미국의 고딕소설과 헨리 제임스의 『나사의 회전』

유영종 ( Young Jong Yoo ) 근대 영미소설 학회 2007 근대 영미소설 Vol.14 No.1

Traditionally fixed gothic novel is often related to literature of surface and sensations. Because it arouses sham terror, they were often described as “schilling shocker,” “penny dreadful,” and “dime novel.” However, this type of gothic novel was never really central to American fiction. What characterizes American gothic novel is its emphasis on psychological, metaphysical, and religious horror. American gothic novels are characterized by a blending of explained and supernatural gothic modes. In fact, American gothic novel is inclined toward what G. R. Thompson calls the indeterminate or ambiguous gothic. Central to the ambiguous gothic is an epistemological perplexity resulting from the tension between logical and supernatural explanations. This epistemological ambiguity reflects the tension ingrained in the American concept of the New People in the New World. American Puritans believed that they were sent by God to the New World to erect the City of God. They believed in the errand into the wilderness. However, their history showed them they could have mistaken about the whole mission. American gothic novels, through its ambiguity, reflect this horror deeply rooted in American imagination. Henry James`s The Turn of the Screw is famous for its unresolved ambiguity. Critics have debated whether it is a ghost story or a psychological case study of a young governess. James closely follows the footsteps of American gothic novel writers both in techniques and themes. By deliberately creating indeterminacy, he writes an allegory, or rather a negative allegory, of a Faustian nightmare of American identity and imagination.

추리소설에 나타난 고딕소설의 전통: 소재와 배경을 중심으로

윤미화 미국소설학회 2005 미국소설 Vol.12 No.2

The word “gothic” is hard to define because after the genre's popular from 1764 to 1820s, the form of the gothic novel became indistinct and diverse mixed with other genres to the extent that it lost its own characteristic form. Gothic novels begins in the late 18th century, with Horace Walpole’s Castle of Otlanto-A Gothic Story. Most of gothic novels have their time setting from the 17th century, and their gloomy old castles and dark underground passages in their setting to make a sense of fear and tension, and the social milieu of the 18th century influences the formation of the gothic novels. The gothic novel is considered to be too lascivious and emotional by critics, and the readers see it as commercialized inferior literature. So the gothic novel becomes an infamous and an inferior genre in literature, and it influences the mystery novel to grow in some ways as a replacement for the gothic novel. Before coming out of detective stories in 19th century, the most famous genre of the novel was “the Tales of Terror.” But through their change and development, recent gothic novels are now studying as the motivations of their beginning of the detective stories. Detective stories started by Poe has shorter history rather than other genre, but it had many opportunities to change. Although it has been only 160 years since it was appeared and devloped, it was not easy to endure under the circumstance in which it was despised and admitted as low ranking literature. How it heading towered turning point.

“Yes, aversion!” : Narration and the Gothic Novel in Jane Austen’s Northanger Abbey

Jennifer Vettese Ewha Institute of English and American Studies 2022 Journal of English and American studies Vol.21 No.1

Jane Austen’s 1817 novel Northanger Abbey is often considered a parody of the gothic novel. In this paper, I argue that, in addition to the satirization of the genre, this novel also reworks gothic conventions in order to provide commentary on themes such as readership and society. To analyse this reworking of the gothic novel, I consider two literary devices which are crucial for the reproduction of gothic elements in this novel: free indirect discourse and overt narration. Free indirect discourse allows both third person narration and the conveying of a character’s thoughts and feelings in their own language. In Northanger Abbey, this device reveals Catherine’s feelings and susceptibility to the gothic influences of the novels she reads, which heightens the effects of the gothic elements. In this sense, the novel positions itself not only as a joke, but as a sort of tribute to the gothic genre. Catherine’s credulity, however, is contrasted by the narrator’s direct appeal to the reader to remain critical about the events at the abbey. Through this second literary device, overt narration, the narrator interrupts the narration and addresses the reader directly and in the first person. In addition to condemning the characters’ readings of gothic novels, the overt narration also serves as commentary on contemporary societal norms and manners. The true horror of this novel resides not in the gloomy atmosphere of the abbey but in the banality of General Tilney and the modern manners which are satirized throughout the book. If we associate these interruptions with the author’s voice, they reveal Jane Austen’s critical constitution towards literary conventions and societal norms.

『여성의 억울함』과 『이태리언』을 통해 살펴본 감상성(Sentimentality) 논의

정선희 ( Sun Hee Jung ) 한국18세기영문학회 2011 18세기영문학 Vol.8 No.1

This paper explores the notion of sentimentality represented in two novels of the 1790s, The Wrongs of Woman: or, Maria and The Italian, as the primary source of feminine virtues, whereby women can understand and sympathize deeply with others` feelings and educate men morally in the domestic sphere. Sentimentality pursued in the sentimental novel and the Gothic novel takes an important part in the establishment of the rise of the novel form. Ian Watt who theorized formal realism has criticized the sentimental novel and the Gothic novel for their sentimentality and irrationality. However, sentimentality is the origin of the feminine virtue that may lead to mutual understanding and overcoming difficulties. I will argue how sentimentality discloses itself in literature, especially in the sentimental novel and in the Gothic novel, and how it is related to questions of truth and virtue, as elaborated by Michael McKeon in his persuasive re-definition of the novel form. According to McKeon, the novel attempts to negotiate the two modern spheres of establishing new criteria for truth and virtue. Sentimentality is the projection of the inner side of individuals reflected through the domestic sphere in that sentimentality is also the quality that can feel the dark side of human emotion, such as horror. Mary Wollstonecraft indicates that sentimentality is a cause that can drive the destruction of feminine life when it manifests itself excessively. While it functions as the power of understanding and sympathizing with another`s feelings, it functions simultaneously as the power for opening up the possibility of solving all problems of human society when it manifests itself appropriately. The character Schedoni from the aristocratic class in Italian is described as the very type of greed and evil. He indicates that virtue is no longer representative of the confined noble class, but had been transformed into individual virtue. The female heroine`s virtue is evinced in her sentimentality throughout the novel and in her re-formation of the domestic sphere. This paper places the sentimental novel and female Gothic novel-which have been treated as inferior, transient sub-genres outside the tradition of the realist novel-within a broader literary and historical context. Through investigating these topics in relation to McKeon`s recent theory on the devolution and domestication of authority within the individual, These two novels will be shown to demonstrate the rediscovery of truth in narrative and the re-location of virtue in the private sphere, as well as female participation in a public sphere that otherwise indirectly excluded female activity.

포우와 미국 고딕소설의 전통

정연재 ( Yon Jae Jung ) 근대 영미소설 학회 2006 근대 영미소설 Vol.13 No.1

Over the past two decades, the genre of Gothic fiction has been the subject of renewed critical interest. Gothic fiction can be roughly defined as a form of narrative which tends to produce terror in the reader, and refuses to conform to realist mode of representation in fiction writing. In the American context of a different history and landscape, the British Gothic mode seems to be highly inappropriate to the new world realities. Despite the lack of a medieval past and the aristocratic relics, however, the Gothic has flourished in the United States and found an enthusiastic readership in the burgeoning literary market. As several critics have noted, the rise of the Gothic in America is enabled by imitating earlier European achievements. But, what should be noted is that the American Gothic style is significantly different from that of the classical English Gothic. From the earliest period of American Gothicism, Poe and other American writers have explored and developed their own unique Gothic themes such as the Puritan inheritance, the pathology of guilt, the frontier experience, the political anxieties about democracy, the American South, the aberrant psychological states, and racial issues. Indeed, the use of the Gothic imagination is a more significant and predominant part of American literature than is generally thought. As Leslie Fiedler claims, the large corpus of American fiction is unquestionably Gothic. In this paper, I intent to contextualize the historical development of the nineteenthcentury American Gothic as a major aesthetic impetus, focusing especially on Poe`s work. In so doing, I will demonstrate that the American Gothic is not an outmoded offshoot of the British tradition, but rather an original and experimental literature with innovative energy.

Changing Notions of Time: Gothic Transformation in Ann Radcliffe`s The Italian

( Young Shin Shin ) 한국근대영미소설학회 2011 근대 영미소설 Vol.18 No.2

Ann Radcliffe (1764-1823), the famous Gothic novelist, has the reputation of being the originator of the ``explained Gothic" among critics because she opted for the rational resolution of all supernatural mysteries in her novels. Some critics read her attempts to clarify all supernatural and irrational elements by the light of reason in tandem with the larger epistemological framework of the Enlightenment. This paper seeks to investigate how Radcliffe`s representative Gothic novel, The Italian (1797), reflects changing conceptions of time in the eighteenth century. It is usually thought that the Gothic novel, temporally set in the middle ages or a distant past, evokes a more "vertical" notion of society in which the figure of the king functions as the apex of a hierarchical and God-given order rooted in a higher time. However, Radcliffe`s rational denoument, this paper argues, recovers the homogenous profane time of modernity from the mythic, confluent, or kairotic time of the Gothic. The analysis focus on the relationship between time consciousness and visibility as a metaphor of reason. As typical motifs of Gothic convention, darkness, isolation, and imprisonment in the Inquisition`s dungeon are quite prevalently used in The Italian. These motifs, which work to instigate terror in the Gothic novel, also have the characteristic of depriving the blindfolded protagonist of both the exterior light of visibility and the inner light of rational thinking ability. The loss of sight can lead the imprisoned protagonist to become subjected to a fearful delirium in a space that is disjointed from the present chronometric time. However, in The Italian, the space of the Inquisition is transformed into a space of true time and light as the Grand Inquisitor himself becomes the guarantor of justice and order. In a preposterous inversion, the Gothic becomes the arena in which the male protagonist is rescued into the modern realm of rationality and enlightened time.

A “Patron” of Novel Readers: Reading Jane Austen’s Northanger Abbey

( Young Seon Won ) 한국근대영미소설학회 2019 근대 영미소설 Vol.26 No.1

Jane Austen was a committed novel-reader whose literary life was deeply permeated by the culture of novel-reading, in the period during which her contemporaries witnessed the unprecedented rise in the production of the novel. Northanger Abbey, the most meta-fictional among Austen’s works, reads as Austen’s fictional preface to her literary career in its engagement with the culture of the novel. Northanger Abbey is peopled with those who read novels, and what the characters read and how they read in the novel is often the key to judging those characters, orchestration of which further exemplifies the assumptions, expectations, and cultural norms that contemporaries hold about reading novels. Putting her fingers on the popular contemporary trope of a heroine reading (Gothic) novels in this novel, she also invites her readers to engage with the ways in which the cultural and literary constructions of the novel and its readers are rendered and tested against each other. The interrogation of “reading a novel” is thus to be specifically situated not only within the cultural and literary context of the genre discourse but within the context of an individual reader’s negotiation of reading and life experiences. In linking the cultural trope of novel reading and the questions about the practice of reading books and life experiences, therefore, this study attempts to explore the manifold ways in which Austen probes into the culturally situated complexities of novel-reading. Allowing novels to be “patronized” by her own heroine, and thereby making herself a patron of the novel, and offering the readerly education as an author both for her heroine and her contemporary readers, this study argues that Austen deliberately empowers herself as a reader as well.

『노생거사원』을 통해본 18세기 소설과 습관

민자영 ( Ja Young Min ) 한국18세기영문학회 2014 18세기영문학 Vol.11 No.2

This article argues that the novel transforms itself from a potentiallydangerous, habit-forming commodity into a respectable and safe culturalproduct during the period of its “commercial” rise by presenting properhabits and daily routines as its contents. The first section brieflydiscusses cultural and philosophical implications of “habit” ineighteenth-century Britain, and the following section examines thenovel`s commercial success that allowed novel-reading to become awidely accepted, popular habit. The third and final section analyses JaneAusten`s Northanger Abbey to see how Austen responds to the anxietiesposed by her comtemporary critics regarding the power of the novel asa habitualized commodity. Austen`s deliberate and meticulous adherenceto the details of daily routines, which Sir. Walter Scott terms “thecommon walks of life” in his reading of Austen`s novels, can beunderstood as an attempt to reinforce the novel genre`s appeal as a safecultural product for domestic entertainment.

공포쾌감과 반복강박: 『드라큘라』와 『나사못 조이기』

나희경 ( Hee Kyung Nah ) 근대 영미소설 학회 2006 근대 영미소설 Vol.13 No.1

Bram Stoker`s Dracula and Henry James`s The Turn of the Screw, respectively typifying the Gothic horror thriller and the psychological ghost story, invite their readers into a particular state of mind in which such self-contradictory emotions as dread and curiosity, and abhorrence and attraction are fused. In Dracula, Stoker externalizes the supernatural vampire into a concrete visual image, the effect of which is to incite the sensational elements of horror of the reader. As a result, the reader experiences the paradoxical pleasure of terror by easily projecting his or her suppressed desire into the objectified Dracula. Meanwhile James explores the psychological features of the feeling of terror in The Turn of the Screw. In James`s novel the ghost is never objectively substantialized. Accordingly the reader of the novel gets confused in judging whether the agent of evil is the allegedly evil spirit of Peter Quint who died an unnatural tragic death or the self-deluded Miss, a living persona who is obsessed with self-imposed mission to fight against the demon which nobody except her can see. After appreciating the novel Dracula, the reader is supposed to experience catharsis which ensures the pleasure of terror, while the reader of The Turn of the Screw, who gets trapped in the a complex psychological condition of repetition compulsion, cannot completely shake off the fear and tension which he or she has undergone while reading the novel.

“Enlightened Gothic” and National Identity in Clara Reeve’s The Old English Baron

문희경 한국18세기영문학회 2018 18세기영문학 Vol.15 No.2

Clara Reeve’s The Old English Baron (1777) is an imitation as well as a revision of Horace Walpole’s gothic novel The Castle of Otranto, in which Reeve does away with what she considers extravagance, irrationality and frivolity, and attempts to lead the genre in a more serious direction. She does this by grounding her story in medieval English history, thus purging it of foreignness and unfamiliarity, and weaves into it some of the more pressing issues of her day, that render the work both “gothic” and modern. The novel is particularly concerned with the idea of national identity and the role required of the new ruling classes at a period in which Britain was emerging as a modern nation. In this context, the change of title from “The Champion of Virtue” to “The Old English Baron” is seen as significant. Reeve eschews barbarism and ignorance associated with the “gothic,” and infuses into her gothic past the more enlightened values of the present―the spirit of rationality, prudence and benevolence. Stressing continuity rather than disruption, Reeve uses the reinvented past to transform the present and forge a future by projecting a vision of society that is both backward-looking and forward-looking. This paper explores the novel’s engagement with such a vision from three aspects: military heritage, settlement of property and union with Scotland.