scholarly journals Gothicizing Domesticity – The Case of Charlotte Perkins Gilman and Edgar Allan Poe

2018 ◽  
Vol 15 (1) ◽  
pp. 9-16
Author(s):  
Ana Cristina Băniceru
Keyword(s):  
Edgar Allan Poe ◽  
Common Knowledge ◽  
Charlotte Perkins Gilman ◽  
Domestic Life ◽  
Gothic Fiction ◽  
The Uncanny ◽  
Domestic Narratives

Abstract It is critical common knowledge that domestic narratives and the structure of traditional domesticity are subverted in Gothic fiction (Smith 2013). The household and its apparent security are threatened from within by unknown supernatural forces. What seems familiar becomes upsetting, strange and ‘unfamiliar’. Both Charlotte Perkins Gilman in “The Yellow Wall-Paper” and Edgar Allan Poe in “The Black Cat” give comparable views on American domesticity, both questioning two important aspects of domestic life (family and a blissful household). The two writers create a mad discourse in which the inexplicable and the uncanny infiltrate into reality and the sentimental domestic narrative is undermined.

scholarly journals Disco Elysium as Gothic fiction

2021 ◽  
Vol 9 (1) ◽  
pp. 32-42
Author(s):  
Julian Novitz
Keyword(s):  
Detective Fiction ◽  
Role Playing ◽  
Urban Spaces ◽  
The Political ◽  
Social Commentary ◽  
Gothic Fiction ◽  
The Uncanny ◽  
History Of ◽  
Role Playing Game

Abstract Disco Elysium demonstrates many hallmarks of the Gothic through its storyline and representational elements, particularly its emphasis on the instability of its protagonist, the sense of decline and decay conveyed through its setting, and the interconnected secret histories that are revealed through exploration. Furthermore, many of the game’s stylistic and ludic features, such as its dense description and emotive language, and its overwhelming array of options, interactions, and responses, can be understood as engagements with the uncanny and disorienting excess of the Gothic tradition. These Gothic elements manifest most frequently through the game’s attempt to represent psychological complexity within its role playing system, its depictions of urban spaces, and its approach to questions of unresolved memory and history. The presence of these Gothic features in Disco Elysium work to contest the game’s categorisation as a ‘detective role playing game.’ While the genres are closely connected, detective fiction typically follows a trajectory in which the history of the central mystery becomes progressively clearer through the accumulation of information and detail, whereas the Gothic traditionally seeks to maintain and heighten a sense of disorientation. Exploring the tension between Disco Elysium’s Gothic elements and its status as a detective game allows for a richer appreciation of the political and social commentary that emerges from both its narrative and gameplay.

The Inorganic Plant in the Romantic Garden

2019 ◽  
pp. 86-113
Author(s):  
Natania Meeker ◽  
Antónia Szabari
Keyword(s):  
Eighteenth Century ◽  
Edgar Allan Poe ◽  
Physical World ◽  
Charlotte Perkins Gilman ◽  
Human Consciousness ◽  
The Enlightenment ◽  
The Sublime ◽  
Logical Conclusion ◽  
Ambivalent Relationship ◽  
The Way

This chapter approaches Romantic aesthetics through the “plant horror” of Edgar Allan Poe (1809–1849), who had an ambivalent relationship to Romantic vitalism, and studies the way in which his arabesque vegetality travels into the work of later writers, including Charlotte Perkins Gilman (1860–1935). Poe’s foregrounding of the eighteenth-century notion of “the sentience of all vegetable things” in “The Fall of the House of Usher” (1839) both responds to and undermines Romantic ideas about human affinities with plants. In “Usher,” Poe follows the Enlightenment analogy of human to plant to its logical conclusion in order to expose its aporias; for him, vegetal sentience cannot be contained within any hierarchy of being. At the same time, Poe destroys the Romantic fusional model—in which humans and plants commune within a shared physical world—by focusing on the destructive and rapacious qualities of the vegetal. The transcendental ideas of beauty and the sublime give way in Poe to a vegetality that invades the human consciousness. He suggests that humans might be horrified, rather than delighted, by the calamity that a vegetal modernity represents, even though (and perhaps because) they have no alternative to it.

scholarly journals Hysteria as Alternative Masculinity in the Gothic Discourse of the 19th Century: The Case of E.T.A. Hoffmann, Edgar Allan Poe and Guy De Maupassant

2020 ◽  
Vol 19 (1) ◽  
pp. 29-50
Author(s):  
Ana Cristina Băniceru
Keyword(s):  
19Th Century ◽  
Edgar Allan Poe ◽  
Guy De Maupassant ◽  
Gothic Fiction ◽  
Feminine Voice ◽  
Male Characters ◽  
The 19Th Century

AbstractFrom its onset, the Gothic has attempted to challenge established norms and conventions, either for sensational effects or to question their homogenizing and reductive tendencies. The questioning or reinforcing of received notions of femininity in Gothic fiction has been much debated by critics, with the concept of masculinity coming second. The present paper discusses normative masculinity as it was perceived in the 19th century and how E.T.A. Hoffmann, Edgar Allan Poe and Guy de Maupassant challenge its validity by creating male characters who adopt a hysterical, almost feminine voice, contesting the belief that hysteria was a “female malady”. The characters expose their unconventional masculinity, which resists the model of the ‘ganzer Mann’ in Germany, ‘marketplace man’ in US and the ‘conjugal heterosexual’ in France.

Horror Stories

2018 ◽  
Keyword(s):  
Nineteenth Century ◽  
Bram Stoker ◽  
Charlotte Perkins Gilman ◽  
Background Information ◽  
Ghost Stories ◽  
The Uncanny ◽  
Literary Evolution ◽  
The Senses ◽  
Horror Story

The modern horror story grew and developed across the nineteenth century, embracing categories as diverse as ghost stories, the supernatural and psychological horror, medical and scientific horror, colonial horror, and tales of the uncanny and precognition. This anthology brings together twenty-nine of the greatest horror stories of the period, from 1816 to 1912, from the British, Irish, American, and European traditions. It ranges widely across the sub-genres to encompass authors whose terror-inducing powers remain unsurpassed. The book includes stories by some of the best writers of the century -- Hoffmann, Poe, Balzac, Dickens, Hawthorne, Melville, and Zola -- as well as established genre classics from M. R. James, Arthur Machen, Bram Stoker, Algernon Blackwood, Charlotte Perkins Gilman, and others. It includes rare and little-known pieces by writers such as William Maginn, Francis Marion Crawford, W. F. Harvey, and William Hope Hodgson, and shows the important role played by periodicals in popularizing the horror story. Wherever possible, stories are reprinted in their first published form, with background information about their authors and helpful, contextualizing annotation. Darryl Jones's lively introduction discusses horror's literary evolution and its articulation of cultural preoccupations and anxieties. These are stories guaranteed to freeze the blood, revolt the senses, and keep you awake at night: prepare to be terrified!

Instances of the Deconstruction of Free Will and Autonomy in Poe and Lovecraft

2020 ◽  
Author(s):  
András Molnár
Keyword(s):  
Free Will ◽  
Significant Influence ◽  
Autonomous Agents ◽  
Personal Autonomy ◽  
Edgar Allan Poe ◽  
Laws Of Nature ◽  
Crime Fiction ◽  
Gothic Fiction ◽  
American Gothic

The aim of this paper is to demonstrate how the conception of free will and personal autonomy is deconstructed in the works of Edgar Allan Poe and H. P. Lovecraft. These authors are classics of American Gothic fiction, and Poe exerted a significant influence on Lovecraft. In this paper, I examine the ways the two authors represented their characters as the results of deterministic laws of nature, rather than autonomous agents who possess the ability of free will. First, I am going to analyze Poe’s gothic crime fiction tales, in which the perpetrator-narrators committed their crimes under the effect of “perversity,” and even their confessions after the fact are directed by the same force, which makes these confessions morally meaningless. Then, with respect to Lovecraft’s tales, I point out atavism and the characters’ familial heritage as factors that make free will seem illusory.

scholarly journals Demonising the Victorian Heroine’s Coming-of-Age in Edward Bulwer-lytton’s Lucretia and Edgar allan Poe’s women’s Tales

2017 ◽  
Author(s):  
Marta Miquel-Baldellou
Keyword(s):  
Comparative Analysis ◽  
Middle Class ◽  
Female Subject ◽  
Edgar Allan Poe ◽  
Coming Of Age ◽  
Gothic Fiction ◽  
Female Protagonist ◽  
Las Mujeres ◽  
The Ideal

Abstract:In Victorian times, the female subject, as embodiment of domestic morality, contributed to the construction of middle-class ideology. In Edward Bulwer-Lytton’s novel Lucretia (1846), the female protagonist apparently incarnates the ideal Victorian heroine. Nonetheless, through her coming-of-age, Lucretia’s privileged mind and lack of affection lead her to pursue ambitious aims in a men’s world. Edgar Allan Poe also referred to the incipient power women began to achieve. This article aims to analyse in which ways Victorian women’s awakening power is demonised through their comingof-age, thus pursuing a transatlantic comparative analysis between Bulwer-Lytton’s Lucretia and Edgar Allan Poe’s women’s tales.Keywords: Transatlanticism, gender, Victorian heroines, gothic fiction, coming-of-age, Edward Bulwer-Lytton, Edgar Allan Poe.Resumen:En la época victoriana, los personajes femeninos, como personificaciones de la moralidad doméstica, contribuyeron a la construcción de la ideología de la clase media. En la novela Lucrecia de Edward Bulwer-Lytton (1846), la protagonista aparentemente encarna el ideal de la heroína victoriana. Sin embargo, a lo largo de su proceso de madurez, su mente privilegiada junto con la falta de afecto la llevan a alcanzar ambiciosas metas en un mundo de hombres. Edgar Allan Poe también aludió al incipiente poder que las mujeres empezaban a conseguir. Este artículo pretende analizar el modo en que el poder emergente de las heroínas victorianas es demonizado a lo largo de su proceso de maduración, proponiendo un análisis comparativo transatlántico entre la novela de Bulwer-Lytton Lucrecia y las narraciones de mujeres de Edgar Allan Poe.Palabras clave: Transatlanticismo, género, heroínas victorianas, ficción gótica, paso a la madurez, Edward Bulwer-Lytton, Edgar Allan Poe.

Ultrastructural features of prognostic significance in human oral cancer

1992 ◽  
Vol 50 (1) ◽  
pp. 618-619
Author(s):  
Karvita B. Ahluwalia ◽  
Nidhi Sharma
Keyword(s):  
Oral Cancer ◽  
Squamous Cell ◽  
Common Knowledge ◽  
Prognostic Significance ◽  
Growth Control ◽  
Terminal Differentiation ◽  
Squamous Cell Carcinomas ◽  
Effective Therapy ◽  
Invasive Potential ◽  
Biological Behaviour

It is common knowledge that apparently similar tumors often show different responses to therapy. This experience has generated the idea that histologically similar tumors could have biologically distinct behaviour. The development of effective therapy therefore, has the explicit challenge of understanding biological behaviour of a tumor. The question is which parameters in a tumor could relate to its biological behaviour ? It is now recognised that the development of malignancy requires an alteration in the program of terminal differentiation in addition to aberrant growth control. In this study therefore, ultrastructural markers that relate to defective terminal differentiation and possibly invasive potential of cells have been identified in human oral leukoplakias, erythroleukoplakias and squamous cell carcinomas of the tongue.

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