Gothic Forms of Feminine Fictions
Gothic forms of feminine fictions is a study of the powers of the Gothic in late twentieth-century fiction and film. Susanne Becker argues that the Gothic, two hundred years after it emerged, exhibits renewed vitality in our media age with its obsession for stimulation and excitement.
Today's globalised entertainment culture, relying on soaps, reality TV shows, celebrity and excess, is reflected in the emotional trajectory of the Gothic's violence, eroticism and sentimental excess.
Gothic forms of feminine fictions discusses a wide range of anglophone Gothic romances, from the classics through pulp fictions to a postmodern Gothica. This timely and original study is a major contribution to gender and genre theory as well as cultural criticism of the contemporary. It will appeal to scholars in a wide range of fields and become essential for students of the Gothic, contemporary fiction - particularly Alice Munro and Margaret Atwood - and popular culture.
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Alias Grace Arachne Arachne's aspects Atwood's becomes Byatt Canadian challenges characterised connectedness contemporary context contextualising conventions criticism culture Del's dimension discourse dress dynamics effect emotional emphasises escape evokes example experience exploration fantasy fear female desire female figures female subject feminine gothic feminine mystique feminism feminist filliation Fixed Address genre girls and women Godard gothic excess gothic fiction gothic form gothic novel gothic romance gothic texture gothicising happy ending haunted Herk's heroine heroine's highlights horror Hutcheon ideology intertextual intertextualisation ironic Jane Eyre Joan Joan's Kristeva Lady Oracle liberating Linda Hutcheon literary Lives of Girls male Margaret Atwood metaphor monstrous monstrous-feminine mother Munro's narrative narrator neo-gothic neo-gothic texts neo-gothicism notions novel paradox parody popular gothics postmodern propre Radcliffe's reader reading realism recalls recognition relationship romance plot romantic love scene seen self-consciously self-reflexive sense sexual story structures suggests textual tion traditional typical Udolpho woman