A resource of scholarly journals, books, and dissertations with main topics including literature, linguistics, language studies, rhetoric, composition, drama, theory, criticism, teaching, and publishing. Coverage: 1920s-present.
A comprehensive archive of multidisciplinary scholarly journals and books. Coverage: 1800s to 3-5 years ago; Includes ARTstor - images across the arts, architecture, humanities, and social sciences with tools to view, present, and manage images for research and teaching. Coverage: ancient times to today.
Provides digital humanities and social sciences books and scholarly journals from many of the world's leading university presses and scholarly societies. Coverage 1900s-present.
The database has over 2.1 million full-text dissertations and theses. It also contains indexing of 3.8 million graduate works. Primarily US, UK and Ireland but increasingly from other countries. Designated as an official offsite repository for the U.S. Library of Congress. Coverage: 1861-present.
Digitization of primary source documents and literature, including monographs, newspapers, pamphlets, manuscripts, ephemera, maps, statistics, fiction, short prose, dramatic works, and poetry. 1) Asia and the West: Diplomacy and Cultural Exchange, 2) British Politics and Society, 3) British Theatre, Music, and Literature: High and Popular Culture, 4) Europe and Africa: Commerce, Christianity, Civilization, and Conquest, 5) European Literature, 1790-1840: The Corvey Collection, 6) Photography: The World Through the Lens, 7) Science, Technology and Medicine, 1780-1925, 8) Women: Transnational Networks. Coverage: 1800s
A collection of newspapers from mainstream news sources and African-American news sources. Publication include: Chicago Tribune (1849-1994); Los Angeles Times (1881-1994); New York Times (1851-2014); Washington Post (1877-2001); Atlanta Daily World (1931-2003); Chicago Defender (1909-1975); Pittsburgh Courier (1911-2002), Civil War era titles, and other newspapers from around the United States. Coverage: 1800s-2005.
Contains books and scholarly journals digitized from libraries around the world covering many topics and languages. Choose University of New Mexico for full access to restricted content and log in with NetID
Adapted from the Graduate Program at the University of Virginia
Art of Darkness by
Art of Darkness is an ambitious attempt to describe the principles governing Gothic literature. Ranging across five centuries of fiction, drama, and verse--including tales as diverse as Horace Walpole's The Castle of Otranto, Shelley's Frankenstein, Coleridge's The Rime of the Ancient Mariner, and Freud's The Mysteries of Enlightenment--Anne Williams proposes three new premises: that Gothic is "poetic," not novelistic, in nature; that there are two parallel Gothic traditions, Male and Female; and that the Gothic and the Romantic represent a single literary tradition. Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions such as the haunted castle and the family curse signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions: In the Male plot, the protagonist faces a cruel, violent, and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible. By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics. Lucidly and gracefully written, Art of Darkness alters our understanding of the Gothic tradition, of Romanticism, and of the relations between gender and genre in literary history.
From Dickens to Dracula by
Ranging from the panoramic novels of Dickens to the horror of Dracula, Gail Turley Houston examines the ways in which the language and imagery of economics, commerce and banking are transformed in Victorian Gothic fiction, and traces literary and uncanny elements in economic writings of the period. Houston shows how banking crises were often linked with ghosts or inexplicable non-human forces and financial panic was figured through Gothic or supernatural means. In Little Dorrit and Villette characters are literally haunted by money, while the unnameable intimations of Dracula and Dr Jekyll and Mr Hyde are represented alongside realist economic concerns. Houston pays particular attention to the term 'panic' as it moved between its double uses as a banking term and a defining emotion in sensational and Gothic fiction. This stimulating interdisciplinary book reveals that the worlds of Victorian economics and Gothic fiction, seemingly separate, actually complemented and enriched each other.
A Geography of Victorian Gothic Fiction by
This is the first major full-length study of Victorian Gothic fiction. Combining original readings of familiar texts with a rich store of historical sources, A Geography of Victorian Gothic Fiction is an historicist survey of nineteenth-century Gothic writing - from Dickens to Stoker, WilkieCollins to Conan Doyle, through European travelogues, sexological textbooks, ecclesiastic histories and pamphlets on the perils of self-abuse. Critics have thus far tended to concentrate on specific angles of Gothic writing (gender or race), or the belief that the Gothic 'returned' at the so-calledfin de siecle. Robert Mighall, by contrast, demonstrates how the Gothic mode was active throughout the Victorian period, and provides historical explanations for its development from late eighteenth century, through the 'Urban Gothic' fictions of the mid-Victorian period, the 'Suburban Gothic' ofthe Sensation vogue, through to the somatic horrors of Stevenson, Machen, Stoker, and Doyle at the century's close. Mighall challenges the psychological approach to Gothic fiction which currently prevails, demonstrating the importance of geographical, historical, and discursive factors that havebeen largely neglected by critics, and employing a variety of original sources to demonstrate the contexts of Gothic fiction and explain its development in the Victorian period.
The Gothic's Gothic (Routledge Revivals) by
First published in 1988, this book aims to provide keys to the study of Gothicism in British and American literature. It gathers together much material that had not been cited in previous works of this kind and secondary works relevant to literary Gothicism -- biographies, memoirs and graphic arts. Part one cites items pertaining to significant authors of Gothic works and part two consists of subject headings, offering information about broad topics that evolve from or that have been linked with Gothicism. Three indexes are also provided to expedite searches for the contents of the entries. This book will be of interest to students of literature.
Gothic Antiquity by
Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840 provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although therelationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study of the intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the mostcursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices withwhich it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literaryGothic mode. In both its "survivalist" and "revivalist" forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. Incarnating, for better or for worse, the memory of a vanished "Gothic" age in the modern, enlightened present, Gothicarchitecture, be it ruined or complete, prompted imaginative reconstructions of the nation's past - a notable "visionary" turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated.The volume establishes a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, and argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to oneanother.
Gothic Fiction by
A bibliography of all the significant criticism published on Gothic fiction during the twentieth century, comprising more than 2,400 entries. It will be of interest to all those involved in research on Gothic fiction, Romanticism and literary fantasy.
The Gothic imagination : essays in dark romanticism by Guide to the Gothic : an annotated bibliography of criticism by 
Horror Literature from Gothic to Post-Modern by
From shambling zombies to Gothic ghosts, horror has entertained thrill-seeking readers for centuries. A versatile literary genre, it offers commentary on societal issues, fresh insight into the everyday and moral tales disguised in haunting tropes and grotesque acts, with many stories worthy of critical appraisal. This collection of new essays takes in a range of topics, focusing on historic works such as Ann Radcliffe's Gaston de Blondeville (1826) and modern novels including Max Brooks' World War Z. Other contributions examine weird fiction, Stephen King, Richard Laymon, Indigenous Australian monster mythology and horror in picture books for young children.
In the Name of Love: women, masochism, and the Gothic by 
The Literature of Terror. 2 vols by
The first edition was regarded as the definitive survey of Gothic and related terror writing in English. No other text considers this genre on such a scale and covers the theoretical perspectives so comprehensively. In the latest edition, the broad range of theoretical perspectives has been enlarged to include modern critical theories. Volume One is a thoroughly updated edition of the original text, covering the period from 1765 up to the Edwardian age, exploring the richness and literary diversity of the gothic form: from the original eighteenth-century gothic of Ann Radcliffe to the melodramatic fiction of Wilkie Collins.
The Madwoman in the Attic by
An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual." "The classic argument for a women's literary tradition."--Scott Heller, Chronicle of Higher Education "The authors force us to take a new look at the grandes dames of English literature, and the result is that they will never seem quite the same again."--Le Anne Schreiber, New York Times Book Review "Imperative reading."--Carolyn G. Heilbrun, Washington Post Book World "A masterpiece."--Carolyn See, Los Angeles Times Book Review "The Madwoman in the Attic, The Woman Writer and the Nineteenth-Century, originally published in 1979, has long since become a classic, one of the most important works of literary criticism of the 20th century. This new edition contains an introduction titled 'The Madwoman in the Academy' that is, quite simply, a delight to read, warmly witty, provocative, informative and illuminating."--Joyce Carol Oates, Princeton University "A groundbreaking study of women writers. . . . The book brought the concerns of feminism to the study of female writers and presented the case for the existence of a distinctly feminine imagination."--Martin Arnold, The New York Times "The authors are brilliant academics but they wear their erudition lightly. It remains imperative reading for those who want to understand better the grandes dames of English literature, and is still one of the most powerful pieces of writing from a feminist point of view. Argumentative, polemical, witty and thought-provoking, this is a book which will make the reader return to the original texts." --Yorkshire Post (Leeds) "A feminist classic and still one of the best books on the female Victorian writers."--Judith Shulevitz, New York Times Book Review
The Monster in the Mirror by 
Our Ladies of Darkness by
Our Ladies of Darkness opens with a question raised by Nathaniel Hawthorne in his 1835 sketch "The Haunted Mind": "What if the fiend should come in women's garments, with a pale beauty amid sin and desolation, and lie down by your side?" Joseph Andriano boldly attempts to answer this question by examining some fifteen texts in which such a haunting occurs, including Poe's "Ligeia," Hoffmann's "The Sandman," Irving's "The Adventure of the German Student," Cazotte's "Le Diable amoureux," and Aickman's "Ravissante." His close reading of the individual texts leads to illuminating intertextual parallels, drawn through an archetypal perspective, which creates coherence among the many recurring image-patterns and motifs. The haunting is an incursion into the male ego's dominion: the female demon is seen as a usurper or intruder; she inhabits and insidiously attempts to exert her influence, to feminize the male. These demands include the impelling need to acknowledge male femininity, or androgyny. Ignoring this drive, which Andriano views as instinctual and archetypal, often results in what the Romantics called "nympholepsy," and what Carl Jung called "anima-possession." Although the notion that men need to acknowledge their own femininity is not new, the realization that doing so involves coming to terms not only with Eros (in its widest sense) but also with Thanatos has never been sufficiently emphasized, except perhaps by the post-Jungian James Hillman, by whose work Andriano is especially influenced. This book clearly and succinctly demonstrates that fear of the inner feminine prevents a man from ever fully maturing; his anima remains that of a child (he can only view women as girls or mothers), and he never comes to know, much less to love, the dark side of his soul, his own "lady of darkness."
Patterns of Fear in the Gothic Novel, 1790 to 1830 by 
A Research Guide to Gothic Literature in English by
The Gothic began as a designation for barbarian tribes, was associated with the cathedrals of the High Middle Ages, was used to describe a marginalized literature in the late eighteenth century, and continues today in a variety of forms (literature, film, graphic novel, video games, and other narrative and artistic forms). Unlike other recent books in the field that focus on certain aspects of the Gothic, this work directs researchers to seminal and significant resources on all of its aspects. Annotations will help researchers determine what materials best suit their needs. A Research Guide to Gothic Literature in English covers Gothic cultural artifacts such as literature, film, graphic novels, and videogames. This authoritative guide equips researchers with valuable recent information about noteworthy resources that they can use to study the Gothic effectively and thoroughly.
The Supernatural in Gothic Fiction by
While the numinous and heavily psychological aspects of the Gothic have received serious attention, studies do not tend to examine the relation of the Gothic supernatural to the very different backgrounds of 18th-century and Victorian belief. This study examines the rise of the form, the artistic difficulties experienced by its early practitioners, and the transformation of the original problem-ridden Gothic works into the successful Victorian tales of unearthly terror. In doing so, this study makes a distinct contribution to our grasp of the Gothic and of the links between literature and religion.
Adapted from the Graduate Program at the University of Virginia
Bernstein, Stephen. "Form and Ideology in the Gothic Novel." Essays in Literature 18 (1991): 151-65.
A materialist critique that uses Althusser and Foucault to read the Gothic novels as reproducing an ultimately conservative an anti-individualist ideology.
Blondel, Jacques. "On 'Metaphysical Prisons.'" Durham University Journal 32 (1971): 133-8.
Discusses literal and figurative imprisonment as recurrent themes in art and literature. Historicist approach.
Byrd, Max. "The Madhouse, the Whorehouse, and the Convent." Partisan Review 44 (1977): 268-78.
Describes madhouse, whorehouse and convent as largely equivalent structures that represent a metaphoric reigning in of unreason and human desire.
Foust, R.E. "Monstrous Image: Theory of Fantasy Antagonists." Genre 13 (1980): 441-53.
Uses theories of the uncanny to discuss the monstrous doubling in Frankenstein and Grendel. Psychoanalytic approach.
Freud, Sigmund. "The Uncanny." The Standard Edition of the Complete Psychological Works of Sigmund Freud. Ed. & trs. James Strachey. Vol. XVII. London: Hogarth, 1953, pp. 219-252.
Describes the uncanny experience in terms of doubling, death, and uncertainty about the distinction between reality and unreality. Treats the uncanny as both a psychological and a literary phenomenon.
Holland, Norman, and Leona Sherman. "Gothic Possibilities." New Literary History 8 (1977): 278-94.
The authors explore reader-response to the Gothic by discussing their own mental associations with Gothic symbols like the castle and the vulnerable heroine. Psychoanalytic approach.
Lyndenberg, Robin. "Gothic Architecture and Fiction: A Survey of Critical Responses." The Centennial Review 22 (1978): 95-109.
Compares critical responses to Gothic architecture and fiction.
Ozolins, Aija. "Dreams and Doctrines: Dual Strands in Frankenstein." Science-Fiction Studies 2 (1975): 103-10.
Describes Frankenstein as simultaneously supernatural and didatic. Discusses dreams (both Mary Shelley's and Victor Frankenstein's) and the doppelganger theme.
Paulson, Ronald. "Gothic Fiction and the French Revolution." ELH 48 (1981): 532-54.
Analyzes the influence of the Terror within the major "horror-Gothic" novels. Historicist approach.
Sedgwick, Eve Kosofsky. "The Character in the Veil: Imagery of the Surface in the Gothic Novel." Publication of the Modern Language Association vol. 96:2 (1981): 255-270.
Refutes the widely held notion that sexuality in the Gothic is submerged; suggests that many overtly sexual tropes are manifested in surfaces, not depths.
Voller, Jack G. "Todorov among the Gothics: Structuring the Supernatural Moment." Contours of the Fantastic: Selected Essays from the Eighth International Conference on the Fantastic in the Arts. Ed. Michele K. Langford. New York: Greenwood, 1994. 197-206.
Examines and revises Todorov's structural approach to the Gothic.
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