Rozprawy doktorskie: „Gothic revival”

1

Albo, Frank. "Freemasonry and the nineteenth-century British Gothic Revival". Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283920.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

2

Tennant, Colette. "Margaret Atwood's transformed and transforming Gothic /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487757723997751.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

3

Shlyak, Tatyana. "Secret as a key to narration : evolution from English Gothic to the Gothic in Dostoyevsky /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6667.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

4

Davison, Carol Margaret. "Gothic Cabala : the anti-semitic spectropoetics of British Gothic literature". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34941.

Pełny tekst źródła

Streszczenie:

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.

Style APA, Harvard, Vancouver, ISO itp.

5

Powell, Christabel Jane. "The liturgical vision of Augustus Welby Northmore Pugin". Thesis, Durham University, 2002. http://etheses.dur.ac.uk/3761/.

Pełny tekst źródła

Streszczenie:

The aim of this thesis is to argue that Augustus Welby Northmore Pugin (1812-1852) was a liturgist who had a liturgical vision. He is commonly regarded as an architect and designer per se, but many believe he had eccentric ideas, was a fanatic for the Gothic style of architecture and that while he was religious, he had little impact on the religious controversy and events of his time. The thesis will bring forward a different picture of him. The reasons put forward to support the claim that he was a liturgist are that he had a particularly definition of liturgy; he studied liturgy for three years; he employed a particular method of writing, which was commonly used by past liturgists; many of his authorities were liturgists and historians, as well as architects and designers, and his sources related to liturgy. Pugin went from attacking Protestants, to defending his views against Roman Catholics. To argue for his views, Pugin employed a particular methodology, which included a vast number of authorities and sources. He offered to England an alternative setting of the Roman rite. The new converts who had seceded from the Church of England to the Church of Rome, including John Henry Newman and his circle, did not support him and this led to a major conflict. Their different views of liturgy became a matter of judgement for the Roman Catholic Church. Pugin was influenced by Continental, particularly French, Roman Catholic scholars and liturgists. The influence of the leader of the liberal Catholics in France, Charles-Forbes-Rene, Count de Montalembert, is also brought to light. The thesis will argue that Pugin sought to implement his views on liturgy in England and had a vision of a future England that could act as an example to the rest of Catholic Christendom, including the Church of Rome. He initially had a measure of success, but finally failed and bowed to the judgement of the Roman Catholic Church.

Style APA, Harvard, Vancouver, ISO itp.

6

Frost, Amy. "The search for a national style : Sir William Chambers and the 'Gothicness' of Milton Abbey, Dorset". Thesis, University of Bath, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275412.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

7

Aspin, Philip. "Architecture and identity in the English Gothic revival 1800-1850". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669903.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

8

Bradley, Simon. "The Gothic Revival and the Church of England 1790-1840". Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363044.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

9

Andrews, Elizabeth. "Devouring the Gothic : food and the Gothic body". Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/375.

Pełny tekst źródła

Streszczenie:

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.

Style APA, Harvard, Vancouver, ISO itp.

10

Goss, Theodora Esther. "The monster in the mirror: late Victorian Gothic and anthropology". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31561.

Pełny tekst źródła

Streszczenie:

Thesis (Ph.D.)--Boston University
The end of the nineteenth century witnessed a Gothic literary revival, which included the publication of Sheridan Le Fanu's Carmilla ( 1872), Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde ( 1886), Oscar Wilde's The Picture of Dorian Gray (1891), H.G. Wells' The Island of Doctor Moreau (1896), and Bram Stoker's Dracula (1897) within a twenty-five year period. The dissertation interprets such late nineteenth-century Gothic texts in light of the rise of Victorian anthropology and an anthropological paradigm based on Darwinian evolutionary theory. Before the 1860s, the study of human beings had been dominated by the discipline of ethnology; however, the ethnological paradigm, based on a Biblical understanding of human history, began to fracture with the discovery of prehistoric human remains at Brixham Cave (1858) and the publication of Darwin's On the Origin of Species (1859). Those events brought the Biblical framework into question and created a sense of cultural trauma reflected in both scientific and popular debates on the origins of humanity. The anthropological paradigm, articulated in the writings of anthropologists such as Sir John Lubbock, Edward Burnett Tylor, and James Ferguson McLennan, managed the traumatic implications of Darwinian evolutionary theory by creating a hierarchical ladder of biological and cultural evolution that affirmed the primacy of human over animal, and civilized over savage. It also, by implication, supported the colonial enterprise by placing the European at the top of that ladder. Late nineteenth-century Gothic fiction posed a fundamental challenge to the optimistic progressionism of the anthropological paradigm and the hierarchical oppositions on which it was based by implying that Englishmen and women were not as different from the animal or savage as they believed, and that evolution itself was not always upward. By doing so, it re-traumatized what the anthropological paradigm attempted to contain, and pointed toward a more diverse and egalitarian definition of the human. The Gothic has often been seen as a conservative genre: the dissertation argues that understanding the ways in which late nineteenth-century Gothic fiction challenged the anthropological paradigm can reveal its disruptive, iconoclastic potential.

Style APA, Harvard, Vancouver, ISO itp.

11

Myles, Janet. "L.N. Cottingham, 1787-1847, architect : his place in the Gothic revival". Thesis, De Montfort University, 1989. http://hdl.handle.net/2086/4091.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

12

Bagley, Julie Arens. "Dallas as Region: Mark Lemmon's Gothic Revival Highland Park Presbyterian Church". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5560/.

Pełny tekst źródła

Streszczenie:

Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region.

Style APA, Harvard, Vancouver, ISO itp.

13

Lacy, Michael S. "Students of arms : a survey of arms and armour study in Great in Britain from the eighteenth century to the First World War". Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298641.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

14

Shepherd, Stanley alan. "The stained glass of A.W.N. Pugin, c. 1835-52". Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365282.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

15

CoÌrdoba, Patricia. "Typography and graphic design in Spain : from gothic revival to avant-garde". Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430841.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

16

Wozniak, Heather Anne. "Brilliant gloom the contradictions of British gothic drama, 1768-1823 /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692743101&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

17

Warren, Treena Kay. "Negative traits : the uncanny, bizarre and horrific in nineteenth century photographs". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78234/.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

18

Cohenour, Gretchen M. "Eighteenth-century Gothic novels and gendered spaces : what's left to say? /". View online ; access limited to URI, 2008. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3314452.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

19

Levine, Jonathan David. "'One wiser, better, dearer than ourselves' : gothic friendship /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6643.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

20

Denison, Sheri Ann. "Walking through the shadows ruins, reflections, and resistance in the postcolonial Gothic novel /". Open access to IUP's electronic theses and dissertations, 2009. http://hdl.handle.net/2069/160.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

21

Kulperger, Shelley. "Disorienting geographies, unsettled bodies : Anglo-Canadian female Gothic / by Shelley Kulperger". [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18401.pdf.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

22

Stasiak, Lauren Anne. "Victorian professionals, intersubjectivity, and the fin-de-siecle gothic text /". Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/9491.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

23

Michaud, Marilyn. "Republicanism and the American Gothic". Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/110.

Pełny tekst źródła

Streszczenie:

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.

Style APA, Harvard, Vancouver, ISO itp.

24

Wright, Angela. "The claustral gaze : visions of imprisonment in the gothic novel and French melodrama". Thesis, University of Aberdeen, 2002. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=158599.

Pełny tekst źródła

Streszczenie:

This thesis provides a critique of the gaze in Gothic novels and French melodramas between 1790 and 1825. After situating itself historically in relation to the eighteenth century's prioritization of vision, the thesis then progresses in chapters two to seven to textual examinations of visual critiques provided by Gothic novelists. It examines the following authors: Sophia Lee; Ann Radcliffe; Matthew Lewis; the Marquis de Sade; Charles Maturin; James Hogg, and William Godwin. The thesis contends that these Gothic novelists demonstrate the function of the gaze in its most violent and reductive light. In the novels examined, the thesis posits that vision is used as a tool of power, rather than one of education and enlightenment. An examination is made of the imprisoning function of the gaze with reference to psychoanalytical essays on the gaze written by Sigmund Freud and Jacques Lacan. These essays help to promote the theory that the Gothic novels studied all portray some form of transgressive gazing: the punishment for this lies in the characters' temporary transition into some form of inanimate image. Whether this be a portrait, a statue, or a dramatic tableau, the transition is indicative of the regressive gaze to the past that the characters have been using. The eighth and final chapter of the thesis turns the focus from Gothic novels to French melodramas. This is done to represent the failure of French melodramatists to regulate the visual responses of their audiences. By examining their critical projects, and the results of them, the thesis concludes by demonstrating the practice, and failure, of the gaze.

Style APA, Harvard, Vancouver, ISO itp.

25

Francis, Kurt T. "Gothic Elements in Selected Fictional Works by Nathaniel Hawthorne". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503867/.

Pełny tekst źródła

Streszczenie:

Gothicism is the primary feature of Nathaniel Hawthorne's fiction, and it is his skill in elevating Gothicism to the level of high art which makes him a great artist. Gothic elements are divided into six categories: Objects, Beings, Mental States, Practices and Actions, Architecture and Places, and Nature. Some devices from these six categories are documented in three of Hawthorne's stories ("Young Goodman Brown," "The Minister's Black Veil," and "Ethan Brown") and three of his romances (The Scarlet Letter, The House of the Seven Gables, and The Marble Faun). The identification of 142 instances of Hawthorne's use of Gothic elements in the above works demonstrates that Hawthorne is fundamentally a Gothic writer.

Style APA, Harvard, Vancouver, ISO itp.

26

Knight, Robert C. A. "Pursuing the fugitive figure : a genealogy of gothic fugitivity /". View thesis, 1999. http://handle.uws.edu.au:8081/1959.7/27799.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

27

Roberts, Suzanne L. "The ecogothic pastoral ideologies in the gendered Gothic landscape /". abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3316380.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

28

Mahato, Susmita. "Gothic pathologies : disease and discourse in nineteenth-century narrative /". view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102178.

Pełny tekst źródła

Streszczenie:

Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 196-203). Also available for download via the World Wide Web; free to University of Oregon users.

Style APA, Harvard, Vancouver, ISO itp.

29

Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.

Pełny tekst źródła

Streszczenie:

Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.

Style APA, Harvard, Vancouver, ISO itp.

30

Springer, Mary Ruth. "American Collegiate Gothic architecture: the birth of a style and its architects, patrons, and educational associations, 1806-1906". Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5640.

Pełny tekst źródła

Streszczenie:

Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation’s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds into likenesses of the Universities of Oxford and Cambridge. Why medievalizing buildings came to represent the archetypal college experience has confounded many educators, scientists, and industrialists, who wondered why some of America’s most revolutionary institutions built libraries and academic halls in a style that seemed to oppose everything that was modern. Scholarship has not fully addressed the reasons why Collegiate Gothic buildings came to occupy so many American college campuses. Authors have not regarded the style in its own right, having its own history within the nineteenth-century’s dynamic developments in higher education, religion, politics, urban planning, and architecture. My dissertation evaluates these relationships by addressing the Collegiate Gothic’s first one hundred years on American campuses from 1806 to 1906.

Style APA, Harvard, Vancouver, ISO itp.

31

Loots, Maria Johanna. "Gotiese elemente in François Bloemhof se debuutroman, Die nag het net een oog /". Link to the online version, 2007. http://hdl.handle.net/10019/436.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

32

Duggett, Thomas J. E. "Wordsworth's Gothic politics : a study of the poetry and prose, 1794-1814". Thesis, St Andrews, 2007. http://hdl.handle.net/10023/361.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

33

Craig, Steven. "'Our Gothic bard' : Shakespeare and appropriation, 1764-1800". Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3067.

Pełny tekst źródła

Streszczenie:

In recent years, Gothic literary studies have increasingly acknowledged the role played by Shakespeare in authorial acts of appropriation. Such acknowledgement is most prominently stated in Gothic Shakespeares (eds. Drakakis and Townshend, 2008) and Shakespearean Gothic (eds. Desmet and Williams, 2009), both of which base their analyses of the Shakespeare-Gothic intersection on the premise that Shakespearean quotations, characters and events are valuable objects in their own right which mediate on behalf of the 'present' concerns of the agents of textual appropriation. In light of this scholarship, this thesis argues the case for the presence of 'Gothic Shakespeare' in Gothic writing during the latter half of the eighteenth century and, in doing so, it acknowledges the conceptual gap whereby literary borrowings were often denounced as acts of plagiarism. Despite this conceptual problem, it is possible to trace distinct 'Gothic' Shakespeares that dismantle the concept of Shakespeare as a singular ineffable genius by virtue of a textual practice that challenges the concept of the 'genius' Shakespeare as the figurehead of genuine emotion and textual authenticity. This thesis begins by acknowledging the eighteenth-century provenance of Shakespeare's 'Genius', thereby distinguishing between the malevolent barbarian Gothic of Shakespeare's own time and the eighteenth-century Gothic Shakespeares discussed under the term 'appropriation'. It proceeds to examine the Shakespeares of canonical Gothic writers (Horace Walpole, Ann Radcliffe and Matthew Lewis) as well as their lesser-known contemporaries (T.J. Horsley Curties and W.H. Ireland). For instance, Walpole conscripts Hamlet in order to mediate his experience of living in England after the death of his father, the first Prime Minister Robert Walpole. The thesis then argues for the centrality of Shakespeare in the Gothic romance's undercutting of the emergent discourses of emotion (or 'passion'), as represented by the fictions of Radcliffe and Lewis, before moving on to consider Curties's attempted recuperation - in Ethelwina; or, the House of Fitz-Auburne (1799) - of authentic passion, which is mediated through the authenticity apparatus of Edmond Malone's 1790 editions of Shakespeare's plays. It concludes with W.H. Ireland's dismantling of Malone's ceoncept of the 'authentic' Shakespeare through the contemporary transgressions of literary forgery and the evocation of an illicit Shakespeare in his first Gothic romance, The Abbess, also published in 1799.

Style APA, Harvard, Vancouver, ISO itp.

34

Goss, Sarah Judith. "The agony of consciousness : history and memory in nineteenth-century Irish gothic novels /". view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102166.

Pełny tekst źródła

Streszczenie:

Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.

Style APA, Harvard, Vancouver, ISO itp.

35

Tsang, Wai-ho, i 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.

Pełny tekst źródła

Streszczenie:

9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

Style APA, Harvard, Vancouver, ISO itp.

36

Jenkins, Jennifer Lei. "Failed mothers and fallen houses: Gothic domesticity in nineteenth-century American fiction". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186122.

Pełny tekst źródła

Streszczenie:

This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.

Style APA, Harvard, Vancouver, ISO itp.

37

Hinds, Elizabeth Jane Wall. "The hero in time the American gothic fiction of Charles Brockden Brown, Edgar Allan Poe and Herman Melville /". Access abstract and link to full text, 1989. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8923184.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

38

Huang, Cherry. "Jane Austen's attitudes towards the 'masculine' and 'feminine' Gothic in Northanger Abbey (1818)". Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586642.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

39

Spear, Peta. "Libertine : a novel & A writer's reflection : the Libertine dynamic : existential erotic and apocalyptic Gothic /". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.143230/index.html.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

40

Spear, Peta. "Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/26115.

Pełny tekst źródła

Streszczenie:

This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.

Style APA, Harvard, Vancouver, ISO itp.

41

Zuo, Julie Qun. "Chinoiserie: Revisiting England’s Eighteenth-Century Fantasy of the East". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1082042574.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

42

Nobbs, Garrett Brandon. "The St. Johns Bridge: a prayer in steel". Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/865.

Pełny tekst źródła

Streszczenie:

The St. Johns Bridge is a 1,207 foot span suspension bridge crossing the Willamette River in Portland, Oregon, connecting the Portland communities of St. Johns and Linnton on the eastern and western banks, respectively. Commissioned in 1928, the bridge was completed in 1931, with much fanfare in the local community. The two neighborhoods are some distance from downtown Portland, and the bridge brought prestige to an otherwise nondescript locale. It was designed by the New York-based firm of Steinman & Robinson. David Barnard Steinman (1886-1960) acted as the public face for the firm, however, and the design of the bridge has traditionally been ascribed to him in the literature. Steinman was one of the most prominent bridge engineers of the twentieth century, and is recognized today, as he was even within his lifetime, as such. It was a position which he worked fervently to attain. Steinman wrote extensively concerning the St. Johns Bridge and spoke of it as his own; his extensive use of the St. Johns Bridge as an example of aesthetics in bridge engineering is related to the early twentieth-century debate between engineers and architects regarding the role of each in bridge design. As an engineer who sought, without the aid of the architect, to build bridges which were objects of beauty, he asserted the role of the engineer as artist. The predisposition toward the engineered machine aesthetic in the intellectual climate of the avant-garde in the early twentieth century enabled Steinman to style himself as such an artist--even though the St. Johns Bridge, which he frequently employed in this regard, was not a work of functionalist aesthetics. While the architectural avant-garde was borrowing from the engineer for artistic rejuvenation, Steinman was in an advantageous position to argue for the engineer-artist, thereby casting the engineer as an individual sui generis, equal to and without need of the architect.

Style APA, Harvard, Vancouver, ISO itp.

43

Leffler, Yvonne. "I skräckens lustgård : skräckromantik i svenska 1800-talsromaner /". Göteborg : Göteborgs Universitet, 1991. http://catalogue.bnf.fr/ark:/12148/cb35523795h.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

44

Mighall, Robert. "The brigand in the laboratory : a study of the discursive exchange between Gothic fiction and nineteenth-century medico-legal science". Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683119.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

45

Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic". Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.

Pełny tekst źródła

Streszczenie:

The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.

Style APA, Harvard, Vancouver, ISO itp.

46

Arends, Isabel Maria. ""Gothische Träume" : die Raumkunst Edwin Opplers auf Schloß Marienburg /". Hannover : Hahn, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2773088&prov=M&dok_var=1&dok_ext=htm.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

47

Gao, Dodo Yun. "Terror' and 'horror' in the 'masculine' and 'feminine' Gothic : Matthew Lewis's The Monk ( 1796) and Ann Radcliffe's The Italian (1797)". Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586630.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

48

Fiore, Lyzabeth Ana. "Redesign of the exterior space at Gambier Village in order to integrate it with the remarkable Gothic Revival buildings and the overall open space quality of Kenyon College at Gambier, Ohio". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406730550.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

49

Joyner, John Edward III. "The architecture of orthodox Anglicanism in the Antebellum South : the principles of Neo-Gothic parish church design and their application in the southern parish church architecture of Frank Wills and his contemporaries". Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/22975.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

50

Wu, He Fang. "Fear and pity in the Castle of Otranto". Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586641.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

Rozprawy doktorskie na temat „Gothic revival”

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych