Over its lengthy broadcast run, the series has garnered much academic interest which has focused on a range of discourses and disciplines, including gender, theology, genre, music, postmodernism, and fandom.
John William Polidori in an effort to prove supremacy in horror-making, Mrs. Citation: Svitlana Krys.If he can persuade another to take the bargain off his hands, and assume his existing state, he can be saved; but this he can never manage to effect, no matter how assiduously he haunts those whom despair has made reckless and frantic. His pretence to profound and obscure scholarship, his blundering ventures in stilted and laboured pseudo-humour, and his often vitriolic outbursts of critical prejudice must all be recognised and forgiven. He differed from her in contemptuously discarding the external Gothic paraphernalia and properties and choosing modern American scenes for his mysteries; but this repudiation did not extend to the Gothic spirit and type of incident. The only point lacking is the explanations of the origin of the collection: Was it based on a conference, or a seminar, or simply a call for papers? This playfully postmodern moment not only parodies and knowingly conflates fans and scholars, but also, and more significantly, demonstrates how all of us — writers, actors, fans, and critics — co-create this genuinely Gothic phenomenon. Stanton is at length liberated, and spends the rest of his life tracking down Melmoth, whose family and ancestral abode he discovers. The book organises the essays within four broad categories of Gothic: Tropes and Traditions; Narrative; Gender; and Monstrosity and Otherness. The tales of logic and ratiocination, forerunners of the modern detective story, are not to be included at all in weird literature; whilst certain others, probably influenced considerably by Hoffmann, possess an extravagance which relegates them to the borderline of the grotesque. All this paraphernalia reappears with amusing sameness, yet sometimes with tremendous effect, throughout the history of the Gothic novel; and is by no means extinct even today, though subtler technique now forces it to assume a less naive and obvious form. Naturally we cannot expect all weird tales to conform absolutely to any theoretical model. Within this collection, Edmundson has brought together a range of critical approaches that considers how Supernatural engages with established traditions within the Gothic. As a matter of fact, the French genius is more naturally suited to this dark realism than to the suggestion of the unseen; since the latter process requires, for its best and most sympathetic development on a large scale, the inherent mysticism of the Northern mind. Nor are these images in themselves any the less potent because they are explained away before the end of the novel. Reading the manuscript, which was written late in the seventeenth century by an Englishman named Stanton, young John learns of a terrible incident in Spain in , when the writer met a horrible fellow- countryman and was told of how he had stared to death a priest who tried to denounce him as one filled with fearsome evil.
The horror-tales of the powerful and cynical Guy de Maupassant, written as his final madness gradually overtook him, present individualities of their own; being rather the morbid outpourings of a realistic mind in a pathological state than the healthy imaginative products of a vision naturally disposed toward phantasy and sensitive to the normal illusions of the unseen.
Indeed, so thorough is this realism that a popular magazine once published the main points of The Amber Witch as an actual occurrence of the seventeenth century!
This young author, educated in Germany and saturated with a body of wild Teuton lore unknown to Mrs. Other writers, closer to the Gothic tradition and to European life in general, were content to follow more faithfully in the lead of Walpole.
Poe could, when he wished, give to his prose a richly poetic cast; employing that archaic and Orientalised style with jewelled phrase, quasi-Biblical repetition, and recurrent burthen so successfully used by later writers like Oscar Wilde and Lord Dunsany; and in the cases where he has done this we have an effect of lyrical phantasy almost narcotic in essence—an opium pageant of dream in the language of dream, with every unnatural colour and grotesque image bodied forth in a symphony of corresponding sound.
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Another school—the tradition of moral values, gentle restraint, and mild, leisurely phantasy tinged more or less with the whimsical—was represented by another famous, misunderstood, and lonely figure in American letters—the shy and sensitive Nathaniel Hawthorne, scion of antique Salem and great-grandson of one of the bloodiest of the old witchcraft judges.