Titlebook: Victorian Hauntings; Spectrality, Gothic, Julian Wolfreys Textbook 2002Latest edition The Editor(s) (if applicable) and The Author(s) 2002

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書目名稱Victorian Hauntings影響因子(影響力)




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法官

,‘I wants to make your flesh creep’: Dickens and the Comic-Gothic,rse, that these are gothic as such, although we do think of such figures as manifestations of nineteenth-century Englishness. These and other phenomena, such as the statuary found in Victorian cemeteries like Highgate are discernible as being the fragments and manifestations of a haunting and, equal

冬眠

,Phantom Optics: George Eliot’s ,eginning. As he awaits the scene during the final month of his life, with which his mind has confronted him repeatedly, he recalls the appearance and development of his telepathic powers, narrating to the reader scenes from his past wherein he has had instances of both insight and foresight.

變化無常

,’s ‘land of fragments’,be the perception of London’s institutional, governmental, financial, and other systematic relationships. Specifically, what is of interest is the ways in which Dickens maintains a certain spectral effect of the fragment in order to announce the condition of reading, writing, and representing London

儀式

,‘The persistence of the unforeseen’: ,itectural and archaeological structures resonating with the traces of the spectral. The ghosts of other textual forms, of which the tragic is only the most persistent or obvious, haunt the very structure of the novel. Michael Henchard particularly is troubled by the past, by a certain spectral reven

condone

Afterword: Prosopopoeia or, Witnessing,yet everywhere; and yet everywhere different. Attuning ourselves to the possibility of spectral analysis, forcing ourselves to confront the . and the . that nonetheless leaves a trace in passing and which has such a material effect — and what, after all, is ideology for example except the experience

RAGE

Textbook 2002Latest editionreading or writing are haunted ? In what ways can authors in the nineteenth century be read so as to acknowledge the various phantom effects which return within their texts ? In what ways do the traces of such " ghost writing " surface in the works of Dickens, Tennyson, Eliot and Hardy ? How does th

Saline

BARB

Odyssey

,‘I wants to make your flesh creep’: Dickens and the Comic-Gothic,an inward turn perhaps, an incorporation which is also a spectralization. There is a constant return of the gothic as that which marks national identity without being fixable as a paradigmatic definition of that identity.