|
Showing 1 - 5 of
5 matches in All Departments
This book is about haunting in modernist literature. Offering an
extended and textually-sensitive reading of modernist spectrality
that has yet to be undertaken by scholars of either haunting or
modernism, it provides a fresh reconceptualization of modernist
haunting by synthesizing recent critical work in the fields of
haunting studies, Gothic modernisms, and mourning modernisms. The
chapters read the form and function of the ghostly as it appears in
the work of a constellation of important modernist contributors,
including T. S. Eliot, Virginia Woolf, D. H. Lawrence, Elizabeth
Bowen, Wyndham Lewis, Richard Aldington, and Ford Madox Ford. It is
of particular significance to scholars and students in a wide range
of fields of study, including modernism, literary theory, and the
Gothic.
Following the publication of Ghost Town (2005), a complex, globally
conscious genealogy of millennial Manhattan, McGrath's
transnational status as an English author resident in New York, his
pointed manipulation of British and American contexts, and his
clear apprehension of imperial legacies have all come into sharper
focus. By bringing together readings cognizant of this
transnational and historical sensitivity with those that build on
existing studies of McGrath's engagements with the gothic and
madness, Patrick McGrath and his Worlds sheds new light on an
author whose imagined realities reflect the anxieties, pathologies,
and power dynamics of our contemporary world order. McGrath's
fiction has been noted as parodic (The Grotesque, 1989),
psychologically disturbing (Spider, 1990), and darkly sexual
(Asylum, 1996). Throughout, his corpus is characterized by a
preoccupation with madness and its institutions and by a nuanced
relationship to the gothic. With its international range of
contributors, and including a new interview with McGrath himself,
this book opens up hitherto underexplored theoretical perspectives
on the key concerns of McGrath's ouevre, moving conversations
around McGrath's work decisively forward. Offering the first
sustained exploration of his fiction's transnational and
world-historical dimensions, Patrick McGrath and his Worlds seeks
to situate, reflect upon, and interrogate McGrath's role as a key
voice in Anglophone letters in our millennial global moment.
This book is about haunting in modernist literature. Offering an
extended and textually-sensitive reading of modernist spectrality
that has yet to be undertaken by scholars of either haunting or
modernism, it provides a fresh reconceptualization of modernist
haunting by synthesizing recent critical work in the fields of
haunting studies, Gothic modernisms, and mourning modernisms. The
chapters read the form and function of the ghostly as it appears in
the work of a constellation of important modernist contributors,
including T. S. Eliot, Virginia Woolf, D. H. Lawrence, Elizabeth
Bowen, Wyndham Lewis, Richard Aldington, and Ford Madox Ford. It is
of particular significance to scholars and students in a wide range
of fields of study, including modernism, literary theory, and the
Gothic.
Following the publication of Ghost Town (2005), a complex, globally
conscious genealogy of millennial Manhattan, McGrath's
transnational status as an English author resident in New York, his
pointed manipulation of British and American contexts, and his
clear apprehension of imperial legacies have all come into sharper
focus. By bringing together readings cognizant of this
transnational and historical sensitivity with those that build on
existing studies of McGrath's engagements with the gothic and
madness, Patrick McGrath and his Worlds sheds new light on an
author whose imagined realities reflect the anxieties, pathologies,
and power dynamics of our contemporary world order. McGrath's
fiction has been noted as parodic (The Grotesque, 1989),
psychologically disturbing (Spider, 1990), and darkly sexual
(Asylum, 1996). Throughout, his corpus is characterized by a
preoccupation with madness and its institutions and by a nuanced
relationship to the gothic. With its international range of
contributors, and including a new interview with McGrath himself,
this book opens up hitherto underexplored theoretical perspectives
on the key concerns of McGrath's ouevre, moving conversations
around McGrath's work decisively forward. Offering the first
sustained exploration of his fiction's transnational and
world-historical dimensions, Patrick McGrath and his Worlds seeks
to situate, reflect upon, and interrogate McGrath's role as a key
voice in Anglophone letters in our millennial global moment.
This Element provides new ways of reading the soundscape of the
Gothic text. Drawing inspiration from the field of 'sonic Gothic'
studies, which has been spearheaded by the writings of Isabella van
Elferen, as well as from Mladen Dolar's articulation of the
psychoanalytic 'object' voice, this study introduces the critical
category of 'vococentric Gothic' into Gothic scholarship. In so
doing, it reads important moments in Gothic fiction when the voice
takes precedence as an uncanny, monstrous or seductive object.
Historically informed, the range of readings proffered demonstrate
the persistence of these vocal motifs across time (from the Gothic
romance to contemporary Gothic) and across intermedia forms (from
literature to film to podcasts). Gothic Voices, then, provides the
first dedicated account of voices of terror and horror as they
develop in the Gothic mode from the Romantic period until today.
|
You may like...
Morbius
Jared Leto, Matt Smith, …
DVD
R179
Discovery Miles 1 790
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|