scholarly journals The Fall of the House of Usher: The Collapse of Roderick’s Nostalgia Mechanism

2021 ◽  
Vol 11 (4) ◽  
pp. 43
Author(s):  
Hong Zhang
Keyword(s):  
Edgar Allan Poe

As an attractive Gothic tale of Edgar Allan Poe, The Fall of the House of Usher creates a mysterious and violent fall, leaving multiple interpretations on why the house of Usher collapsed suddenly. From the perspective of Roderick, the last inheritor of aristocratic Usher, the fall of Usher is more like his shaky nostalgia mechanism in front of discontinued situation. In his seemingly stable nostalgia mechanism, Mansion Usher, the narrator and Lady Madeline play core roles in meeting the needs of avoidance, attachment and idealization to construct a seemingly stable nostalgia mechanism. With the weird fall of Usher, Poe probes into the irrational nature of human, permeating his attention to warn the significance of balancing comfortable dream and reality.

Edgar Allan Poe Matches Wits With One of the First Identified Serial Killers!

PsycCRITIQUES ◽  
2014 ◽  
Vol 59 (2) ◽  
Author(s):  
James F. Iaccino ◽  
Jennifer Dondero
Keyword(s):  
Edgar Allan Poe ◽  
Serial Killers

Case Study #2: The Mask of the Red Death by Edgar Allan Poe

Public Voices ◽  
2016 ◽  
Vol 13 (1) ◽  
pp. 165
Author(s):  
Kenneth Nichols
Keyword(s):  
Edgar Allan Poe

Every era has had its scourge, contagion, pestilence, or plague. And every age has had to deal with those problems in the best way it could at the time. Edgar Allan Poe creates for us a leader whose method of “dealing” was, at best, ill-considered.

In a Glass Darkly? Narrating Death and the Afterlife in J. Sheridan Le Fanu

2018 ◽  
Author(s):  
Alison Milbank
Keyword(s):  
Edgar Allan Poe ◽  
Feminist Theology ◽  
Female Protagonists ◽  
Female Gothic ◽  
The Demonic

Chapter 10 compares the work of J. Sheridan Le Fanu, Edgar Allan Poe, and Emmanuel Swedenborg. Le Fanu is closely connected to Maturin and copies a number of his tropes in ‘Spalatro’: mimetic contagion, blood for money, the demonic tempter, and suicide. Le Fanu, aware of the deathliness of his Anglo-Irish culture, seeks ways to engender life and movement through narrating and revealing death so that a transcendence beyond can be imagined. He is compared to Poe, whose female protagonists remain entrapped by materiality even as they seek to escape it, and shown to be more grotesque. He uses Swedenborg to render the afterlife itself material and real, especially through his spiritual creatures, and to make the transcendent the cause of the natural. A proto-feminist theology yokes female Gothic entrapment to the power of death, and the heroines of ‘Schalken the Painter’ and ‘Carmilla’ apocalyptically reveal the presence of death in its grotesque materiality, while the women of Uncle Silas act as agents of heavenly charity.

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