, a sama marginalizacja, za przejaw ‘wyparcia’). Jak się jednak okazuje, literatura gotycka jest nie tyle niemożliwa do zdefiniowania, co założenie niedefiniowalności okazuje się funkcjonalne w obrębie współczesnego dyskursu krytycznego. Pozwala ono bowiem na dowolne definiowanie badanego zjawiska, bez ryzyka powstania ogólnie przyjętej definicji, będącej swego rodzaju ograniczającą i zinstytucjonalizowaną ‘wielką narracją,’ z punktu widzenia której możliwe byłoby automatyczne wykluczenie konkretnych koncepcji jako ‘niewłaściwych.’ Co więcej, wydaje się, że niesłuszne jest uznanie charakteru grozy za opozycyjny, czy kontestacyjny na podstawie faktu, że była ona marginalizowana w dyskursach krytycznych przeszłości. Jak pokazuje niniejsza rozprawa, ani niedefiniowalność, ani postawa anty-oświeceniowa nie są cechami charakterystycznymi literatury grozy. Pozwalają, jednakże, współczesnym badaczom na konstruowanie zjawiska literackiej grozy w taki sposób, by potwierdzało ono ich własny punkt widzenia, czy mogło posłużyć realizacji ich własnych celów. Rozdział pierwszy rozprawy poświęcony jest analizie współczesnych przedstawień historii badań nad literaturą grozy. Takie przedstawienia bardzo często powielają pewien schemat, w którym podstawą dla określenia współczesnego statusu badacza jest stanowcze odcięcie się od perspektyw wcześniejszych pokoleń badaczy, dominujących przed rokiem 1980, a przyjęcie perspektywy charakteryzującej się ugruntowaniem analizy w dostępnych teoriach kulturowych. Jak ukazują współczesne historie badań nad grozą, to zmiana, raczej niż ewolucja, leży u podstaw współczesnego statusu zarówno literatury grozy jak i jej krytyki. Nakreślenie spójnego obrazu współczesnej dziedziny badań nad literaturą grozy – dziedziny ogromnie zróżnicowanej – jest z kolei możliwe poprzez przyjęcie założenia, że badania te wskazują na subwersywny charakter zjawiska, któremu są poświęcone. Rozdział drugi poświęcony jest, z kolei, ukazaniu kontr-historii, które świadczą o dużej samoświadomości współczesnej krytyki grozy. Szereg tekstów krytycznych, przytaczanych w tym rozdziale, wskazuje na fakt, że sami badacze, zwłaszcza ci analizujący literaturę grozy z punktu widzenia nowego historyzmu, stają się coraz to bardziej świadomi procesu przetwarzania, jakiemu podlega literatura gotycka w trakcie analizy z punktu widzenia teorii w przypadku, gdy nie ma miejsca odwołanie się do kontekstu historycznego danego tekstu. Szczególnie problematyczna okazuje się być pod tym względem psychoanaliza. Dostrzegany jest również fakt, że współczesne koncepcje grozy niejednokrotnie służą poparciu kontestacyjnych postaw samych badaczy. Rozdział trzeci poświęcony jest metodologii badawczej niniejszej rozprawy. Metodologia ta opiera przede wszystkim na rozważaniach Michela Foucaulta nad dyskursem, które umożliwiają postrzegania krytyki literackiej jako swoistego dyskursu, w obrębie którego ma miejsce konstruowanie przedmiotu padań. Rozdział rozważa też przyjęte w rozprawie rozumienie ‘znaczenia’ tekstu jako ugruntowanego w tle dyskursywnym danej epoki, oraz rozważa współczesne ukazania historii badań nad grozą, oparte na odgrodzeniu się od wcześniejszych perspektyw, w świetle rozważań Stanleya Fisha nad zasadami jakie rządzą naszym postrzeganiem danej interpretacji jako właściwej. Rozdział proponuje też wytłumaczenie dla faktu, że krytyka literatury grozy wciąż zdaje się często dążyć do ‘odkrycia’ jednoznacznych prawd o swym przedmiocie badań. Rozdział czwarty omawia sposoby, w jakie sama myśl Foucaulta jest współcześnie wykorzystywana przez krytykę literacką w rozważaniach nad grozą. Z jednej strony, przytoczony zostaje przykład Roberta Milesa, który w swym studium „Gothic Writing, 1750-1820. A Genealogy” odwołuje się do genealogii Foucaulta jako wyjątkowo skutecznej metody badawczej w przypadku literatury grozy i ukazuje w jaki sposób przyjęte w niniejszej rozprawie stanowisko metodologiczne zbliża się do i różni od tego przyjętego przez Milesa. Z drugiej strony, analizie podlegają przykłady tekstów krytycznych, w których myśl Foucaulta sama ulega przetworzeniu przez pryzmat przyjętej koncepcji literatury grozy. W wyniku tego, zamiast prowadzić do ukazania nowych faktów i związków, służy potwierdzeniu wcześniej obranego stanowiska. W końcu, rozdziały piaty i szósty poświęcone są, kolejno, analizie koncepcji niedefiniowalności i marginalizacji literatury grozy. Rozdział piąty analizuje szereg tekstów krytycznych, począwszy od studium J.M.S. Tompkins z pierwszej połowy dwudziestego wieku, a kończąc na studium Anne Williams z ostatniej dekady tego samego stulecia. W wyniku analiz, okazuje się, iż nie ma zasadniczej różnicy pomiędzy wczesną a współczesną krytyką grozy, ponieważ, bez względu na przyjęta perspektywę metodologiczną, obie konstruują literaturę grozy w odniesieniu do własnych ram dyskursywnych, tym samym ograniczając swój punkt widzenia do założeń właściwych tejże ramie. Co więcej, podczas gdy współcześni badacze starają się nie dopuścić do powstania ‘wielkiej narracji,’ która zdominowałaby ich dziedzinę badań, podjęte przez nich starania mające na celu ukazanie, że groza nie ogranicza się do zjawiska marginalnego i przelotnego, przyczyniają się do rozproszenia granic tego zjawiska i umożliwiają weryfikację istniejących koncepcji literatury gotyckiej. Rozdział szósty, z kolei, ukazuje w jaki sposób marginalizacja grozy, mająca swój początek w osiemnastym wieku i negatywnej recepcji krytycznej wczesnych powieści gotyckich, uznawana jest przez współczesnych badaczy za oznakę i potwierdzenie subwersywności gatunku. Z tego punktu widzenia, literatura grozy zagraża porządkowi oświeceniowemu pod względem społecznym, moralnym i estetycznym, co czyni ja niezwykle bliską współczesnym badaczom i cenną dla badań nad formowaniem się tożsamości społeczno-kulturowej klasy średniej. Jednakże, rozdział ma na celu ukazać, że literatura grozy nie jest z założenia anty-oświeceniowa, ani nie kontestuje porządku społecznego narzuconego przez klasę średnią. Wręcz przeciwnie, wczesna powieść gotycka wpisuje się w tło dyskursywne swej epoki, odzwierciedlając zachodzące w niej przemiany społeczne, kulturowe, polityczne, a zwłaszcza ekonomiczne. Jako taka, okazuje się ona być zjawiskiem reprezentatywnym dla osiemnastowiecznej kultury brytyjskiej i często ucieleśniającym wartości klasy średniej, a nie otwarcie antagonistycznym.

This thesis argues that eighteenth-century British narratives of the nation's past and of the history of women significantly inform and shape early women's Gothic fiction. Foregrounding the idea of the Gothic as a genre preoccupied with national identity, it looks again at the coordinates of Gothic fiction to investigate novels set in Britain. It analyzes in detail novels written between 1777 and c.1802 by Clara Reeve, Sophia Lee, Ann Radcliffe, Charlotte Smith, Eliza Fenwick, Mary Wollstonecraft, and Mary Hays. The study examines the uses of Gothic tropes in such texts in the light of British political crises and societal tensions, exploring how these intersect with specifically gendered concerns. Such an approach shifts the emphasis in discussions of national identity in the genre; it no longer has to be primarily seen as negotiated in relation to a foreign other. Instead, this refocusing throws light on the detail of the national historical narratives that the mode manipulates. My awareness of the multivalency of the Gothic in historico-political contexts also exposes the diversity of its use in women's fiction. The project thus aims to produce a more nuanced, historically-aware map of early women's Gothic writing.

This practice-led thesis brings together creative writing practice with Gothic, spatial, postcolonial, feminist, and ecocritical theories to investigate Australia's east coast hinterlands as Gothic spaces in literature. It argues that the hinterland, literally the "land behind" or the region "lying beyond what is visible or known", functions as a liminal, heterotopic zone in which marginalised female, Indigenous, and ecological stories and histories are articulated through a Gothic "web of metaphor". Lush, fertile, and green, the hinterland disrupts dominant depictions of hostile, barren Australian landscapes with which Australian literary tradition and national identity have been bound up, unsettling dominant cultural narratives.

This thesis investigated the longitudinal role of defeat and entrapment in populations where these factors were expected to be particularly relevant (a sample of individuals from areas of socioeconomic deprivation and a sample of formal caregivers). The thesis then considered whether defeat and entrapment influenced reward sensitivity on a gambling task and lastly, designed a short scale measuring defeat and entrapment suitable for use in clinical populations. The research incorporated a review of the literature, two longitudinal studies, a behavioural study and the development of a scale. The literature review presented in Chapter 1 provided evidence of a well-established link between defeat, entrapment and poor mental health, suggesting that defeat and entrapment may act as a transdiagnostic process; contributing to the development and maintenance of a range of mental disorders. However, the review also demonstrated that defeat and entrapment relate to the same experiences, suggesting that logically these constructs may equally co-occur, although the structure of the constructs is currently debated. The studies presented in Chapters 3 and 4 demonstrated that perceptions of defeat and entrapment predicted poor mental health (depression and anxiety, and depression and caregiver burden) at a second time point, 12 months later. These chapters presented the first longitudinal evidence for samples recruited from the general population and occupational settings. Furthermore, these chapters provided evidence that the relationship between defeat, entrapment and poor mental health operates in a bidirectional way within a sample recruited from community settings, but a linear way within a sample of formal caregivers, suggesting that further research is needed to confirm the direction of this relationship. The research presented in Chapter 5 found a non-significant relationship between defeat and entrapment and reward sensitivity among a sample of undergraduate students. This may have arisen due to the generally low levels of defeat and entrapment within the sample despite highly varied performance on the task. Replication of this research within a sample where a wider range of defeat and entrapment experiences would be expected might be beneficial. Additionally, this thesis aimed to confirm the factor structure of defeat and entrapment amongst various populations. Exploratory and confirmatory factor analysis demonstrated that defeat and entrapment are best conceptualised as a single psychological construct (Chapters 3 and 6), supporting one-factor theories of defeat and entrapment (e.g. Taylor et al., 2011a). During the course of conducting research for this thesis, it became apparent that the length of existing scales used to measure defeat and entrapment were not suitable for use with clinical populations. Despite evidence that defeat and entrapment may reduce symptoms of mental health problems, their measurement has not yet translated to clinical practice. Although several reasons underlie this, a lack of short measurement tool is a major factor. To address this, an eight-item scale was developed, which demonstrated good psychometric properties across four samples from clinical and non-clinical settings. The current research was supported by a discussion of the clinical implications of the work, specifically identifying how defeat and entrapment could be implemented within therapeutic interventions for mental health problems. The current thesis represents a significant contribution to original research considering defeat and entrapment as predictors of mental health problems. The thesis presents the first longitudinal evidence that defeat and entrapment impact on mental health problems for individuals recruited from community and occupational settings and first application of defeat and entrapment to a behavioural task. Through development of a short scale, the thesis also presents a potential avenue to increase the measurement of defeat and entrapment in clinical settings.

This dissertation delineates a range of literary endeavors engaging the gothic contours of child life in early to mid-twentieth century America. Drawing fresh attention to fictional representations of the child in modernist narratives, I show how writers such as William Faulkner, Djuna Barnes, Jean Toomer, Eudora Welty, and Katherine Anne Porter turned to childhood as a potent site for negotiating cultural anxieties about physical and cultural reproduction. I reveal the implications of modernist technique for the historical formation of American childhood, demonstrating how these texts intervened in national debates about sexuality, race, and futurity. Each dissertation chapter adopts a comparative approach, indicating a shared investment in a specific formulation of the gothic child. Barnes and Faulkner, in creating the child-woman, appraise how the particular influence of psychoanalysis on childhood innocence irrevocably alters the cultural landscape. Faulkner and Toomer, through the spectral child, evaluate the exclusionary racial politics surrounding interracial intimacy which impact kinship structures in the U.S. South. Welty and Porter, in spotlighting the orphan girl-child, assess the South’s gendered social matrix through the child’s consciousness. Finally, Faulkner, in addressing children as a readership in his little-known gothic fable, The Wishing Tree, produces a compelling site to examine the relationship between literature written for the child and modernist artistic practice.

This thesis approaches the poetry and devotional prose of Christina Rossetti from a new angle, examining the possibility that her work may demonstrate the influence of Gothic literature, which Rossetti read during childhood and in her early career as a poet. Though both during her lifetime and in more recent critical studies, her work has been considered mostly with regard to her Tractarian faith and her gender, this thesis will argue that Rossetti's work is preoccupied with Gothic, often in unexpected ways. This examination of Rossetti's Work in the light of Gothic both complements and augments, rather than superseding, criticism which examines her work from theological or feminist viewpoints. This study approaches Gothic as a fractured genre, which manifests an assortment of tropes, motifs and styles which have come to be identified by the general term of Gothic. To read Rossetti's work as fractured Gothic opens up a new perspective, one which situates her Work in a different milieu, and which is significant for the study of Rossetti's work, but which also provides a different way of reading Gothic. This thesis engages with recent criticism of Rossetti as well as with work on Gothic, examining aspects of Rossetti's work which were previously neglected, particularly in a sustained consideration of poetry as a vehicle for Gothic. To read Rossetti's poetry as Gothic raises and examines issues that have been overlooked, as well as opening up works by Rossetti that remain largely neglected. The Work of Christina Rossetti raises important questions about the relationship between Gothic and Christianity which this thesis will explore.

This thesis analyses the persistence of Gothic-fantastic themes and motifs in the literature of Soviet Russia between 1920 and 1940. Nineteenth-century Russian literature was characterized by the almost universal assimilation of Gothic-fantastic themes and motifs, adapted from the fiction of Western writers such as E.T.A. Hoffmann, Ann Radcliffe and Edgar Allen Poe. Writers from Pushkin to Dostoevskii, including the major Symbolists, wrote fiction combining the real with the macabre and supernatural. However, following the inauguration of the Soviet regime and the imposition of Socialist Realism as the official literary style in 1934, most critics assumed that the Gothic-fantastic had been expunged from Russian literature. In Konstantin Fedin's words, the Russian fantastic novel had "умер и закопан в могилу". This thesis argues that Fedin's dismissal was premature, and presents evidence that Gothic-fantastic themes and motifs continued to play a significant role in several genres of Soviet fiction, including science fiction, satire, comedy, adventure novels (prikliuchenskie romany), and seminal Socialist Realist classics. My dissertation identifies five categories of Gothic-fantastic themes, derived jointly from analysis of canonical Gothic novels from the late eighteenth and early nineteenth centuries and from innovative approaches to the genre made by contemporary critics such as Fred Botting, Kelly Hurley, Diane Hoeveler, Elaine Showalter and Eric Naiman (whose book Sex in Public coined the phrase 'NEP Gothic'). Each chapter analyses one of these five Gothic themes or tropes in the context of selected Soviet Russian literary texts. The chronotope of Gothic space, epitomized in the genre as the haunted castle or house, is readdressed by Mikhail Bulgakov as the 'nekhoroshaia kvartira' of Master i Margarita and by Evgenii Zamiatin as the 'drevnyi dom' of his dystopian fantasy My. Gothic gender issues, including the subgenre of Female Gothic, arise in Nikolai Ognev's novels and Aleksandra Kollontai's stories. The Gothic obsession with dying, corpses and the afterlife re-emerges in fictions such as Daniil Kharms' 'Starukha' (whose hero is threatened by an animated corpse) and Nikolai Erdman's banned play Samoubiitsa (the story of a failed suicide). Gothic bodies (deformed or regressive human bodies) are contrasted with Stalinist cultural aspirations to somatic perfection within a utopian society. Typically Gothic monsters - vampires, ghosts, and demon lovers - are evaluated in a separate chapter. Each Gothic trope is integrated with my analysis of the relevant Soviet discourse, including early Communist attitudes to gender and the body and the philosopher Nikolai Federov's utopian belief in the possibility of universal resurrection. As my focus is thematic rather than author-centred, my field of research ranges from well-known writers (Fedor Gladkov, Bulgakov, Zamiatin) to virtual unknowns (Grigorii Grebnev and Vsevolod Valiusinskii, both early 1930s novelists), and recently rediscovered writers (Sigizmund Krzhizhanovskii, Vladimir Zazubrin). Three Soviet authors who explicitly emulated the nineteenth-century Gothic-fantastic tradition in their fiction were Mikhail Bulgakov, Sigizmund Krzhizhanovskii and A.V. Chaianov. Many mainstream Soviet writers also exploited Gothic-fantastic motifs in their work. Fedor Gladkov's Socialist Realist production novel, Tsement, uses the trope of the Gothic castle to dramatise the reclamation of a derelict cement factory by the workers. Nikolai Ognev's Dnevnik Kosti Riabtseva, the diary of an imaginary Communist schoolboy, relies on ghost stories to sustain suspense. Aleksandr Beliaev, the popular science fiction writer, inserted subversive clich's from the Gothic narrative tradition in his deceptively optimistic novels. Gothic-fantastic tropes and motifs were used polemically by dissident writers to subvert the monologic message of Socialist Realism; other writers, such as Gladkov and Marietta Shaginian, exploited the same material to support Communism and attack Russia's enemies. The visceral resonance of Gothic fear lends its metaphors unique political impact. This dissertation aims at an overall survey of Gothic-fantastic narrative elements in early Soviet literature rather than a conclusive analysis of their political significance. However, in conclusion, I speculate that the survival of the Gothic-fantastic genre in the hostile soil of the Stalinist literary apparatus proves that early Soviet literature was more varied, contradictory and self-interrogative than previously assumed.

This paper proposes to approach the representation of the House of Fame with a close re-reading and a synthesis of previous historiography and literary theory in an attempt to address the problem of representation and ‘story-telling’ within the description of the Gothic edifice. How does Chaucer tell the story of “Gothic,” how does he represent a Gothic image? Regardless of the precedent and source for Chaucer’s description of the House of Fame, the important feature of the image is the representation of the Gothic edifice in words, which requires elaborate metaphors and capturing the Gothic structure as a mnemonic image. I would like to specifically engage how Chaucer works to describe and represent Gothic architecture in words. I will argue that the failure of language and a common literary trope known as the ‘inexpressibility topos’ figure prominently in Chaucer’s description; that Chaucer posits himself into the ‘role of the interlocutor’ to give the architectural edifice meaning and ultimately presents an invitation for interpretation.

Republicanism and the American Gothic is a comparative study of British and American literature and culture in the 1790s and 1950s. As the title indicates, this thesis explores the republican tradition of the British Enlightenment and the effect of its translation and migration to the American colonies. Specifically, it examines in detail the transatlantic influence of seventeenth and eighteenth century libertarian and anti-authoritarian thought on British and American Revolutionary culture. It argues that whether radical or orthodox, Whig or Tory, the quarrel surrounding the movement from subject to citizen nourishes Gothic aesthetics on both sides of the Atlantic. In America, particularly, the discourse of republicanism articulates not only the nation’s revolutionary goals, but defines national consciousness. This thesis further argues that republicanism is also a panic-ridden ideology, animated by fears of corruption, degeneration, and tyranny, and therefore supplies fertile ground for the development of a Gothic tradition in America. This dissertation then examines the continuing relevance of republican values and discourse in Cold War America. It suggests that the aesthetic, moral, and political imperatives that characterized republicanism in the late eighteenth century re-emerge in the post-war era as an antidote to the contemporary crisis in liberal subjectivity. In the Cold War, Gothic tales featuring doubles, vampires, and conspirators, not only dramatize contemporary fears of communism, conformity, and the rise of mass culture, but also engage with the nation’s historical fears of deception, corruption, degeneration, and tyranny. While grounded in the Gothic novel, this thesis is informed by the theory of republicanism that arose in the post-war years and which came to challenge many of the long held views of American revolutionary history. This thesis attempts to explore the influence of this historical approach on Cold War discourse generally, and on Gothic fiction specifically.

The objective of this thesis is to argue for and analyze the progression of women's agency in the first century of Gothic literature. Starting with Horace Walpole's The Castle of Otranto (1764), there are stirrings of women's agency as female protagonists begin to challenge male authority and attempt to escape the entrapment of the patriarchal hierarchy. As we move from Otranto to Ann Radcliffe's The Mysteries of Udolpho (1794), we can see the progression of women's agency as the heroine acquires social, financial, and romantic control through her strong moral disposition. Finally, a new level of agency appears in Charlotte Brontë's Jane Eyre (1847), as the protagonist stands up to male authority and openly declares the idea that women should be treated equally with men. Women's agency continues to evolve in Gothic works of the twentieth and twenty-first centuries, as in Daphne Du Maurier's Rebecca (1938) and the TV series Buffy the Vampire Slayer (1997-2003), even if some limitations are still present. These works grant women more independent agency than ever before, but they also suggest that there are still constraints, even in the twenty-first century.

In My Gothic Dissertation, I perform an intertextual analysis of Gothic fiction and modern-day graduate education in the humanities. First, looking particularly at the Female Gothic, I argue that the genre contains overlooked educational themes. I read the student-teacher relationships in Ann Radcliffe’s The Mysteries of Udolpho (1794), Mary Shelley’s Frankenstein (1818, 1831), and Charlotte Brontë’s Villette (1853) as critiques of the insidious relationship between knowledge and power. Part literary critic and part literary journalist, I weave through these readings reports of real-life ‘horror stories’ of graduate school, arguing that the power imbalance between Ph.D. advisors and their students can be unexpectedly ‘Gothic’ as well. Drawing on research from the science of learning—developmental psychology, sociology, and pedagogical theory—I advocate for more a student-centered pedagogy in humanities Ph.D. training. Following in the footsteps of A.D. Carson and Nick Sousanis, I have produced My Gothic Dissertation in a nontraditional format—the podcast. Mixing voice, music, and sound, I dramatize scenes from the novels and incorporate analysis through my narration. The real-life “Grad School Gothic” stories are drawn from personal interviews. Much of the science of learning is drawn from personal interviews with researchers as well, though some material comes from recorded presentations that have been posted to public, online venues such as YouTube. The creative/journalistic style of reporting is heavily influenced by programs such as This American Life, Invisibilia, and Serial, with the dual aims of engaging a broad audience and expanding our modes of scholarly communication beyond the page.

En 1908 H. James s’interroge sur l’absence de personnages d’enfants hantés dans la littérature. Il croit l’idée inexploitée et la développe en tant qu’amusette gothique, la première en son genre – “a perfectly clear field”. Avait-il raison? Au premier abord, le gothique s’intéresse peu à l’enfant. La figure de l’enfant est prise pour résidu du roman sentimental dont le vrai roman gothique est dépourvu. La thématique est étiquetée “gothique féminin” ou “domestique”–on préfère parler d’éducation et de morale pour expliquer le monde des plus jeunes. Pourtant, certains romans mettent en scène les parcours initiatiques d’enfants. Comme les adultes, ils sont confrontés à la souffrance, à la mort. L’accumulation de terreurs les place face à l’au-delà omniprésent. Les revenants subvertissent leur monde et créent un milieu particulier, un espace intermédiaire où la vie et la mort sont en contact. La mort et l’érotisme du monde gothique se mêlent à la morale et au didactisme, visant l’initiation de l’enfant sans pour autant l’expliciter. Les personnages d’enfants deviennent bien plus que de simples accessoires. L’objet de cette recherche est de s’interroger sur la place de l’enfant dans le roman gothique, de dresser son portrait, d’examiner sa représentation sur le plan social, politique et religieux, de définir le personnage type de l’enfant gothique. Nous explorons divers aspects afin de comprendre la conception et l’évolution de ce personnage. Nous retrouvons ici un nombre considérable d’enfants dans un corpus de plus de 100 romans pour analyser leurs rôles, les différents aspects sous lesquels ils sont présentés, et essayer de démontrer leur importance au sein du mouvement
In 1908 H. James wondered about the absence of haunted children in literature. He believes that the idea is underdeveloped and decides to create a gothic amusette, the first of its kind in “a perfectly clear field”. Was he right? On a first glance, gothic is not concerned with the figure of the child. Children are sometimes taken as a residue from the sentimental novel, a residue of which the real gothic novel stands free, and whenever children are present, the genre is labelled “feminine” or “domestic” gothic. Thus, some prefer to write of education and ethics when dealing with children and childhood in such novels. However, some novels set in motion childhood journeys of self-discovery and identity quests. Like the adults, these children are confronted with suffering and death. The accumulation of terrors places them in contact with an omnipresent underworld. Beings crawl out of there to haunt them, writings appear, memories emerge. Gothic children are thus places in contact with the past, with the world of the dead, and stand as symbols of the future. They represent the link between past and present and their characters evolve into more than attributes of the adult persona. The aim of this thesis is to question the presence of children in the gothic novel, to describe and analyse the portraits of children and their representation on social, political and religious level and to, finally, define the typical gothic child. The research spans different aspects of the gothic novel in order to cover as large a period as possible, to demonstrate the evolution of the child character in gothic and to stress the importance of the child within the movement

According to Michael Sean Bolton, the posthuman Gothic involves a fear of internal monsters that won't destroy humanity apocalyptically, but will instead redefine what it means to be human overall. These internal monsters reflect societal anxieties about the "other" gaining power and overtaking the current groups in power. The posthuman Gothic shows psychological horrors and transformations. Traditionally this genre has been used to theorize postmodern media and literary work by focusing on cyborgs and transhumanist medical advancements. However, the internal and psychological nature of posthumanism is fascinating and can more clearly manifest in a different Gothic setting, 1800s American Gothic Fiction. This subgenre of the Gothic melds well with the posthuman Gothic because unlike the Victorian Gothic, its supernatural entities are not literal; they are often figurative and symbolic, appearing through hallucinations. In this historical context, one can examine the dynamic in which the "human" is determined by a rational humanism that bases its human model on Western, white masculinity. Therefore, the other is clearly gendered and racialized. Margrit Shildrick offers an interesting analysis of the way women fit into this construction of the other because of their uncanniness and Gothic monstrosity. Three works of American Gothic fiction--George Lippard's The Quaker City, Edgar Allen Poe's "Ligeia," and Charlotte Perkins Gilman's "The Yellow Wallpaper" portray these gendered power dynamics present within the posthuman Gothic when applied to the American Gothic; the female characters are either forced by patriarchy into becoming monstrous, or they were never fully human in the first place.

Numerical simulations indicate that hydrocarbon migration and entrapment in stacked fault-bounded reservoirs are mainly affected by the following factors: charge time, faults, pressure and geological structures. The charge time for commercial hydrocarbon accumulation is much longer in oil-water systems than in oil-gas-water systems. Faults are classified into charging faults and 'back doors' faults other than charging faults in stacked fault-bounded reservoirs. The lower the displacement pressure of a fault, the higher its updip oil transportation ability. The downdip oil transportation ability of a fault is usually low and cannot cause commercial downdip oil accumulation. Back doors affect both hydrocarbon percent charge and hydrocarbon migration pathways. Updip back doors improve updip oil charge. The lower the displacement pressure of an updip back door, the more efficient the updip oil charge before 3,000 years. Back doors whose displacement pressure is equal to or higher than 28.76 psi are effective in sealing faults in oil-water systems. On the contrary, only sealing faults result in commercial gas accumulations in stacked fault-compartmentalized reservoirs. Otherwise gas is found over oil. Downdip back doors generally have few effects on downdip hydrocarbon charge. Geopressure enhances the updip oil transportation of a fault and improves the positive effects of updip back doors during updip oil charge. Geopressure and updip back doors result in more efficient updip oil charge. A physical barrier is not necessarily a barrier to oil migration with the aid of geopressure and updip back doors. The chance for hydrocarbon charge into reservoirs along growth faults is not equal. Any one of the above controlling factors can change the patterns of hydrocarbon charge and distribution in such complex geological structures. Generally, lower reservoirs and updip reservoirs are favored. Reservoirs along low-permeability charging faults may be bypassed. Gas can only charge the updip reservoirs. Both updip and downdip back doors can facilitate oil penetrating a barrier fault to charge reservoirs offset by the barrier fault. Interreservoir migration among stacked fault-compartmentalized reservoirs is an important mechanism for hydrocarbon accumulation and trap identification. The interreservoir migration is a very slow process, even though the displacement pressures of bounding faults may be very low.

Thesis (Ph.D.)--University of Mississippi, 2009.
Typescript. Vita. "May 2009." Major Professor: Colby Kullman Includes bibliographical references (leaves 135-142). Also available online via ProQuest to authorized users.

In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.