Autor: Keithline, Anne - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Mistaken for Ghosts: The Gothic Trope of Catholic Superstition in Conrad and Ford’s ”Romance”
Autorzy:: Keithline, Anne
Powiązania:: https://bibliotekanauki.pl/articles/605874.pdf
Data publikacji:: 2019
Wydawca:: Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:: ghost, Catholicism, Conrad, superstition, Gothic
Opis:: Der Artikel enthält Zusammenfassungen nur in Englisch.
A perennially fruitful activity in Gothic studies is to track the development of Gothic tropes as popular literature evolves. Joseph Conrad’s career, which spanned Victorianism and early Modernism, provides examples of the evolution of certain Gothic conventions between early- and late-career work. Conrad’s collaboration with Ford Madox Ford on Romance (1903) is an early example of Conrad’s exposure to, and use of, Gothic tropes, especially relating to Catholic ghost-seeing. This paper demonstrates similarities between Romance’s uses of the trope of Catholic superstition and those of three classic Gothic novels, and also outlines the trope’s lasting effect on Conrad’s later work.
L'article contient uniquement les résumés en anglais.
Źródło:: Lublin Studies in Modern Languages and Literature; 2019, 43, 2
0137-4699
Pojawia się w:: Lublin Studies in Modern Languages and Literature
Dostawca treści:: Biblioteka Nauki

Artykuł

Skocz do pozycji: 2.

Tytuł:: The Gaze of the Spectral Setting in the 1968 BBC Adaptation of M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”
Autorzy:: Mydla, Jacek
Keithline, Anne
Powiązania:: https://bibliotekanauki.pl/articles/632506.pdf
Data publikacji:: 2017
Wydawca:: Projekt Avant
Tematy:: ghost story genre
film adaptation
haunting
gaze
identification
Opis:: This article is a study devoted to the BBC adaptation of a ghost story by Montague Rhodes James, “Oh, Whistle and I’ll Come to You, My Lad.” The ideas of the spectral gaze and sympathetic spectreship are used to submit that in the film the setting itself is the spectre, with which/whom the viewer is invited to identify. This rearrangement-in comparison with the situation in the original story-casts the spectral setting both in the role of the haunting presence and the victim of an otherworldly (human) intrusion. A detailed analysis of the use of the camera supports the argument.
Źródło:: Avant; 2017, 8, 2
2082-6710
Pojawia się w:: Avant
Dostawca treści:: Biblioteka Nauki

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