Bitches Be Writing: A History VICE Charlotte, Emily, and Anne Brontë were sisters born to a minister and his wife who must have had some kind of fucking genius literary genes, because their offspring produced some of the 19th century's most...
swissinfo.ch Dracula : the immortal Hollywood cash count swissinfo.ch Bram Stoker's creation soon became loved by cinema audiences – and especially by film producers, who moved quickly to get a bite of the vampire cherry.
Angela Carter was one of the boldest writers of the 20th century. Championed by feminists, Carter is not the usual PC promoting puritan that became a cliché in her time. Instead she strengthened female role models through ...
I’ve been thinking about genre lately – about the boundaries of the Gothic genre as a whole and about the ongoing currency of definitions of the ‘female Gothic’ in particular. I have never been particularly worried about whether any given text met enough Gothic criteria to ‘count’ as a Gothic novel, but the question of generic definitions is one I’m used to answering. And I have always hated the category of the ‘female Gothic’, for all the usual reasons about its tendency to encourage ahistorical gender essentialism. Overall, I have a strong sense that over-reliance on generic demarcations is confining, but I remain curious as to whether this is countered by the usefulness of such classification.
For more than a hundred years the name Count Dracula has struck a chill into the hearts of readers. The original Bram Stoker novel has spawned countless imitation stories and a rich tradition of vampire films that still thrill audiences today.
Now, in the centenary year of the author's death, a discovery of lost work by him has shed fresh light on a great horror masterpiece. An American author has unearthed writings by the Irish novelist that were published more than a century ago in periodicals that have long since disappeared, some of which give new insights into his 1897 story of the bloodsucking count.
Gothic is a perennial theme that seems to speak to every generation, from Horace Walpole, Bram Stoker and Mary Shelley's pioneering Gothic tales to Buffy the Vampire Slayer, The Twilight Saga [...] and True Blood.
Women writers with male names Beaumont Enterprise Charlotte Bronte, author of Jane Eyre and other novels, wrote as Currer Bell. Her sister, Emily Bronte, author of Wuthering Heights, wrote as Ennis Bell.
WUTHERING HEIGHTS BY EMILY BRONTE. Emily Bronte was a clergyman's daughter. She grew up in a remote part of England. She didn't like to travel. When she left home she became ill. She never married and she died at ...
With preoccupations with the body—body horror, the abject, disability studies, medical themes, etc—prevalent within the contemporary Gothic and Gothic studies as a whole, it is little surprise that one of Routledge’s upcoming New Critical Idiom books is devoted to the grotesque. This volume by Justin Edwards and Rune Graulund highlights the importance and potential of locating the power of bodies (and the literature that features them) in the vehicle of the grotesque and its many manifestations: from the manipulation and transgression of boundaries and rules to a critique of institutions and classifications, from the embrace of uncertainty and contradiction to a reinstatement ofnew boundaries and (ab)norms.
Dracula was published in the UK by Archibald Constable and Co. on May 26th, 1897. Just over one month later, the following interview with Bram Stoker was published in the July 1st edition of the British Weekly. The interview was conducted by Jane Stoddard under the pen name “Lorna”.
“Mr.Bram Stoker. A Chat with the Author of Dracula”
One of the most interesting and exciting of recent novels is Mr. Bram Stoker’s “Dracula.” It deals with the ancient mediaeval vampire legend, and in no English work of fiction has this legend been so brilliantly treated. The scene is laid partly in Transylvania and partly in England. The first fifty-four pages, which give the journal of Jonathan Harker after leaving Vienna until he makes up his mind to escape from Castle Dracula, are in their weird power altogether unrivalled in recent fiction.
Following an inauspicious start in 1897, the reputation of Dracula grew until the novel became the rulebook for vampiristic dos and don’ts. The centenary of Bram Stoker’s death last year was an occasion to reflect on this evolution as well as to examine Stoker’s life and propose how this definitive work came from the pen of a drab Petty Sessions clerk who wrote sub-standard fiction on the side. Dracula buffs and gothic scholars are determined to find origins, inspirations and predilections that forecast Stoker’s only notable invention, for otherwise his authorship of Dracula at the age of fifty is an unfathomable anomaly
The forgotten horror writer who sold more books than Bram Stoker's Dracula West Sussex Gazette An exhibition for Richard Marsh (1857-1915), who lived and worked in Three Bridges for 20 years, was launched last week.
UK’s Open University has developed a fun way to market their design courses: a series of six short animations called 'Design in a Nutshell' that briefly survey important movements in the arts and architecture—from the late-nineteenth century Gothic Revival to late-twentieth century Postmodermism.
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