A New Companion to The Gothic. Front Cover. David Punter. John Wiley & Sons, Feb 20, – Literary Criticism – pages. Buy A Companion to the Gothic (Blackwell Companions to Literature and Culture ) New Ed by David Punter (ISBN: ) from Amazon’s Book Store. A Companion to the Gothic has 48 ratings and 6 reviews. Bill said: He took up a little, very neatly constructed pocket telescope, and looked through the.

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University of Western Australia. It was as if the power of compahion were being kindled for the first time; her glances flashed with constantly increasing life.

In Search ofa Definition. On the other hand, historical accounts demonstrate clearly that the Gothic could yield, roughly respectively, the following goothic Theadditional six contributions cover the topics of GothicShakespeare, the Gothic ballad, the Gothic sublime, Gothic and thegraphic novel, Goth culture, and the Gothic and hospitality.

So, too, does Julia Brigg’s entry on “The Ghost Story,” although one might question as too exclusive her assertion that ghost stories are “partly characterized by the fact that their supernatural events are left unexplained” p. These 3 locations in Victoria: Want to Read Currently Reading Read. But do not count on davi.

A Companion to the Gothic

Nineteenth- and Twentieth-Century Transmutations 9. Le Fanu Victor Sage Concentrates on the careers of the two title figures.

Ann Radcliffe and Matthew Lewis. Contemporary Womens Vampire Fictions. University of Technology Sydney. A Companion to compznion Gothic does not declare a victor in what Punter calls this “exemplarily ruinous debate” p. Rob Marshall rated it really liked it Apr 01, Gothic fiction Literary genreAmerican — History and criticism. This new edition now contains twelve brand new essays; six ofthese constitute an additional part on “The Globalization ofGothic,” which provides an invaluable reflection on thedirection Gothic criticism has taken over the last decade.


English, Irish, Scottish, Welsh. Back cover copy The Gothic has become in recent years an enormously popular andrespected field of study.

With something like the bemused detachment of Henry Tilney warning Catherine Morland about the perils—and just plain silliness—of over-interpretation, Baldick and Mighall find most of twentieth-century Gothic criticism “radically misguided” p.

Offers a thesis that the ghost story offers a way of dealing with powerlessness for female authors or real-life horrors the popularity wartime ghost stories.

A Companion to the Gothic David Punter. Book ratings by Goodreads.

A New Companion to The Gothic

In thinking about the Gothic, we are ineluctably led to a series of questions about the uncanny. The book is a veritable Baedecker’s guide that ranges from the historical Goths of the third century to Stephen King in the twentieth century; that explores dimensions of Gothic through painting and cinema, as well as written texts; that roams across Europe and America as well as the British Isles.

Gothic has come to serve as a kind of cultural threshold, or as a repertoire of images that fatally undercut the ‘verbal compact’ on which, among other things, the modern state rests” p. References to this book Horror Fiction: Another all-inclusive guide to all things Gothic fictional.

A Companion to the Gothic – Google Books

Ian Duncan’s chapter on Scottish Gothic perceptively demonstrates how Hogg’s close association of Scottish identity with folk traditions of the uncanny and the supernatural serves to counteract “assimilation to Britishness,” “cultural anglicisation,” and Scott’s hugely successful reworking, and eventual renunciation, of the Gothic to accomplish precisely those ends p.


In Search of A Definition” is just that: Psychoanalysis and literature — English-speaking countries. Thanks for telling us about the problem. Gothic and the Madness of Interpretation Scott Brewster.

A Companion to the Gothic. Ed. David Punter. Ox – Romanticism on the Net – Érudit

Masse Starts out as an effective riposte to the previous essay, but like so many pieces in this book degenerates into the barely readable. Providing stimulating insights into Gothic writing, its history and genealogy, it offers coverage of criticism of the Gothic and of the various theoretical approaches it has inspired and spawned.

Indeed, it should more aptly be entitled “A Companion to the Gothic Criticism,” given its emphasis on recent critical trends instead of the encyclopedic approach and organizing of primary bibliography typical of “Companions” the volume only spottily discusses minor writers of the first Gothic phase and contains no general bibliography but does have an adequate index.

Falls apart at the end as the author attempts to synthesize viewpoints in her reading of Continental Drift as a Gothic novel. A Companion to the Gothic is its wealth of critical approaches–from good, old-fashioned “history of ideas” readings to the most sophisticated of recent theory.

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