About this product

Product Identifiers

PublisherSTATE University of New York Press

ISBN-100791412202

ISBN-139780791412206

eBay Product ID (ePID)436384

Product Key Features

Book TitleGothic (Re) Visions : Writing Women As Readers

Number of Pages218 Pages

LanguageEnglish

TopicFeminism & Feminist Theory, Horror & Supernatural, Women Authors, Gothic & Romance, Political

Publication Year1992

IllustratorYes

GenreLiterary Criticism, Social Science, Biography & Autobiography

AuthorSusan Wolstenholme

Book SeriesSuny Series in Feminist Criticism and Theory Ser.

FormatTrade Paperback

Dimensions

Item Height1 in

Item Weight8 Oz

Item Length9 in

Item Width6 in

Additional Product Features

Intended AudienceTrade

LCCN91-042254

Dewey Decimal823/.08729099287

Table Of ContentList of Illustrations Preface Acknowledgments PART I: WHAT'S FEMALE ABOUT GOTHIC? 1. Dreams and Visions 2. Woman as Gothic Visions (The Italian) 3. The Woman on the Bed (Frankenstein) 4. Charlotte Bronte's Post-Gothic Gothic PART II: GOTHIC UNDONE 5. Eva's Curl (Uncle Tom's Cabin) 6. Exorcising the Mother (Daniel Deronda) 7. Tableau Mort (The House of Mirth) 8. Why Would a Textual Mother Haunt a House Like This? Notes Bibliography Index

SynopsisGothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers. Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here--by Ann Radcliffe, Mary Shelley, Charlotte Brontë, Harriet Beecher Stowe, George Eliot, and Edith Wharton--explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader.", Gothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers.Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here--by Ann Radcliffe, Mary Shelley, Charlotte Brontë, Harriet Beecher Stowe, George Eliot, and Edith Wharton--explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader.", Gothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers. Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here--by Ann Radcliffe, Mary Shelley, Charlotte Bront , Harriet Beecher Stowe, George Eliot, and Edith Wharton--explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader."