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Journal of Narrative Theory
Seeing Edith Wharton’s Ghosts: The Alternative Gaze on Page and Screen2017 •
Tracing Arachne's Web examines the use of myth in works by American women novelists of the late 19th and early 20th centuries, showing how both classical allusions and ethnic folk myth liberated these writers and enabled them to understand and experience their social and economic worlds. Using the metaphor of Demeter and Persephone as her framework, Kristin Mapel Bloomberg identifies a cycle in women's fiction that moves from the utopian world of Demeter's garden in the late 19th century to the experience of isolated women in the patriarchal underworld of literary modernism. Examining the works of Sarah Orne Jewett, Emma D. Kelley-Hawkins, Onoto Watanna (aka Winnifred Eaton), Alice Dunbar-Nelson, Edith Wharton, and Djuna Barnes, she develops a model of women's writing that ties these writers' fascination with the occult and Greek mythology to T. S. Eliot's notion of the "mythical method." Drawing from history and popular culture, she demonstrates how women of color responded to many of the same cultural currents as white writers. She does this, moreover, by analyzing the coded strategies followed by women of color to get their books into print, without collapsing race into gender issues. Invariably provocative, Bloomberg's writing creates a picture of female power in turn-of-the-century American fiction in which women writers turned to alternative spiritual ideologies and occult philosophies to investigate tensions between racism, sexism, and classicism. This book will appeal to scholars in American studies, literary criticism, women's studies, and cultural studies.
Journal of American Studies
“This isn't exactly a ghost story”: Edith Wharton and Parodic Gothic2003 •
Edith Wharton's ghost stories have usually been seen as skilful appropriations of the Gothic that allowed her, in Kathy Fedorko's words, to dramatise “the conflict between male and female selves in a ‘dialogue with the unconscious.’” They are also vehicles through which she expresses not only her indebtedness to her precursors in the Gothic mode, such as the Brontës, Nathaniel Hawthorne, Robert Louis Stevenson and Sheridan Le Fanu, but also her independence from them. In this article we shall argue that some of Wharton's ghost stories contain a further dimension, beyond allusion, where they shift into a parodic and humorous strain that enables her to engage self-reflexively with the Gothic tradition. Here we define parody as a literary mode that, whilst engaging with a target text or genre, exhibits a keen sense of the comic, an acute awareness of intertextuality and an engagement with the idea of metafiction. This is a deliberately generous and inclusive definition that...
Victorian Literature and Culture
Mistress and Maid: Homoeroticism, Cross-Class Desire, and Disguise in Nineteenth-Century FictionThe relationship between mistress and maid is curiously intimate yet bounded by class. Employers and their servants are caught in a dynamic of dominance and submission, in which they practice mutual surveillance. Yet the relationship may also evoke models of loyalty, devotion, and the possibility, in fiction at least, of female alliance. On the comparatively rare occasions that servants feature at all in Victorian fiction, these dynamics lend a homoerotic dimension to the cross-class relationship between mistress and maid. The positions of mistress and maid bring two women together under the same roof while separating them by class, thus providing a framework for a fictional exploration for yearning, desire, unrequited love, or sometimes union. Alternatively, a queer relationship may be obscured by the guise of employer and servant. Indeed, the mistress-maid stories discussed here often involve masquerade in some form, including cross-class and cross-gender disguises.
Published in _Twentieth-Century Literature_ 2015
Université de Versailles Thesis Repository
Subverting the Gothic: Gilman and Wharton's Ghost Stories2018 •
While the gothic has been the subject of many books and articles, few studies have been dedicated to what is called « The Female Gothic », the term that has been used to describe the peculiar use which female writers have made of the genre. The female gothic literature is profoundly attached to the authors’ social and psychological status in a patriarchal society, and serves as a very accurate portrait of the female experience. In this study, the ghost stories of two female gothic authors of the 19th century will be analyzed. The first one, Charlotte Perkins Gilman, was a declared feminist, who wrote her ghost stories after having suffered from post-partum depression, and having her treatment supervised by her own husband and a male doctor, who believed that her problem came from the fact that her mind was too active, and that forbidding all sorts of creative activity would be a remedy. The second author, Edith Wharton, gives us an insider’s view of the American High Society, drawing a realistic portrayal of what went on behind the curtains in the lives of American families, using ghosts and other gothic elements as ways of reinforcing her point of view.
MFS Modern Fiction Studies
Edith Wharton and the "New Gomorrahs" of Paris: Homosexuality, Flirtation, and Incestuous Desire in "The Reef" (1997)1997 •
Journal of the Short Story in English Les Cahiers De La Nouvelle
Breaches of Realist Conventions in Edith Wharton’s Short Fiction2012 •
ABSTRACT Reading Matter: Modernism and the Book reconceives the relationship between modernism and the material history of the book. By examining representations of books, archives, libraries, and bibliophiles in modernist Anglo-American literature, this study calls attention to a particular attitude towards reading and cultural heritage that marks modern fiction. Texts by Henry James, Edith Wharton, and E.M. Forster exemplify the modernist principle that to write a classic one must first read the classics. But the messiness of archives haunts these works, suggesting that cultural attainment in modernism requires the acquisition of peripheral information in addition to more canonical knowledge. Encyclopaedic reading is, I argue, a hallmark of literary modernism. This study also identifies the library as an obsessional site in literary modernism. James, Wharton, and Forster set key scenes in libraries and reading rooms in their fiction, depicting the library as a repository of the material past and a place where things happen. Accidents, romance, and conversation occur in libraries, where the past intrudes, sometimes in violent ways: falling books crush Leonard Bast in Howards End; the contents of a private archive threaten public scandal in The Aspern Papers. I show how these authors negotiate the transformation of the book and the library in this period, faced with the rise of the public library movement, the decline of the nineteenth-century gentleman’s library, and the burning and blasting of books during warfare. By exploring their own contradictory impulses towards bibliophilia and biblioclasm, these authors dramatize in their fiction a sense of the durability and the susceptibility of cultural knowledge. Critical studies of the history of books and reading in the Victorian period have been produced, but similar work in the field of modernism is scarce. Reading Matter redresses this gap by identifying the book as fundamentally entwined with the intellectual, cultural, and material histories of the twentieth century.
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Mídia, cultura e imaginário urbano
Mídia, cultura e imaginário urbanoIn Historia ecclesiastica, roč. XIV, 2023, č. 1, s. 18-26. ISSN 1338-4341
Stredoveký kostol sv. Ulricha v Trnave v historických súvislostiach : The medieval church of St. Ulrich in Trnava in historical context.D. Mantzilas, Myrema (Mythology-Religion-Magic). 30 Articles and Essays, Ioannina: Carpe Diem
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