ERA

Download the full-sized PDF of Still Life: Representations of Passivity in the Gothic NovelDownload the full-sized PDF

Analytics

Share

Permanent link (DOI): https://doi.org/10.7939/R3KQ6N

Download

Export to: EndNote  |  Zotero  |  Mendeley

Communities

This file is in the following communities:

Graduate Studies and Research, Faculty of

Collections

This file is in the following collections:

Theses and Dissertations

Still Life: Representations of Passivity in the Gothic Novel Open Access

Descriptions

Other title
Subject/Keyword
gothic
passivity
Type of item
Thesis
Degree grantor
University of Alberta
Author or creator
Wight, Dana L
Supervisor and department
Binhammer, Katherine (English and Film Studies)
Examining committee member and department
Harol, Corrinne (English and Film Studies)
McTavish, Lianne (Art and Design)
Sinnema, Peter (English and Film Studies)
Department
Department of English and Film Studies
Specialization
English
Date accepted
2012-09-27T14:26:02Z
Graduation date
2012-09
Degree
Doctor of Philosophy
Degree level
Doctoral
Abstract
This dissertation explores the strategic possibilities of passivity as a form of agency in the eighteenth- and nineteenth-century British gothic novel in order to recuperate its representations of the passive female body as sites of feminist resistance. Using the methodologies of feminist and psychoanalytic theories and gothic literary criticism, this project examines four specific representations of passivity: fainting, sleep, illness, and death. These conditions are characteristic of a gothic mode that emerges with the birth of the novel, and continues to develop throughout the eighteenth and nineteenth centuries. As such, this project closely examines key texts published at fifty-year intervals between 1740 and 1847. The first chapter considers Samuel Richardson’s proto-gothic novel Pamela (1740), whose titular heroine repeatedly faints when she is attacked by her rapacious master. The second chapter investigates violent bedchamber scenes in Matthew Lewis’s The Monk (1796) and Ann Radcliffe’s The Italian (1797), in which the would-be victims of rape and murder prove impenetrable, as their sleeping forms render their attackers impotent and immobile. The third chapter moves into the nineteenth century with an analysis of illness as strategic incapacity in Emily Brontë’s Wuthering Heights (1847), while the fourth and final chapter returns to Richardson with an examination of the heroine’s will towards death in Clarissa (1748). The purpose of this project is to expand rather than narrow the gothic system of representation to include affirmative readings of passivity as a means to (re)discover embodied forms of subjectivity in the gothic novel.
Language
English
DOI
doi:10.7939/R3KQ6N
Rights
Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
Citation for previous publication

File Details

Date Uploaded
Date Modified
2014-04-24T22:34:14.048+00:00
Audit Status
Audits have not yet been run on this file.
Characterization
File format: pdf (Portable Document Format)
Mime type: application/pdf
File size: 1182567
Last modified: 2015:10:12 14:15:32-06:00
Filename: Wight Dana Fall 2012.pdf
Original checksum: f35919cffebfd3d539fcd2d606412f65
Well formed: true
Valid: true
Page count: 305
Activity of users you follow
User Activity Date