By Daniel Darvay
This booklet explores the advanced dating among British modernism and the Gothic culture over numerous centuries of contemporary literary and cultural historical past. Illuminating the blind spots of Gothic feedback and increasing the diversity of cultural fabric that falls less than the banner of this practice, Daniel Darvay specializes in how past due 19th- and early twentieth-century British writers remodel the artifice of Gothic ruins into development blocks for a distinctively modernist structure of questions, matters, pictures, and arguments. To make this argument, Darvay takes readers again to early exemplars of the style thematically rooted within the English Reformation, tracing it via major Victorian variations to ultimately the modernist interval. via writers resembling Oscar Wilde, Joseph Conrad, Virginia Woolf, E. M. Forster, and D. H. Lawrence, this ebook finally expands the limits of the Gothic style and gives a clean, new method of larger realizing the modernist movement.
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Additional info for Haunting Modernity and the Gothic Presence in British Modernist Literature
Hogle, “Introduction: The Gothic in Western Culture,” in The Cambridge Companion to Gothic Fiction, ed. Jerrold E. Hogle (Cambridge: Cambridge University Press, 2002), 1–20. 38. Haggerty, Gothic Fiction/Gothic Form (University Park: Pennsylvania State University Press, 1989); and Anne Williams, Art 34 D. DARVAY of Darkness: A Poetics of Gothic (Chicago: University of Chicago Press, 1995). 39. Virginia Woolf, Collected Essays, 4 vols. (New York: Harcourt, Brace & World, 1967), 1: 131. 40. , 2: 83.
W. S. Lewis (New York: Oxford University Press, 2008), 5. Hereafter abbreviated CO and cited parenthetically by page number. See Howard Colvin, Essays in English Architectural History (New Haven: Yale University Press, 1999), especially Chapter 4, which offers an itemized list of monastic damages and royal profit achieved from sales during the Dissolution period. Henry Spelman, The History and Fate of Sacrilege , ed. Eales (London: John Hodges, 1888), 142. Shell, Oral Culture and Catholicism, 35.
Stanton’s narrative, which establishes Melmoth’s role as diabolic tempter, sets the stage for the appearance of a formidable enemy within, whose power is magnified through the Gothic trope of the artwork that comes alive. Shortly after reading the manuscript, John burns the portrait of Melmoth at his uncle’s request but suspects that his ancestor is still alive, for not only is he haunted in his dreams by the Traveler, but he also witnesses a creature resembling the figure on the portrait cruelly laughing at a shipwreck in the middle of a stormy night.