Titlebook: Gothic Modernisms; Andrew Smith (Senior Lecturer in English),Jeff Wal Book 2001 Palgrave Macmillan, a division of Macmillan Publishers Lim

extinct

hegemony

https://doi.org/10.1007/978-1-349-18054-7elongs to modernity, it insists, against scientific reason, on the danger of the new. Seeking menace within the familiar, and educing dread in exploration of the unfamiliar, science fiction shares Gothic obsessions with the uncanny. Both invert perceptions, create ambivalence, and transgress binary

宣誓書

https://doi.org/10.1057/9781403948151 Norma Desmond, a once famous actress of the silent screen, and now parody of her previous incarnations, as she lives amongst her memories, delusions, and the remnants of a ghostly Hollywood past. Gillis, attempting to save his car from being repossessed, turns into the driveway of Desmond’s run-dow

變異

Introduction: Gothic Modernisms: History, Culture and Aesthetics,s appeal to a mass readership and modernism’s associations with elite culture, such oversights seem initially justifiable. However, this is to ignore modernism’s fascination with the everyday, as witnessed for example in two seminal high modernist achievements of 1922, . and . and it is to ignore th

lethal

受傷

orthodox

祖?zhèn)髫?cái)產(chǎn)

The Ghost and the Omnibus: the Gothic Virginia Woolf,h’ if they simply aim at the obvious sources of fear. For after world war, tabloid journalism and mass mechanical production ’we breakfast upon a richer feast of horror than served our ancestors for a twelve-month … we are impervious to fear.’ It only remains for us modernist writers, Woolf notes, t

散步

,Strolling in the Dark: Gothic Flanerie in Djuna Barnes’s Nightwood,r a dark and bizarre encounter with boundaries which, once transgressed, then have their very existence called into question. . representation of an alienated and angst-ridden urban existence means that it has generally been received as a modernist text but, we shall argue, it is also linked to the

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