Emily Dickinson's gothic : goblin with a gauge / by Daneen Wardrop.

By:

Wardrop, Daneen, 1952-

Material type: Text

TextPublication details: Iowa City : University of Iowa Press, 1996.Description: 1 online resource (xvii, 225 pages)Content type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

1587292467
9781587292460

Subject(s):

Genre/Form:

Additional physical formats: Print version:: Emily Dickinson's gothic.DDC classification:

811/.4 20

LOC classification:

PS1541.Z5 W32 1996eb

Online resources:

Click here to access online

Contents:

The haunted house -- The wedding -- The terms of rape -- Seeing double -- Seeing nothing -- Language and the reader.

Action note:

digitized 2010 committed to preserve

Summary: Emily Dickinson's Gothic, the first full length study of Dickinson as a primarily gothic writer, is based upon a recognition of women's gothicism. Daneen Wardrop develops first a definition of the female gothic by reading Helene Cixous reading Freud reading E.T.A. Hoffmann on the uncanny. The result is a language based model for the gothic that exposes some of Dickinson's most encrypted figurations and coerced language, which she used to subvert cultural norms.Summary: Emily Dickinson's Gothic also addresses sociohistorical concerns, from hallowed gothic conventions dating from Horace Walpole's eighteenth century to such modernist neogothic topics as rape, the void, and disjunctive language that appear in the latter nineteenth and early twentieth centuries. Wardrop recognizes the full extent to which the gothic pervades Dickinson's canon and the means by which that gothic determines her aesthetic. Such full consideration of women's gothicism allows the placement of Dickinson within a literary context, both in terms of American writers and in terms of women writers.

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Includes bibliographical references and index.

Emily Dickinson's Gothic, the first full length study of Dickinson as a primarily gothic writer, is based upon a recognition of women's gothicism. Daneen Wardrop develops first a definition of the female gothic by reading Helene Cixous reading Freud reading E.T.A. Hoffmann on the uncanny. The result is a language based model for the gothic that exposes some of Dickinson's most encrypted figurations and coerced language, which she used to subvert cultural norms.

Emily Dickinson's Gothic also addresses sociohistorical concerns, from hallowed gothic conventions dating from Horace Walpole's eighteenth century to such modernist neogothic topics as rape, the void, and disjunctive language that appear in the latter nineteenth and early twentieth centuries. Wardrop recognizes the full extent to which the gothic pervades Dickinson's canon and the means by which that gothic determines her aesthetic. Such full consideration of women's gothicism allows the placement of Dickinson within a literary context, both in terms of American writers and in terms of women writers.

The haunted house -- The wedding -- The terms of rape -- Seeing double -- Seeing nothing -- Language and the reader.

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Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2010. MiAaHDL

Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. MiAaHDL

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Print version record.

English.

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