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The Road of Excess: Writing Trauma i...

Stumpf, Claudia.

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The Road of Excess: Writing Trauma in Sentimental and Gothic Texts 1745-1810.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Road of Excess: Writing Trauma in Sentimental and Gothic Texts 1745-1810./
作者:	Stumpf, Claudia.
面頁冊數:	199 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-10(E), Section: A.
Contained By:	Dissertation Abstracts International76-10A(E).
標題:	English literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3704625
ISBN:	9781321771879

The Road of Excess: Writing Trauma in Sentimental and Gothic Texts 1745-1810.
Stumpf, Claudia.

The Road of Excess: Writing Trauma in Sentimental and Gothic Texts 1745-1810. - 199 p.

Source: Dissertation Abstracts International, Volume: 76-10(E), Section: A.

Thesis (Ph.D.)--Tufts University, 2015.

This dissertation focuses on way in which telling stories of traumatic suffering causes narratological excess in British gothic and sentimental literature from the eighteenth and early nineteenth centuries. Informed by theories of trauma from Freud to LaCapra and incorporating contemporary psychological practice-based literature, my argument explores how these texts exceed formal and stylistic boundaries in three specific ways: narrative repetition, dark humor, and the role of narrators. My interest lies in the way that trauma marks these texts in formal and structural ways. Putting sentimental and gothic literature together for this project reveals both a surprising similarity between these often-opposed genres. Furthermore, it reveals the way that the formal qualities of narratives of suffering are similar across texts with apparently very different explicit political or social messages.

ISBN: 9781321771879Subjects--Topical Terms:

516356
English literature.

The Road of Excess: Writing Trauma in Sentimental and Gothic Texts 1745-1810.
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245 1 4 $a The Road of Excess: Writing Trauma in Sentimental and Gothic Texts 1745-1810.
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500 $a Source: Dissertation Abstracts International, Volume: 76-10(E), Section: A.
500 $a Adviser: Sonia Hofkosh.
502 $a Thesis (Ph.D.)--Tufts University, 2015.
520 $a This dissertation focuses on way in which telling stories of traumatic suffering causes narratological excess in British gothic and sentimental literature from the eighteenth and early nineteenth centuries. Informed by theories of trauma from Freud to LaCapra and incorporating contemporary psychological practice-based literature, my argument explores how these texts exceed formal and stylistic boundaries in three specific ways: narrative repetition, dark humor, and the role of narrators. My interest lies in the way that trauma marks these texts in formal and structural ways. Putting sentimental and gothic literature together for this project reveals both a surprising similarity between these often-opposed genres. Furthermore, it reveals the way that the formal qualities of narratives of suffering are similar across texts with apparently very different explicit political or social messages.
520 $a The introduction, "The Narrative Effects of Traumatic Suffering," provides a theoretical and historical context for my dissertation and outlines my argument. Chapter One, "Telling it Over, Over Again: Repetition Compulsion, The Uncanny, and the Problem of Closure," reads Eliza Parsons' gothic novel The Castle of Wolfenbach and Fanny Burney's sentimental novel Evelina as texts structured by the repetitions and doublings symptomatic of trauma, and suggests that these repetitions are not fully resolved within the texts. My second chapter is entitled "Excessive Sorrow Laughs: Violent Humor, Pain, and Tonal Hybridity" and reads Matthew Lewis' The Monk, Ann Radcliffe's The Italian, and Henry Mackenzie's The Man of Feeling, focusing on the presence of humor as a narrative effect of psychological suffering and sexual threat. The third chapter, "Moralizing Among Ruins: Christianity, Patriarchy, and the Struggle for Narrative Authority," focuses on narrative voices in Samuel Taylor Coleridge's "The Rime of the Ancient Mariner," Charlotte Dacre's Zofloya, and Samuel Richardson's Clarissa as a location for inevitably incomplete attempts at explaining trauma. My conclusion "The Sublime Pleasures of Trauma Narratives" explores the fact that while all of the narratives I discuss are focused on pain and suffering, as imaginative (rather than biographical or personal) narratives, they also provide pleasure for the reader.
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