Podcast appearances and mentions of Ann Radcliffe

Send us a textMr. Bartley - plain fontMr. Poe - italics fontWelcome to Celebrate Poe - Episode 376 - A Crawling ShapeIn this episode, I would like to slightly change the subject to early Gothic novels such as The Castle of Otrano - literature that most scholars believed influenced Edgar Poe's works.Ah, Mr. Bartley - I know that some scholars have said that I must have been familiar with the The Castle of Otranto from 1764, which many have said was the first Gothic novel,and influenced such individuals as Ann Radcliffe and Mary Shelley, whose works I greatly admired and even referenced. My own Gothic tales, such as The Fall of the House of Usher, share thematic and stylistic elements with Walpole's work, including haunted settings, supernatural events, and psychological terror.Ah yes, Mr. Poe - what about E.T.A. Hoffman?Ah, Mr. Bartley, Mr. Hoffman definitely influenced my works - due to hisuse of first-person narratives and exploration of madness, align with techniques pioneered in Otranto.  And I must point out how Otranto's Gothic tropes - —haunted castles, doomed aristocrats, and supernatural Thank you for experiencing Celebrate Poe.

Send us a textToday Ashley and Liz are setting the stage for our mini episode series about the infamous 50 Shades of Grey trilogy which starts this Friday and continues on for five episodes, including the original three books, a surprise bonus book, and a wrap up episode covering the movies and all of our final thoughts! But today, buckle up for a spoiler free episode all about… ROMANCE NOVELS! The genre that changed the game for publishers… for readers… for writers… and for women. We've never read this series and want to examine it through a certain lens - what exactly did this series do for the genre as a whole? And who paved the way to make Fifty Shades of Grey a mainstream romance sensation? We take you wayyyyy back to the “first” romance novel, explore the OG pioneers of the genre, explain what defines a book as “romance” in the first place, and delve into how the content and themes have changed over time, influencing literature of ALL genres. We discuss the different evolutions and iterations of these books primarily written by women, for women, and how despite the success, popularity, and numbers to back it up… the romance genre is repeatedly labeled as “less than literature” or reduced to “chick lit.” We want to (NEED TO) talk about why.And don't worry, even though it's a little heavy, we still have a faves and fails and smash or pass, romance edition! Check out this author interview! | Callie Hart NYT Bestseller Author of Quicksilver! | https://youtu.be/CED5s7qDBdQ?si=8xtIRO1IzX6Rsld4Shop bookish apparel worn in this episode!Ashley is Wearing: ACOTAR Valkyrie Tee from @thebeanworkshop | Use code: BOOKBESTIES10 to save!  | * https://thebeanworkshop.store/products/to-the-stars-who-listen-and-the-dreams-are-answered-tee-shirt?_pos=9&_sid=823f6afe6&_ss=rLiz is wearing: “If You Want to Save Animals, Stop Eating Them” Baby Tee from @dont.eat.the.homies | https://donteatthehomies.com/products/save-animals-teeAny link with an * is an affiliate link through the service Magic Links and is eligible for a commission to us with no extra cost to you. Thank you for helping support our podcast!_____Articles / Resources:Writing 101: What Is a Romance Novel? Masterclass.comThese Authors are Putting the Dark in Dark Romance wusf.org for NPR A Brief History of the Romance Novel by Amanda Pagan nypl.org Evolution of the Romance Novel by Cristin Harber cristinharber.comPamela and the Early Origins of the Romance Novel smu.eduThe Dark Romance of Ann Radcliffe by V.H. Leslie fiction thisishorror.co.ukHow Jane Austen's Resolve Sculpted Literary History by Evan Swensen medium.comGothic Novel Masterpieces: Jane Eyre and Wuthering Heights by Yehuda M.S. medium.comThe History of the Wonderful Romantasy Genre by Danielle Tomlinson bookstr.comThe Evolution of Dark Romance: YouTube | TikTok | Instagram | Podcast Platforms@BestiesandtheBooksPodcast Besties and the Book Club on Fable!https://fable.co/bestiesandthebookclub-474863489358Liz Instagram | TikTok@TheRealLifeVeganWife AshleyInstagram | TikTok@AshleyEllix

"I have made up my mind to like no novels really but Miss Edgeworth's, yours, and my own."  —Jane Austen to her niece, Anna Lefroy, 1814Jane Austen's novels and letters are strewn with references to the female authors she admired—writers like Maria Edgeworth, Ann Radcliffe, and Charlotte Lennox. But these novelists, despite their wide popularity in their own time, have largely disappeared from our bookshelves. In this episode, rare book dealer Rebecca Romney shares some of their stories, examines their influence on Austen, and may even inspire you to add some of Austen's favorites to your own to-be-read list. Rebecca Romney is a rare book dealer and the cofounder of Type Punch Matrix, a Washington, DC-area rare book firm. Over the course of her career, she has sold Shakespeare folios, first editions of Newton's Principia Mathematica and Darwin's Origin of Species, and individual leaves from the Gutenberg Bible. The author of several books, her latest is Jane Austen's Bookshelf: A Rare Book Collector's Quest to Find the Women Writers Who Shaped a Legend. She is also the rare books specialist on the HISTORY Channel's show Pawn Stars.For a transcript and show notes, visit https://jasna.org/austen/podcast/ep21/.*********Visit our website: www.jasna.orgFollow us on Instagram and FacebookSubscribe to the podcast on our YouTube channelEmail: podcast@jasna.org

Have you heard of the wholesome queer Gothic? This is the cool new term that might just explain why so many of us were obsessed with monsters, witches, witches and vampires before we came out of the coffin, uhm, closet. Sarah Faber and Kerstin-Anja Münderlein join me for this spooky special to speak about their favourite Gothic books, games, and tropes, and about the amazing collection they co-edited. Tune in for seasonal reading recommendations and reflections on gender transgressions in Gothic narratives.  References:Rethinking Gothic Transgressions of Gender and Sexuality (Routledge, 2024)Horace Walpole's The Castle of Otranto (1764)Ann Radcliffe's The Italian (1797) and The Mysteries of Udolpho (1794)Daphne du Maurier's RebeccaNaomi Novik's Uprooted and The ScholomanceK.J. Charles's Band SinisterVampire: The Masquerade -- BloodlinesBloodborneDark SoulsFallen LondonCastlevaniaSunless SeaDoppelgangerLara BrändleFranziska QuabeckCharles DickensAlycia GarbayGrace KingKit SchusterJennifer's BodyDraculaEdgar Allan Poe's The Fall of the House of UsherJulia Armfield's Private RitesThe Hays CodeRuPaul's Drag RaceHeartstopperCasey McQuistonBuffy The Vampire SlayerInterview with The VampireBrad PittNight CascadesHanako GamesCarolyn DinshawElizabeth FreemanKirsty Logan's Things We Say in the DarkJuno Dawson's Wonderland (2020)  Questions you should be able to respond to after listening:     Why is the Gothic both a genre and a mode? What do these terms mean?     What are typical tropes and features of Gothic writing?     Which century might we consider as an origin point of Gothic writing?     What is the wholesome queer Gothic?     What are male and female traditions of the Gothic?     What is your favourite kind of monster and why?            

Das ZeitZeichen am 9. Juli 2024.

Die Britin Ann Radcliffe gilt als Pionierin der Gothic Novel. Ihre Schauerromane waren schon im 18. Jahrhundert ein riesiger Erfolg und machten die Autorin reich und berühmt. Um ihr Leben rankten sich schaurige Gerüchte. Biermann, Ulrich www.deutschlandfunk.de, Kalenderblatt

Ann Radcliffe (geboren am 9.7.1764) hat Generationen das Gruseln gelehrt - bis heute. Trotz ihres großen Erfolgs zog sie sich früh aus der Öffentlichkeit zurück. Von Daniela Wakonigg.

Dans cette émission, nous nous intéressons à la période romantique et plus particulièrement à la figure de l'héroine sacrifiée. Au début du XIXe siècle, ces représentations créées principalement par des hommes ancrent dans l'imaginaire collectif une certaine vision du féminin qui continue de marquer encore aujourd'hui beaucoup de productions culturelles. Du roman sentimental en passant par le roman gothique, on part à la rencontre des héroines romantiques qui meurent d'amour. extrait : expressions, La Dame aux camélias de Dumas fils, La mort d'Atala de Chateaubriand, Les mystères du chateau d'Udolphe d'Ann Radcliffe, Emma Bovary de Flaubert, Tribune des femmes de Mary Camille de G (Salon 1834) Musique : Tristesse de Zaho de Sagazan, Don't me let down de Joy Crookes , Fasateen de Mashrou Leila

Brace yourself for gloomy castles, ghostly apparitions, and gruesome corpses! This new season of Warlock Vorobok Reads features scary good short stories, starting with the queen of Gothic literature, Ann Radcliffe. Radcliffe returns from the void to join the podcast after first sharing her supernatural writings with the Library's resident warlock on the March 2022 episode. This time, Warlock Vorobok shares her 18th century masterpiece, “The Mysteries of Udolpho.”

Foi no gótico que muitas mulheres se sentiram confortáveis e atraídas, seja como fã, consumidora dessa literatura ou como criadora dessas histórias, já que muitas vezes as narrativas desses livros abraçavam figuras femininas como as criaturas frágeis ou vulneráveis que enfrentavam ameaças sobrenaturais e misteriosas.  A condição social feminina, como opressões, confinamento e os papéis tradicionais de gênero, também foi um meio que a literatura gótica viu que poderia explorar, já que isso passava a ser preocupação de mulheres na época, ou seja, muitas questões que eram negligenciadas na vida real e causavam medos, foram sendo exploradas na ficção de terror de diversas formas, acabando assim por moldar a maneira como o horror é compreendido e apreciado hoje. Autoras pioneiras como Clara Reeve, Ann Radcliffe, Mary Shelley, Shirley Jackson, Edith Wharton ou Daphne du Maurier, desafiaram as normas de suas épocas contribuindo sobremaneira para a evolução do horror, explorando temas como maternidade, vida doméstica, sobrenatural, o macabro e o psicológico. No Mundo Freak Confidencial de hoje, junto com nossos investigadores Andrei Fernandes, Jey Carrillo, Ira Croft e Gabi Larocca vamos conhecer um pouco mais sobre a vida e obra de algumas dessas pioneiras que tanto contribuíram para a literatura de horror, abrindo caminhos para outras mulheres continuarem seus legados, construindo novos olhares e percursos.

Foi no gótico que muitas mulheres se sentiram confortáveis e atraídas, seja como fã, consumidora dessa literatura ou como criadora dessas histórias, já que muitas vezes as narrativas desses livros abraçavam figuras femininas como as criaturas frágeis ou vulneráveis que enfrentavam ameaças sobrenaturais e misteriosas.  A condição social feminina, como opressões, confinamento e os papéis tradicionais de gênero, também foi um meio que a literatura gótica viu que poderia explorar, já que isso passava a ser preocupação de mulheres na época, ou seja, muitas questões que eram negligenciadas na vida real e causavam medos, foram sendo exploradas na ficção de terror de diversas formas, acabando assim por moldar a maneira como o horror é compreendido e apreciado hoje. Autoras pioneiras como Clara Reeve, Ann Radcliffe, Mary Shelley, Shirley Jackson, Edith Wharton ou Daphne du Maurier, desafiaram as normas de suas épocas contribuindo sobremaneira para a evolução do horror, explorando temas como maternidade, vida doméstica, sobrenatural, o macabro e o psicológico. No Mundo Freak Confidencial de hoje, junto com nossos investigadores Andrei Fernandes, Jey Carrillo, Ira Croft e Gabi Larocca vamos conhecer um pouco mais sobre a vida e obra de algumas dessas pioneiras que tanto contribuíram para a literatura de horror, abrindo caminhos para outras mulheres continuarem seus legados, construindo novos olhares e percursos.

The Castle of Otranto by Horace Walpole audiobook. The Castle of Otranto is a 1764 novel by Horace Walpole. It is generally held to be the first gothic novel, initiating a literary genre which would become extremely popular in the later 18th century and early 19th century. Thus, Castle, and Walpole by extension is arguably the forerunner to such authors as Ann Radcliffe, Bram Stoker, Daphne du Maurier, and Stephen King. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Halloween 2023, we bring you one of the craziest novels of all time (or certainly of the eighteenth century). Matthew Lewis's The Monk (1796) is a tale of horny Catholics – men and women, in the clergy and not – sexy nuns, ultraviolence, and, as Katie puts it, “dinosaurism.” See, Satan turns into a pterodactyl to open up a can of whoop-ass on the Monk. Based. Another extremely based thing that happens, this smokin' lady monk named Matilda turns out to be a wizard, does a full-on black mass, AND DOMMES THE PRINCE OF DARKNESS HIMSELF. It's trashy as hell, it's metal af, and we're talking all the classic gothic themes – sex, desire, critiques of power and patriarchy, and how eighteenth-century Britons are constitutionally incapable of being even slightly normal about the “Romish religion.” We read the Oxford edition with notes and introduction by Nick Groom, but we kinda recommend the Penguin for the cover art alone, which really gets at the dinosaurism in question (it also has full frontal, which is very much in keeping with the spirit of The Monk). For more on the gothic and Lewis's place within it, we highly recommend friend-of-the-pod Michael Gamer's Romanticism and the Gothic: Genre, Reception, and Canon Formation, as well as Angela Wright's chapter on Lewis and Ann Radcliffe in The Cambridge History of the Gothic, Vol. I. Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus; we all have the same handles on BlueSky.

Northanger Abbey follows seventeen-year-old Gothic novel aficionado Catherine Morland and family friends Mr. and Mrs. Allen as they visit Bath. It is Catherine's first visit there. She meets new friends, such as Isabella Thorpe, and goes to balls. Catherine finds herself pursued by Isabella's brother, the rough-mannered, slovenly John Thorpe, and by her real love interest, Henry Tilney. She also becomes friends with Eleanor Tilney, Henry's younger sister. Henry captivates her with his view on novels and his knowledge of history and the world. General Tilney (Henry and Eleanor's father) invites Catherine to visit their estate, Northanger Abbey, which, from her reading of Ann Radcliffe's Gothic novel The Mysteries of Udolpho, she expects to be dark, ancient and full of Gothic horrors and fantastical mystery. - Summary by Wikipedia --- Support this podcast: https://podcasters.spotify.com/pod/show/librivox1/support

Holly and Tracy talk about college experiences with Gothic literature, and modern analysis of Ann Radcliffe's work.See omnystudio.com/listener for privacy information.

Once Ann Radcliffe retired from publishing, all kinds of rumors started to spread about her, including some that distressed her greatly. After she died, there was even more speculation. Research: Britannica, The Editors of Encyclopaedia. "Ann Radcliffe". Encyclopedia Britannica, 5 Jul. 2023, https://www.britannica.com/biography/Ann-Radcliffe-English-author Radcliffe, Ann. “The Romance of the Forest, interspersed with some pieces of poetry.” London. 1824. Accessed online: https://www.gutenberg.org/cache/epub/64701/pg64701-images.html Radcliffe, Ann. “Gaston de Blondeville: Or The Court of Henry III. Keeping Festival in Ardenne, a Romance. St. Alban's Abbey, a Metrical Tale: with Some Poetical Pieces, Volume 1.” H. Colburn. 1826. Accessed online: https://play.google.com/store/books/details?id=vi03AAAAIAAJ&rdid=book-vi03AAAAIAAJ&rdot=1 Radcliffe, Ann. “A Journey Made in the Summer of 1794, Through Holland and the Western Frontier of Germany, With a Return Down the Rhine: To Which Are Added Observations During a Tour to the Lakes of Lancashire, Westmoreland and Cumberland, in Two Volumes.” G.G. and Robinson. London. 1795. Accessed online: https://www.gutenberg.org/cache/epub/62795/pg62795-images.html Facer, Ruth. “Ann Radcliffe (1764-1823).” Chawton House Library. 2012. http://www.chawtonhouse.org/wp-content/uploads/2012/06/Ann-Radcliffe.pdf Dugdale, John. “Happy 250th, Ann Radcliffe.” The Guardian. Oct. 31, 2014. https://www.theguardian.com/books/2014/oct/31/ann-radcliffe-gothic-pioneer-snubbed-horace-walpole-the-castle-of-oronto-250-years-celebrations#:~:text=Another%20250th%20anniversary%2C%20of%20Ann,sent%20up%20in%20Northanger%20Abbey. Flood, Allison. “Gothic fiction pioneer Ann Radcliffe may have been inspired by mother-in-law.” The Guardian. Jan. 30, 2014. https://www.theguardian.com/books/2014/jan/30/ann-radcliffe-gothic-fiction-mother-in-law McIntyre, Clara Frances. “Anne Radcliffe in Relation to her Time.” Yale University Press. 1920. Accessed online: https://archive.org/details/annradcliffeinre00mcinuoft/page/n3/mode/2up “Mr. Radcliffe … “ Sunday Dispatch/ London. October 30, 1825. https://www.newspapers.com/image/813446539/?terms=%22Ann%20Radcliffe%22&match=1 McKillop, Alan D. “Mrs. Radcliffe on the Supernatural in Poetry.” The Journal of English and Germanic Philology, vol. 31, no. 3, 1932, pp. 352–59. JSTOR. http://www.jstor.org/stable/27703650 Clarke, N. (2005). Anna Seward: Swan, Duckling or Goose?. In: Batchelor, J., Kaplan, C. (eds) British Women's Writing in the Long Eighteenth Century. Palgrave Macmillan, London. https://doi.org/10.1057/9780230595972_3 Norton, Rictor. “Mistress of Udolpho.” Leicester University Press. 1999. Thomas, Donald. “Queen of Terrors.” The Guardian. July 10, 1964. https://www.newspapers.com/image/259612656/?terms=%22Ann%20Radcliffe%22&match=1 Townshend, D., & Wright, A. (2014). Gothic and Romantic engagements The critical reception of Ann Radcliffe, 1789–1850. In D. Townshend & A. Wright (Eds.), Ann Radcliffe, Romanticism and the Gothic (pp. 3-32). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139507448.003 Schwertfeger, S. 'No spoilers, please': the crux of illustrating the explained Gothic without explaining the mystery. Palgrave Commun3, 16 (2017). https://doi.org/10.1057/s41599-017-0018-z Scott, Sir Walter. “The Lives of the Novelists.” London. 1906. Accessed online: https://play.google.com/store/books/details?id=DXPPAAAAMAAJ&rdid=book-DXPPAAAAMAAJ&rdot=1 See omnystudio.com/listener for privacy information.

In the space of a decade, Ann Radcliffe married, started writing, and had an incredibly successful career as an author. But after her 1797 novel, she retired, much to the confusion of her readers.  Research:  Britannica, The Editors of Encyclopaedia. "Ann Radcliffe". Encyclopedia Britannica, 5 Jul. 2023, https://www.britannica.com/biography/Ann-Radcliffe-English-author Radcliffe, Ann. “The Romance of the Forest, interspersed with some pieces of poetry.” London. 1824. Accessed online: https://www.gutenberg.org/cache/epub/64701/pg64701-images.html Radcliffe, Ann. “Gaston de Blondeville: Or The Court of Henry III. Keeping Festival in Ardenne, a Romance. St. Alban's Abbey, a Metrical Tale: with Some Poetical Pieces, Volume 1.” H. Colburn. 1826. Accessed online: https://play.google.com/store/books/details?id=vi03AAAAIAAJ&rdid=book-vi03AAAAIAAJ&rdot=1 Radcliffe, Ann. “A Journey Made in the Summer of 1794, Through Holland and the Western Frontier of Germany, With a Return Down the Rhine: To Which Are Added Observations During a Tour to the Lakes of Lancashire, Westmoreland and Cumberland, in Two Volumes.” G.G. and Robinson. London. 1795. Accessed online: https://www.gutenberg.org/cache/epub/62795/pg62795-images.html Facer, Ruth. “Ann Radcliffe (1764-1823).” Chawton House Library. 2012. http://www.chawtonhouse.org/wp-content/uploads/2012/06/Ann-Radcliffe.pdf Dugdale, John. “Happy 250th, Ann Radcliffe.” The Guardian. Oct. 31, 2014. https://www.theguardian.com/books/2014/oct/31/ann-radcliffe-gothic-pioneer-snubbed-horace-walpole-the-castle-of-oronto-250-years-celebrations#:~:text=Another%20250th%20anniversary%2C%20of%20Ann,sent%20up%20in%20Northanger%20Abbey. Flood, Allison. “Gothic fiction pioneer Ann Radcliffe may have been inspired by mother-in-law.” The Guardian. Jan. 30, 2014. https://www.theguardian.com/books/2014/jan/30/ann-radcliffe-gothic-fiction-mother-in-law McIntyre, Clara Frances. “Anne Radcliffe in Relation to her Time.” Yale University Press. 1920. Accessed online: https://archive.org/details/annradcliffeinre00mcinuoft/page/n3/mode/2up “Mr. Radcliffe … “ Sunday Dispatch/ London. October 30, 1825. https://www.newspapers.com/image/813446539/?terms=%22Ann%20Radcliffe%22&match=1 McKillop, Alan D. “Mrs. Radcliffe on the Supernatural in Poetry.” The Journal of English and Germanic Philology, vol. 31, no. 3, 1932, pp. 352–59. JSTOR. http://www.jstor.org/stable/27703650 Clarke, N. (2005). Anna Seward: Swan, Duckling or Goose?. In: Batchelor, J., Kaplan, C. (eds) British Women's Writing in the Long Eighteenth Century. Palgrave Macmillan, London. https://doi.org/10.1057/9780230595972_3 Norton, Rictor. “Mistress of Udolpho.” Leicester University Press. 1999. Thomas, Donald. “Queen of Terrors.” The Guardian. July 10, 1964. https://www.newspapers.com/image/259612656/?terms=%22Ann%20Radcliffe%22&match=1 Townshend, D., & Wright, A. (2014). Gothic and Romantic engagements The critical reception of Ann Radcliffe, 1789–1850. In D. Townshend & A. Wright (Eds.), Ann Radcliffe, Romanticism and the Gothic(pp. 3-32). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139507448.003 Schwertfeger, S. 'No spoilers, please': the crux of illustrating the explained Gothic without explaining the mystery. Palgrave Commun3, 16 (2017). https://doi.org/10.1057/s41599-017-0018-z Scott, Sir Walter. “The Lives of the Novelists.” London. 1906. Accessed online: https://play.google.com/store/books/details?id=DXPPAAAAMAAJ&rdid=book-DXPPAAAAMAAJ&rdot=1 See omnystudio.com/listener for privacy information.

The eponymous Bramley and McIntosh apples are both lucky accidents, and both of them have stories which stretch from the early 19th century into present day.  Research: Britannica, The Editors of Encyclopaedia. "Ann Radcliffe". Encyclopedia Britannica, 5 Jul. 2023, https://www.britannica.com/biography/Ann-Radcliffe-English-author Radcliffe, Ann. “The Romance of the Forest, interspersed with some pieces of poetry.” London. 1824. Accessed online: https://www.gutenberg.org/cache/epub/64701/pg64701-images.html Facer, Ruth. “Ann Radcliffe (1764-1823).” Chawton House Library. 2012. http://www.chawtonhouse.org/wp-content/uploads/2012/06/Ann-Radcliffe.pdf Dugdale, John. “Happy 250th, Ann Radcliffe.” The Guardian. Oct. 31, 2014. https://www.theguardian.com/books/2014/oct/31/ann-radcliffe-gothic-pioneer-snubbed-horace-walpole-the-castle-of-oronto-250-years-celebrations#:~:text=Another%20250th%20anniversary%2C%20of%20Ann,sent%20up%20in%20Northanger%20Abbey. Flood, Allison. “Gothic fiction pioneer Ann Radcliffe may have been inspired by mother-in-law.” The Guardian. Jan. 30, 2014. https://www.theguardian.com/books/2014/jan/30/ann-radcliffe-gothic-fiction-mother-in-law “Mr. Radcliffe … “ Sunday Dispatch/ London. October 30, 1825. https://www.newspapers.com/image/813446539/?terms=%22Ann%20Radcliffe%22&match=1 Clarke, N. (2005). Anna Seward: Swan, Duckling or Goose?. In: Batchelor, J., Kaplan, C. (eds) British Women's Writing in the Long Eighteenth Century. Palgrave Macmillan, London. https://doi.org/10.1057/9780230595972_3 Norton, Rictor. “Mistress of Udolpho.” Leicester University Press. 1999. Thomas, Donald. “Queen of Terrors.” The Guardian. July 10, 1964. https://www.newspapers.com/image/259612656/?terms=%22Ann%20Radcliffe%22&match=1 Townshend, D., & Wright, A. (2014). Gothic and Romantic engagements The critical reception of Ann Radcliffe, 1789–1850. In D. Townshend & A. Wright (Eds.), Ann Radcliffe, Romanticism and the Gothic(pp. 3-32). Cambridge: Cambridge University Press. doi:10.1017/CBO9781139507448.003 Schwertfeger, S. 'No spoilers, please': the crux of illustrating the explained Gothic without explaining the mystery. Palgrave Commun3, 16 (2017). https://doi.org/10.1057/s41599-017-0018-z Scott, Sir Walter. “The Lives of the Novelists.” London. 1906. Accessed online: https://play.google.com/store/books/details?id=DXPPAAAAMAAJ&rdid=book-DXPPAAAAMAAJ&rdot=1 See omnystudio.com/listener for privacy information.

...in which we journey back 200 years to the early days of Lake District tourism in the company of Jeff Cowton MBE, principal curator at Wordsworth Grasmere. Tracing the footsteps of the first well-to-do visitors, we ascend the pastures of Latrigg, midway between the perennial honeypot of Keswick and long-climbed slopes of Skiddaw. As we walk, we consider tourism's roots in the continental Grand Tour, and the events that shifted 'strangers'' eyes to the-once 'frightful' backwaters of Cumbria. Influenced by concepts like 'the sublime' and 'the picturesque', we note key figures in the development of both tourism and the aesthetic appreciation of landscape, from Jean-Jacques Rousseau to Father Thomas West. Arriving at one of Lakeland's great viewpoints, we reflect on the characters that embraced the early tourist boom, including polymath eccentric Peter Crosthwaite and co-founder of Derwent Water's remarkable regatta, Joseph Pocklington, before advancing in time to the arrival of Wordsworth, Coleridge... and the railways.   For more about the early days of tourism in the Lake District, the ‘To the Lakes!' exhibition at Wordsworth Grasmere runs for the remainder of 2023 and through much of 2024. Wordsworth Grasmere is also hosting two events that celebrate the journeys of early tourists, specifically: Ann Radcliffe's Ascent of Skiddaw, 1794 – Thursday 28 September 2023 and Historical Meal and Walk – Saturday 9 September 2023 that recreates the experience of a 1792 tourist with a historical meal and guided walk up Helm Crag. For more information see: wordsworth.org.uk/blog/events/to-the-lakes-historical-meal-and-walk/

The Castle of Otranto is a 1764 novel by Horace Walpole. It is generally held to be the first gothic novel, initiating a literary genre which would become extremely popular in the later 18th century and early 19th century. Thus, Castle, and Walpole by extension is arguably the forerunner to such authors as Ann Radcliffe, Bram Stoker, Daphne du Maurier, and Stephen King. --- Support this podcast: https://podcasters.spotify.com/pod/show/librivox1/support

Un día como hoy 9 de julio: Nace: 1764: Ann Radcliffe, escritor británica (f. 1823). 1766: Johanna Schopenhauer, escritora alemana (f. 1839). 1918: Alí Chumacero, poeta y editor mexicano (f. 2010). 1933: Oliver Sacks, neurólogo y escritor británico (f. 2015). 1956: Tom Hanks, actor estadounidense. Fallece: 1441: Jan van Eyck, pintor flamenco (n. 1390). 1828: Gilbert Stuart, pintor estadounidense (n. 1755). 1962: Georges Bataille, antropólogo, sociólogo y filósofo francés. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

This is a LibriVox public domain recording. Northanger Abbey follows Catherine Morland and family friends Mr. and Mrs. Allen as they visit Bath, England. Seventeen year-old Catherine spends her time visiting newly-made friends, such as Isabella Thorpe, and going to balls. Catherine finds herself pursued by Isabella's brother John Thorpe (Catherine's brother James's friend from university), and by Henry Tilney. She also becomes friends with Eleanor Tilney, Henry's younger sister. Henry captivates her with his view on novels and his knowledge of history and the world. General Tilney (Henry and Eleanor's father) invites Catherine to visit their estate, Northanger Abbey, which, because she has been reading Ann Radcliffe's gothic novel The Mysteries of Udolpho, Catherine expects to be dark, ancient and full of fantastical mystery. (Summary by Wikipedia) --- Support this podcast: https://podcasters.spotify.com/pod/show/colin-holbrook/support

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Ann Radcliffe.

Historiquement Vôtre réunit trois personnages gentiment gothiques : Eugène Viollet-le-Duc, l'architecte le plus célèbre de l'histoire de France qui, passionné par le Moyen-Âge, a mis du gothique dans ses restaurations de monuments marquants du passé. Puis “la puissante magicienne du roman noir” Ann Radcliffe, l'une des pionnières du roman gothique qui a imposé le genre. Et une gothique plus contemporaine, avec son teint blafard et ses cheveux noirs, la petite dernière de la célèbre famille Addams - et petite première de Netflix avec le spin-off de la série qui lui est consacré : Mercredi Addams.

Un día como hoy, 7 de febrero. Acontecimientos: 1765, se publica El castillo de Otranto, de Horace Walpole. Nace: Tomás Moro. 1478: Tomás Moro, político, humanista y escritor inglés. 1812: Charles Dickens, escritor británico . 1864: Ricardo Castro Herrera, compositor mexicano. 1885: Sinclair Lewis, novelista estadounidense, premio nobel de literatura en 1930. Fallece: 1823: Ann Radcliffe, escritora y novelista británica. 1994: Witold Lutosławski, compositor polaco. 2003: Augusto Monterroso, escritor guatemalteco. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Emma and Christy discuss M. Night Shyamalan's 2021 film Old. We talk about what makes good (and bad) horror; harmful representations of disability in movies, art, and society; aging and chronic illness; the history of medical experimentation; critical disability studies; and “crip time”. We may not recommend actually watching this film, but we definitely recommend thinking through some of what's going on in it! CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Old (2021) Movie poster Hotelier offering the secluded beach trip to the Cappa family Mid-Sized Sedan Corpse floating to bump into Trent Cappa Close-up of Chrystal's make-up streaked face as she dies The Sixth Sense (1999) Midsommar (2019) (see our previous episode on this film) Get Out (2017) Unbreakable (2020) Split (2016) Ann Radcliffe, Mysteries of Udolpho (1794) The Kingsman (2014), the ‘Gazelle' ‘super crip' character Poster for the Degenerate Art Exhibition of 1937 The Black Stork, 1917 film CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

In this special spooky episode, we feature two early engineers of Gothic horror/terror novels - Ann Radcliffe & Charlotte Dacre. These two women had a huge impact on authors including Jane Austen, Edgar Allen Poe, Sir Walter Scott and Lord Byron! They helped define a new genre and wrote compelling work that is in desperate need of attention! We also walk you through our very own literary haunted house! 

The words of Ann Radcliffe, the Queen of Gothic Fiction and the highest paid writer of the 1790s, are sent into the void on this month's episode of https://open.spotify.com/show/6SGpXMfIWaRcVRIN8OSfwC (Warlock Vorobok Reads). Gather close to CHPL's resident warlock and prepare for the icy chill of the Snow-Fiend and Night! Warlock Vorobok Reads is a monthly storytime for grownups.

Septiembre 1. Tom Jones – Henry Fielding 2. Fanny Hill: Memorias de una cortesana – John Cleland 3. Peregrine Pickle – Tobias George Smollett 4. Cándido, o el optimismo – Voltaire 5. La historia de Rasselas, príncipe de Abisinia – Samuel Johnson 6. Julia, o la nueva Eloísa – Jea-Jacques Rousseau 7. Emilio, o de la educación – Jean-Jacques Rousseau 8. El castillo de Otranto - Horace Walpore 9. El vicario de Wakerfield – Oliver Goldsmith 10. Tristam Shandy – Laurence Sterne 11. Viaje sentimental por Francia e Italia – Laurence Sterne 12. The Man of Feeling – Henry Mackenzie 13. Humphry Clinker – Tobias George Smollett 14. Las penas del joven Werther – Johann Wolfgang von Goethe 15. Evelina – Fanny Burney 16. Las ensoñaciones del paseante solitario – Jean-Jacques Rousseau 17. Las amistades peligrosas – Pierre Chonderlos de Laclos 18. Las confesiones – Jean-Jacques Rousseau 19. Las ciento veinte jornadas de Sodoma – Marqués de Sade 20. Anton Reiser – Karl Philipp Moritz 21. Vathek – William Beckford 22. Justine – Marqués de Sade 23. Sueño en el pabellón rojo – Cao Xueqin 24. Las aventuras de Caleb Williams – Williams Godwin 25. Narración de la vida de Olaudah Equiano – Olaudah Equiano 26. Los misterios de Udolfo - Ann Radcliffe --- Send in a voice message: https://anchor.fm/irving-sun/message

The words of Ann Radcliffe, the Queen of Gothic Fiction and the highest paid writer of the 1790s, are sent into the void on this month's episode of https://open.spotify.com/show/6SGpXMfIWaRcVRIN8OSfwC (Warlock Vorobok Reads). Gather close to CHPL's resident warlock and prepare for the icy chill of the Snow-Fiend and Night! Warlock Vorobok Reads is a monthly storytime for grownups.

The Gothic novel calls to mind abandoned castles, ghosts and vampires. But perhaps it is time to look beyond these familiar tropes. Often taking their inspiration from Ann Radcliffe's The Mysteries of Udolpho (1794), there exists an interesting and understudied corpus of late eighteenth-century popular gothic fiction written by women authors. Writing against the increasing conservatism in British politics in the wake of the French Revolution, these authors often chose female protagonists fond of composing poems. These poems appear to be marginal, but they in fact suggest a profound rethinking of female agency and emotions. Listen to how Yasemin Nurcan Hacıoğlu, senior lecturer in English at NTNU and associate researcher with LCE, in conversation with Stijn Vervaet, discusses writing as a form of extended cognition and as a method of constructing radically unconventional feelings and decisions. Follow their journey from eighteenth-century England all the way to post-Napoleonic Russia. Post-production: HF:Studio – Baoxin Long & Bernt Brundtland Written alternative

Northanger Abbey follows Catherine Morland and family friends Mr. and Mrs. Allen as they visit Bath, England. Seventeen year-old Catherine spends her time visiting newly-made friends, such as Isabella Thorpe, and going to balls. Catherine finds herself pursued by Isabella's brother John Thorpe (Catherine's brother James's friend from university), and by Henry Tilney. She also becomes friends with Eleanor Tilney, Henry's younger sister. Henry captivates her with his view on novels and his knowledge of history and the world. General Tilney (Henry and Eleanor's father) invites Catherine to visit their estate, Northanger Abbey, which, because she has been reading Ann Radcliffe's gothic novel The Mysteries of Udolpho, Catherine expects to be dark, ancient and full of fantastical mystery.View our full collection of podcasts at our website: https://www.solgoodmedia.com or YouTube channel: www.solgood.org/subscribeThis is a Librivox Recording. All Librivox recordings are in the public domain.

Oslo, Norway - When an unidentified woman is found dead in a hotel, Agent Kai must investigate whether her death was a suicide or supernatural murder. ______________________________________________________ Agent Kai uses the legend Valan Court in this episode. This name comes from Ann Radcliffe's novel THE MYSTERIES OF UDOLPHO (https://www.goodreads.com/en/book/show/93134.The_Mysteries_of_Udolpho).

Bentornati in Bookatini - il podcast per chi è ghiotto di libri. L'episodio 20 è dedicato ai libri vittoriani o comunque scritti o ambientati nell'800, ma non sempre i soliti. Ne parliamo insieme a Matteo Zanini che trovate su instagram qui: https://www.instagram.com/matteo_zanini/ e sul web qui: https://www.matteozanini.it/. Nel sito web trovate anche tutti i riferimenti ai suoi libri. Nell'episodio di oggi abbiamo chiacchierato di questi libri: -I misteri di Udolpho, di Ann Radcliffe, BUR editore-Il castello di Otranto, di Horace Walpole, Mondadori editore-La donna in bianco, di Wilkie Collins, Fazi editore-Cranford: il paese delle nobili signore, di Elizabeth Gaskell, Elliot editore-Nord e sud, di Elizabeth Gaskell, Elliot editore-Via col vento, di Margareth Mitchell, Neri Pozza editore-Il petalo cremisi e il bianco, Michel Faber, Einaudi editore-Natale a Silver street. Nuove storie del petalo cremisi, Michel Faber, Einaudi editoreLa sigla di Bookatini è scritta e suonata da Andrea CereaPotete contattarci, scrivere commenti, suggerimenti, domande e condividete con noi le vostre letture su questo tema contattandoci nella pagina Instagram Bookatini_podcast o scrivendoci alla mail bookatini@gmail.comSe volete vederci in live ci trovate su: https://www.twitch.tv/bookatini

Hello my friends,You've been through a lot this with us this October - our month of horrors has explored the haunted halls of Mansfield Park, the monstrous mousiness of Fanny Price Ultimate Conqueror, the Drawing-Room treachery of Jane Austen's parlors, and now we cap it off just in time for Halloween weekend, with this special post and podcast episode featuring professor and writer Maria DeBlassie. For Dr. DeBlassie, ordinary life is full of dangers, threats from the real and every day, and what she calls ordinary gothic. Everyday treachery is everywhere and it haunts Jane Austen's novels, where our heroes are forced to face down drawing room dangers even among so-called polite society. But Dr. DeBlassie also has an answer to this problem. She says everyday magic, and the empowerment and joy and romance found in nature, in the power of stories, and in yourself, can help you slay the everyday demons.So, for this special Halloween edition of the Austen Connection we're having a conversation about gothic romance, Northanger Abbey, Mansfield Park, feminism, bodice rippers, witchery, and everyday magic. And somehow Professor Maria DeBlassie ties all of this together in her work and in her life. Dr. DeBlassie is on the faculty at Central New Mexico Community College and teaches in the Honors College at the University of New Mexico. In her teaching, her writing, and in her brujeria practice, Dr. DeBlassie is all about finding joy and empowerment, especially as women, as a women of color, and from indigenous or marginalized backgrounds. She says magic, witchery and reading Jane Austen can help you form a magical path forward from trauma and fragmentation based on marginalized identities and to conquer that ordinary gothic that we all face at times. And when you think about it, Jane Austen's characters are all about conquering the ordinary gothic -  Fanny Price, Elinor Dashwood, Catherine Morland - they are constantly conquering the everyday treachery of people around them. Think of patriarchal Sir Thomas, Sir Walter, Henry Crawford, the Thorpe siblings, John and Isabella. These characters and the dangers they bring can relate not just to the everyday but also the political, the cultural society, and the world we all share. But Dr. DeBlassie also teaches the romance genre, and she believes that Jane Austen has an awful lot to say about our everyday relationships. Here's our conversation about ordinary gothic - the disturbances, toxicity, danger, and general creepiness surrounding us - and finding a path forward through story, and everyday magic. Enjoy! Plain JaneSo let me start with: I saw you on Twitter talking about your work, as a professor, about Northanger Abbey, bodice rippers. What is the title of the class? And what's in it? What are you teaching in it?Dr. Maria DeBlassieSo the title of the class is “From Bodice Rippers to Resistance Romance,” or something like that. And it's looking at courtship novels, bodice rippers, and historical romances, and really thinking about how the courtship novel in the 18th century, 19th centuries, really developed this beautiful form of storytelling that centered women's lives, that centered the domestic sphere, and people's emotions. So we look at that and how that genre really inspired the modern romance novel, particularly the historical romance. And then there's a real, spicy couple of decades, where we get the bodice ripper in the sort of ‘60s, ‘70s and ‘80s. And that's when people introduce sex. And you know, it's really colorfully described sex scenes into the historical romance. So the bodice ripper is really what most people think of when they think of romance novels. They think of the sexy clinch covers, and Fabio, and now and then we end up the class looking at contemporary historical romances that are really thinking about centering people with marginalized identities, in stories about happy endings. And I think it's incredibly powerful to have those stories, so people of color, people from the LGBTQ-plus communities, people with disabilities, they get to see themselves having happy endings, and seeing it in stories that are set in the past. Because I don't think people realize that the past is a very complex space. It tends to be whitewashed and heteronormative and ableist. Like the way we talk about that history. So when we look at historical romances that center people of color, for example, it's really reclaiming that space and undoing a lot of that historical erasure. So that's kind of what we look at in the class and it's a lot of fun. You look at sex positivity and gender, politics, and all sorts of really fun things with it.Plain JaneWhat comes out in these discussions that delights you? Or surprises you? I'm a teacher too. So I know you learn from your students. What do you learn from them? And what do they what do they surprise to hear from you in these conversations? Dr. Maria DeBlassie For me, it's always funny because I'm so steeped in this world of reading romances already. So sometimes I forget what it's like to be someone approaching the genre for the first time. So it's always fun to see students engaging with it and being pleasantly surprised that they can analyze and think critically about a really joyful genre that they can have fun, when they're analyzing and unpacking things. And then, genre that's really considered pretty much fluff has a lot of really interesting, complex, intense, problematic ways of framing things historically. You know, we have issues of imperialism, colonization, race - all these things are playing out in these stories. And it's really fun to show them how that's working. I think it's incredibly powerful to have those stories, so people of color, people from the LGBTQ-plus communities, people with disabilities, they get to see themselves having happy endings, and seeing it in stories that are set in the past. Because I don't think people realize that the past is a very complex space. So even a frothy fun book is actually pretty loaded and charged and doing a lot of different things. Sometimes it's really positive stuff. Sometimes it's not so positive. And I had to laugh, because when we did, we read The Pirate and the Pagan by Virginia Henley for the bodice ripper. And it was the first texts we read that have sexually explicit content. And there's a moment where students were like, the stories that center our emotional lives or sexual lives or romantic lives - they're so charged, they're so over the top. And yet, they're really saying such beautiful, important things that affect us in our day-to-day lives. And it's it's beautiful to see students engaging with that, responding to things that really gave them wonderful ideas about their own lives, their own relational lives.And also how they will catch things that I don't catch. So one of my students thought there was a character in The Pirate and the Pagan who was queer coded. And I was like, “That's amazing. That's so brilliant.”So they bring their own interpretations to things, which is so powerful. I think that that's great. But do we ... start the class with Northanger Abbey. We watch the 2007 BBC film adaptation of it, because I think it just does an absolutely wonderful job of looking at why readers - particularly young women - are reading these kind of lurid over-the-top, you know, scandalous stories.Plain JaneWell, let's unpack that a little bit. Northanger Abbey. I guess that's probably the Andrew Davies adaptation, which really, I think starts with or has kind of embedded in it all these fantasies. Catherine Morland's fantasies depicted, which is a great thing to do for the screen, I think. And it makes it in some ways more Gothic than the novel feels. What do you unpack and what do you talk about with Northanger Abbey?Dr. Maria DeBlassieSo I love that film adaptation because I think it takes the novel and really pops out the conversation that's being had in it. Northanger Abbey isn't as popular [in] the Austen canon. But I think it's because a lot of people don't know about Ann Radcliffe and all those sorts of stories that young Catherine Morland is reading. If we situate it within its historical context, people are reading it, and they know just what kind of juicy content Catherine Morland is reading. So, I really love the film adaptation because of those fantasies, we really get to embody and experience all this excitement that's going through Catherine's mind. And I teach it to my students in terms of a young woman's sexual awakening and the real power of the ravishment fantasy. And so that's where it can become a little bit tricky territory because, you know, we're talking about the Me Too movement, we're talking about, consent is mandatory in all things. Their old-school bodice rippers have really problematic rape scenarios or sometimes it's euphemistically called “forced seduction.” So we're really thinking about, Why are all these things playing out? ... I think it's really about seeing these books as a safe space to explore your sexuality and really understand the difference between a ravishment fantasy versus what you want to see happen in real life. One of Catherine's first fantasies in the movie is being abducted by highway men. And it's such a funny scene because it ends with her, like, in the highway man's grip, and she has this terrified [look], but it slowly shifts to pleasure and excitement. Of course, you know, that's the moment where you realize she's just completely lost in this fantasy of what is this whole wide world. What is this sexual world she's being exposed to in these books? What is this new adventure she's going on, because she's never really been outside her hometown. And it's just the pure joy of that. Now, by the end of the story, when she is in a situation, she's kicked out of Northanger Abbey, by General Tilney, and she does run the risk of running into some very real highwayman. In a way … she has to go home and she's unsupervised. She's unprotected.Plain JaneThat's an interesting point.Dr. Maria DeBlassie Yeah. She realizes, these are two different things - the fantasy of being desired and having desires. It's very different from the real-world dangers that I have to negotiate.Plain Jane It's interesting, I love that you point out the word fantasy, I find myself saying this in the posts. And it's just kind of funny, but it does need to be said. And I think in some ways, the reason it still needs to be set is because we're largely talking about female desire. It's like, we have all watched plenty of Tarantino films, we know that sex and violence goes together in our culture, and that there's an erotic aspect to violence. It's when there's that erotic aspect to our violent aspect of female desire that people get confused. But especially because there are these important questions about feminism and, who is attractive? You mentioned this, who we find attractive is a social construct in so many ways. And … the other thing going on with romance, of course, Maria is that it is a huge industry, it is a big bestseller. That is reason enough to treat this seriously. As a genre … it's so foundational that I have really been wanting to explore this. And I feel like that's one of the fun things about Northanger Abbey. And one of the fun things about Jane Austen, is that it is still so foundational to what we find romantic and to these stories that we tell.Dr. Maria DeBlassieAnd you know, everyone, I think kind of dismisses Catherine as this young girl who gets swept away with her imagination. And, you know, the huge butt of the joke in the story or the huge, you know, ongoing joke is that she's overreacting to things in her daily life or blowing things out of context. But as I was rereading the book and watching the movie for my class, I realized: actually, she has really great instincts, and all the stuff that she feels uncomfortable about are actually things she should feel uncomfortable about. Like when … John Thorpe. He takes her [for[ the ride. She's like, I feel really uncomfortable with this. But everyone kind of gaslights her and makes her feel like she's overreacting. It was like, no, she should feel uncomfortable with that. Plain Jane  I love that scene. I love it that you highlight that scene. I feel like it's easy to just “drive by” that scene. … She's literally being forced to stay with him, he will not stop the carriage. Who's been in a car that you weren't sure was going to stop? Or a door that you weren't sure you're going to be able to open? Austen is really giving you that scene and she's making it funny, but she's also showing you something very important, as she always is: That this doesn't feel good. And she's making you feel it. She's making you feel that frustration, and she's making you feel the danger of that moment. Dr. Maria DeBlassie Yes, absolutely. And the way, you know, other women can be complicit in that, right? His sister's helping to orchestrate that situation. And, you know, each and every time Catherine kind of brings up a question like, “I'm uncomfortable about how we're doing this,” Isabella and John, you know, kind of talk her out of her feelings or undercut her emotions. Which, you know, I call that like a really good example of ordinary gothic. It's something that happens all the time. That is actually really bad and problematic, right? That's how women second guess themselves about their instincts. But people don't perceive it as something gothic or scary because it's just so normalized. And then on the other hand, we have Henry Tilney, which she just kind of knows he's a really good guy. She just has this feeling about him, which ends up proving really true. So it's interesting. So as flighty, and as flaky as she might seem, she actually has a pretty good head on her shoulders. And the books are helping her better process and navigate her new world that she's exploring.Plain JaneYes, and at risk of sounding extremely repetitive for people who listen to all of the Austen Connection, I really feel like that's one of my favorite themes of Austen: She's showing you what you expect first, you realize even by the end that, “Oh, she really does have something going on.” Even over Henry, at the end of the day, she's right. She encounters true danger. Like you say, I love that, at the end is the patriarchy, is General Tilney - Can't get any more patriarchal, right?Dr. Maria DeBlassieHe's like the classic gothic villain, you know. The evil patriarch archetype. And it's there in both the book and the movie, when Henry Tilney at the end, really [scolds] Catherine and lays into her about her fantasies and how she's assuming that there's all these evil goings-on in his family. And it's really not, you know, that's not the case at all. And it's true that she does kind of a violating thing by trying to sneak into - I think she's sneaking into his mother's chamber to find evidence. So, you know, some sort of disaster.Austen is so great at having those really horrifically, like secondhand embarrassment scenes where you're like, “Yeah, you know,” it's like, Mr. Knightley says, “You did a bad thing.” And I felt uncomfortable just reading and watching this. But you know, I love at the end of Northanger Abbey that Catherine really feels rightfully apologetic and chastised by Henry Tilney, when he's like, “You have no right to intrude on my family's stories like this.” But then he later comes back. And he's like, “Actually, what you were feeling and thinking was, right. I mean, you took it out in a weird way. But my mom was really unhappy in the marriage.” And so I love that he's able to apologize and say, “Well, I didn't like the way you executed things. But you actually picked up pretty quickly everything that's going on with my family dynamic.” And to me, that's such a powerful moment, because you know what a gothic romance is about what are romance novels about? It's about traditionally young women entering the marriage market and having to negotiate all these new things: the rake, the evil gothic villain, the wonderful hero, and trying to figure out what kind of marriage alliance, what kind of marriage or love match am I going to make? Because in Austen's time, if you choose the wrong marriage, like, you're screwed. You're kind of locked into that. So women were seen as property of male family members. So once they chose a marriage, and usually they didn't have a whole lot of agency in that they're pretty much locked in. So General Tilney's wife had more of a tragic marriage story. Because she thought it was love. You actually married her for her money, and now she's stuck. So what Catherine Morland is really looking at in reading all these gothic novels is, How do I avoid the worst possible situation and find the best possible situation? You know, happiness, love, stability, and a partner who sees me as an equal. So, again, she seems real, like a horny teenager, you know, just really getting into like, “Wow, all these men like me,” but there's another real part of her thinking, “What's my future gonna be like, and how do I negotiate all these things and not get carried away and make the wrong choice?”Plain JaneThere's so much at stake with marriage. And listening to you, I realized that it must be really lovely to be exploring these stories with you in the classroom and to have you as a teacher. Claudia Johnson wrote something and Dr. George Justice and I were talking about this in a … podcast, that Claudia Johnson writes about “the fantasy of benign authority,” which she's describing Knightley, and you're making me realize Henry Tilney does come back and say, “Well, you were wrong, but essentially you were right.” I wonder if that's part of the fantasy? Knightley does the same thing, you know: Emma's matchmaking for everyone, and he says, [in] a really romantic moment, and we're all swooning, basically … he says, “You would have chosen for Mr. Elton better than he chose for himself.” Such a smart thing to say, like, “Yeah, you're walking around wrong, but you're not as wrong as everyone else.” Which I think is kind of what Austen's showing us with her heroines a lot as well. She's having fun with these mistakes they make. But there're still more right than everyone else .. And so I feel like she she's kind of doing something feminist in that. … Dr. George Justice, and I were reminding ourselves … it's Austen, creating these powerful characters. She's creating this powerful patriarchal symbol, with Pemberley and Darcy, and Knightley and Donwell Abbey. She gives us the most powerful person - you can imagine Henry Tilney and Northanger Abbey - and she kind of conquers them. But then the fantasy is they come back and they say, “You were right. You're smart”!Dr. Maria DeBlassie Well, not only do they say, “You were right,” they say, they're sorry. And I think if we're thinking about romantic connections, really being able to have a partnership with someone who knows when to apologize, and knows when to say, “Hey, maybe I was wrong.” That's pretty powerful. And it's not something that people would list as things that are super sexy, but it's actually very sexy. Day in, day out.Plain Jane I love that comment. I mean, … you are the expert, How well do bodice rippers and our romances do what Austen does? Which is, she shows us the companionate marriage and she basically shows us the love. She shows us the lust. That last is a little easier to grasp - that fantasy, the eroticism. I mean, it's intuitive. But the companionate partnership is not so intuitive. That's something that you have to learn and really observe and really think about. … I love the post-game analysis Austen gives us (I can't believe I've got a sports analogy because I'm not a sports person) - I love it. She gives us postgame analysis. There's no better word for it really. With Knightley and Emma, particularly with those two, Austen's doing this. So consciously - like, this is not an accident: These are very intentional. Those postgame analyses. I feel like she's very conscious about showing us how to have a good relationship. I think if we're thinking about romantic connections, really being able to have a partnership with someone who knows when to apologize, and knows when to say, “Hey, maybe I was wrong.” That's pretty powerful. And it's not something that people would list as things that are super sexy, but it's actually very sexy.Dr. Maria DeBlassie And how to communicate with people. I always tell my students, it's such a good example of close reading and analysis. Those scenes when they break down -  like in a Pride and Prejudice when Darcy and Elizabeth finally get together, and they basically break down every encounter they had with each other. What it means. And it's like, this really good example of close reading and analysis and also like, a healthy way of talking about your relationships. Because no one's perfect in this world. What matters is, can you communicate? Can you work through stuff?Plain JaneCan you tell us more about what you call ordinary, everyday gothic?So when I'm not teaching, I'm a writer and I do witchy stuff. And I write about everyday magic and everyday, ordinary gothic. And so the idea behind those things is that magic and the mystic and the wondrous are around us every day. Sometimes we really look way far outside ourselves, or outside our daily lives, in order to find that kind of luminous or mystical experience. You know, I kind of equate it with people feeling like, they need to need to travel all over the world to get that and they're not thinking about how to find happiness in their daily life, right? Ordinary gothic is a similar theme, but it kind of tackles the darker side of that magic, which is the way we can normalize toxic behaviors, or we can kind of push past … like uncanny experiences, we'll kind of write them off. Or things that make us feel uncomfortable, we'll kind of pass through, bypass those feelings. And so, the ordinary gothic is those moments of the uncanny, or a sense of disturbance in our daily lives that we don't necessarily register as gothic or creepy, because it's so normalized. So a great example of that, like we said earlier is with John Thorpe, when he just kind of talks [Catherine Morland] into that ride, when she's just like really saying, No. You know, we see that, as you said, playing out in our life, so many ways, when that one person does something when we're like, No, we're really uncomfortable. But we're made to feel like we're wrong for wanting to lay down a boundary, for example. Or a really good example of ordinary gothic is Fanny Price. And everyone says she should be marrying Henry Crawford. And everyone's like, “I don't get what your problem is.” And she's literally like, “Hey, he's done a bunch of bad stuff. He's gone after and dumped Maria Bertram, like he's behaving badly. I'm not comfortable with this.” And [Sir Thomas], his response is, “Well, why don't you go home to poverty for a little bit, think it over, and then let us know how you feel.” That's a really great example of ordinary gothic, because he's making her feel her limited status as someone who came from poverty, and really trying to force her hand into a relationship that is going to be actively unhealthy. … Henry Crawford is not a good man. And she knows as much as he's putting on the charm now that will fade, and she'll be trapped in a loveless marriage. Now, objectively, we would say, “Oh, it's just a family member of the patriarchy, having our best interest at heart and trying to marry her off to a good suitor.” The ordinary gothic comes in when her background is being used to manipulate or coerce her into a situation, which we know is toxic. You know, Henry Crawford, there's those lines. And I think the 1999 film adaptation makes them a little more sympathetic. So that's how people think of him. But in the book, you know, he talks about wanting to like, tear a little hole in her heart. The way he describes it, it's like, it's not actual love for her. It's this conquest thing. It's this violence. So again, a really good example of ordinary gothic, where objectively, we think, “Oh, here's a rich, sexy man who flirts and really loves you and wants to take care of you. Why aren't you married?” But there's all these other social underpinnings that are really quite toxic.Plain Jane And one thing that you talk about in your work too, that I want to ask you about and that I love is the … let me see if I can look at the words you use. You talk about the unseen mystic which you're talking about here too. But specifically with the ordinary Gothic, you talk about … Hang on, let me see if I can find it because you say it so well. On your website: “reclaiming our power, specifically as women of color, fellow marginalized identities, of those in need of hope and healing.” When I listen to you, Maria, talk about Fanny Price. and also Catherine Morland up against the very powerful General Tilney, I wonder if some of these ordinary gothic stories can be extrapolated to larger issues. I feel like Jane Austen was showing us with Sir Thomas. Yes, Sir Thomas. Who's almost benevolent? He's really almost benevolent, but then he's very much not. And he's not in a way that's sort of that benign dictator. And I wonder if it's a metaphor for Imperialism. So all of that to say, I wonder if that ordinary gothic can be extrapolated to something larger about reclaiming spaces as marginalized individuals - reclaiming power, like you say.Dr. Maria DeBlassieAbsolutely. And I think, you know, when I first started reading Jane Austen, I was an undergrad, so feels like 1000 years ago, like 15 plus years ago. And I was really trying to explore what happiness looks like. And I have a very complicated relationship to my own cultural background. So it's indigenous, latinx, and European. And essentially, we're products of colonization. So it means we have this very fraught history that really gets romanticized. But there is this history of violence in our veins. And, you know, at the time, there wasn't a lot of discussion about how that impacts communities, specifically with the goal of moving beyond those narratives of trauma. So I was trying to figure out, “Okay, well, I know I have this here. But how do I move forward? I can't just wallow, right?” So the gothic is there to say, “Yes, bring all that out into the light.” And then once that rupture happens, we need to move forward. So I started reading Jane Austen, because I took a phenomenal class in undergrad. And first of all, it's just such a wonderful community, it was so nice to just nerd out with people who just love these stories. And my mom got me into I'm reading, you know, watching BBC adaptations and stuff. So I really want to learn about this. And I fell in love with the stories in undergrad, because I felt like they were helping me figure out what happiness looks like, specifically for people who weren't, you know, crazy rich and could do whatever they wanted. When you you still have to kind of live in the society that you're navigating. And I also love that it was really centering domestic and emotional lives. So I'm a really domestic person. I'm also an introvert. And so the long walks across the Moors, and the quiet reflections in the sitting room. Like that really spoke to me. And of course, it's also kind of a problem that I had to go to white narratives to find those examples of finding happy endings and working through difficult things. But over the years, I've realized it's also about being expansive. Like, what stories are we allowed to enjoy? What stories are we allowed to be part of? I'm really happy to see the Jane Austen fandoms becoming much more inclusive and exploratory. There's people queering the Jane Austen characters and doing all sorts of really wonderful stuff. And that's really, what got me started on my road in many ways to brujeria. And thinking about reclaiming that magic of everyday life, and reclaiming space for ourselves and finding that empowerment. And recognizing that a lot of times, that's going to look a lot different from the traditional narratives that are told about people of color. You know, we're told, we can only read or enjoy certain things. We're told how we're supposed to feel about our relationship to our culture, and there's a lot of stereotypes in there. But literature is really an outlet for us to explore and reclaim our agency. And Jane Austen was one of the authors that really helped me discover that.Plain Jane  That's wonderful to hear. And I also feel sad that it had to be a white world that you went to for that happily ever after. And I'm really, really excited that we're just changing that and I feel like Jane Austen would be extremely excited that we're changing that too. Dr. Maria DeBlassieAbsolutely. And it's so much easier now because, you know, as I've been writing more and been more vocal about these [things], I've had so many friends of color, friends with marginalized identities, reached out to me and be like, “Oh my God, I've been quietly trying to work, trying to do this to or to figure out a way past these kind of trauma narratives.” Because it's so much of what stories about people with marginalized identities are, it's like trauma narratives. And it becomes like an element of torture porn after a while. It's like, “Why can't I be centered in a happy story?” And then it's really marvelous to see that at the same time, I was kind of exploring things with Jane Austen, things on the internet and these online communities. We're seeing this really fruitful exploration of people from all different backgrounds, reclaiming their agency and their right to joy and telling more inclusive stories that center that.I mean, now I can find so many wonderful romances, for example, that center BIPOC joy, or queer love, or all these things. So, you know, that was just something I didn't have access to 15-plus years ago.Plain JaneThat's awesome. Tell me Maria, a little bit more about your background? And, and you've kind of mentioned how finding Jane Austen fit into it. But can you tell me a little bit more about it? And how you have reconciled with with it? And with your romance reading?Dr. Maria DeBlassie Yes, absolutely. So I have a pretty complicated relationship to my cultural identity, just because, again, we do have that history of colonization. So in New Mexico, it's the Spaniards who came in through Mexico, and conquered indigenous communities. And as a result, we have this very interesting, mixed cultural heritage now. But unfortunately, a lot of that heritage gets whitewashed because there's this huge history of cultural assimilation. So you have families that will only insist that they're Spanish, but not Mexican, or they want to erase any indigenous connections. And a lot of us don't know what our full mix is because of that erasure. So part of what we're grappling with, is really coming to terms with the fact that we can't know everything about our cultural or ancestral past, even though it is something that can still affect us and those energies. And that's where I get into some of my witchy stuff, you know, the ancestral hauntings and the, the kind of echoes of the past in our blood. And so the only option we have is to move forward. And to say, “I can't always go back and reclaim things. Sometimes I just don't know enough, or I will never be able to figure out what my full ancestral background is. And sometimes it's not a healthy thing for me to do, depending on family dynamics, etc. So where do we go from there, then? Well, the answer is, we move forward. We craft new narratives that pave the way and move beyond that trauma, or the fraught past. And this is a huge part of my brujeria practice. It's allowing us to move past the stories that are told about us, and really carving our own path. And part of that path is joy. So when you have a marginalized identity, so for me as a woman of color, it can be hard to feel like you can access that sense of pleasure or joy. So, particularly if you've ever been exposed to Catholicism … there can be also a very shaming aspect to pleasure and joy, particularly sexual pleasure or things that are just for the sake of enjoyment. And that comes into our backgrounds through Spanish Catholicism that really shamed indigenous communities and women. So part of what we're reclaiming in finding new ways of telling stories in our brujeria practice is our right to joy, is our right to sexual freedom, is our right to our own agency and autonomy. But actually … when you're grappling with all those issues, that's how Jane Austen and then eventually romance novels really helped me. Because they were just stories about joy, people figuring their stuff out in everyday life and in finding joy. So when I really started looking into romance novels more seriously … it was just so wonderful to read stories about people being tender and having emotions and working through stuff, and really feeling that the beauty of human connection. And in fact, in one of my classes, when, at the start of the pandemic, when we all had to move online, we were at the start of our romance novel unit for a class I teach on sex and gender culture. And a lot of my students kept reading romance novels after that, through the pandemic, because they felt it had a huge impact on their mental health, to just find these moments of joy. And so for me, I call this, it's my part of my pleasure magic practice, where you just kind of create space for warm and fuzzy things. And of course not all more romances are created equal. The bodice rippers, again, have a lot of really old-school problematic content. And some of the newer stuff can too. But when you find those stories that really speak to you, you know, they're healing you in fundamental ways. And they're nourishing your soul and letting you know that you're allowed to be more than histories of oppression, essentially.Plain Jane Yes, that's so well said. So tell me, the brujeria practice, and you say it so beautifully, that it's about going forward. And it's about carving out these stories for yourself for the future and finding joy. So tell me more about the everyday magic and everyday witchery. And those rituals that sustain you and help you plow ahead.Dr. Maria DeBlassieYes, thank you. So I just actually just published a book on it, Practically Pagan: An Alternative Guide to Magical Living. And it's really about being intentional about how you want to live. So my theory of practice is a little bit different in the sense that I write for the pagan- or witchy- curious. I teach a class on witchcraft and pop culture for my students. [W]hen you find those stories that really speak to you, you know, they're healing you in fundamental ways. And they're nourishing your soul and letting you know that you're allowed to be more than histories of oppression, essentially.And so I'm less complex-spells and complicated rituals and really expensive tools, and ingredients. And I'm more thinking about how powerful our thoughts are, how powerful our energy and intention is. And really thinking, you know, if I want to create this narrative of happiness, if I want that everyday magic, I need to look at the ordinary gothic first. I need to find the places in my life that feel dark or oppressive. And I need to untangle that and figure out what's causing that. Once I kind of work through those things, then the magic follows. Our energy opens up, we can get really grounded about what we want our day-in, day-out to look like. So I talked about making routines and turning them into rituals, right? So we're not just on autopilot, we're thinking intentionally about how we want to live our daily life. … I like to frame it in terms of actual storytelling, because I believe in story magic. I do think these stories, you know, the books and the stories we're attracted to give us a lot of medicine, and healing through simply following the heroine's journey or the hero's journey. So when I explain brujeria to people, or my version of practicing it, I think of it as centering yourself as the protagonist in your own life, right? If your story was a book, what would you want it to look like? What would you want to be there? What would the setting be? And then you can slowly start building it from there. And it sounds sort of silly or corny, but it's a really beautiful way of saying, “If I'm the author of my own life, how do I want to script this? How do I want to shape this?” And it's amazing what happens when you just start directing your attention, the synchronous events that will keep guiding you to a more joyful way of living and really helping open up to the profound possibility. —Happy Halloween weekend, friends - are you inspired by Dr. DeBlassie's closing words and insights about finding “profound possibility” through story, and finding a way forward from a difficult path, whatever that might involve, into empowerment, magic, ritual, and joy, through story? Are you a reader of romance novels, and have they gotten you through tough times?You can comment here and let us know!You can also reach out to us at austenconnection@gmail.com, and please find us on twitter at @AustenConnect and on Insta and Facebook at @austenconnection. Do you know anyone who might love to hear about this combination of witchery, everyday magic, and romance stories, and Jane Austen? If so, invite a friend into our community by sharing this post! Meanwhile, have a magical, wonderful Halloween weekend, and stay in touch with us here at the Austen Connection. Yours affectionately,Plain JaneCool linksDr. Maria DeBlassie's website: https://mariadeblassie.com/Practically Pagan: An Alternative Guide to Magical Living and other books by Maria DeBlassie: https://mariadeblassie.com/publications Get full access to The Austen Connection at austenconnection.substack.com/subscribe

Un Día Como Hoy 9 de Julio: Nace: 1764: Ann Radcliffe, escritora británica (f. 1823). 1766: Johanna Schopenhauer, escritora alemana (f. 1839). 1918: Alí Chumacero, poeta y editor mexicano (f. 2010). 1933: Oliver Sacks, neurólogo y escritor británico (f. 2015). 1956: Tom Hanks, actor estadounidense. Fallece: 1441: Jan van Eyck, pintor flamenco (n. 1390). 1828: Gilbert Stuart, pintor estadounidense (n. 1755). 1962: Georges Bataille, antropólogo, sociólogo y filósofo francés (n. 1897). Una producción de Sala Prisma Podcast. 2021

It is Ann Radcliffe's birth anniversary today. She was an English Author who was a pioneer in gothic fiction. She wrote about supernatural and fantasy elements. Some popular fantasy books for kids are Alice in Wonderland, The Wizard of Oz, Peter Pan etc. Pioneer is a noun which means a person who is the first to develop a new area of knowledge and activity.Support the show: https://www.patreon.com/chimesradioSee omnystudio.com/listener for privacy information.

Gotisk litteratur förknippas med plågade hjältinnor, övernaturliga inslag och ett högtravande språk. Annina Rabe funderar över vad det är som också lockar så många kvinnor till berättelserna. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången i februari 2017. I ett sovrum i ett hyrt gammalt hus i New England i USA ligger en kvinna och tittar på en påträngande gul tapet. Hon är deprimerad efter en förlossning och hennes  beskyddande make, som också råkar vara hennes doktor, har ordinerat absolut vila. Det är något konstigt med huset, tänker kvinnan. Och hon gillar verkligen inte den där gula tapeten i sovrummet. Det är upptakten till Charlotte Perkins Gilmans klassiska kortroman Den gula tapeten från 1892, där vi stegvis får följa en kvinnas väg mot ett psykiskt sammanbrott. I tapetens mönster börjar hon se de mest märkliga scener, hon ser instängda kvinnor, kvinnor som kryper längs golvet. Det är den en av de otäckaste texter jag vet. Det sakta men säkert glidande förståndet och känslan av skevhet i den hemlika miljön, allt detta gör att det gungar för mitt inre varje gång jag läser om den. Medan jag får kalla kårar av en ganska händelselös novell om en kvinna som ligger och blir tokig i ett sovrum lämnar till exempel berättelser om galna seriemördare mig för det mesta ganska kallsinnig. Det otäcka för mig är det som händer inuti huvudet. Och d et intressanta med skräck är ju att den slår så olika, beroende på vem man är och hur ens fantasier och mardrömmar ser ut. Charlotte Perkins Gilmans kortroman avslutar en samling berättelser i Förfärande kvinnor, en antologi om gotisk skräck skriven av kvinnor, sammanställd och översatt av KG Johansson. Alla novellerna är utkomna under 1800-talet, då den gotiska skräckromanen kulminerade i popularitet. Begreppet gotisk litteratur uppstod första gången i mitten av 1700-talet. Innan dess hade gotisk enbart använt som en term inom konst och arkitektur. Det förändrades när den brittiske konsthistorikern och författaren Horace Walpole gav ut romanen Borgen i Otranto, en skräckberättelse som han själv gav undertiteln A gothic story. Den innehöll alla de motiv vi förknippar med gotisk litteratur; dystra gamla slott, plågade hjältinnor, övernaturliga inslag, galna munkar och en labyrintisk struktur, skildrad med ett melodramatiskt och högtravande språk. Litteraturvetaren och gotikexperten Mattias Fyhr betonar i sin avhandling De mörka labyrinterna att gotik inte är en litterär genre utan ett modus, som kan dyka upp i all litteratur. Skräcken och det övernaturliga är inte heller nödvändiga ingredienser, utan det gotiska utmärks snarare av en känsla av melankoli och krypande obehag. Det blir tydligt i Förfärande kvinnor, där de flesta av novellerna faktiskt inte är särskilt läskiga utan mer sorgliga. Walpoles roman gav upphov till en mängd efterföljare. Den nya romantendensen passade väl in i den begynnande romantiken, som växte fram under en tid när man annars trodde att hela världen gick att kartlägga, mäta och bemästra. Skräcklitteraturen fick härbärgera allt som inte fick plats i den nya tiden; känslor, drömmar och undergångsfantasier. Gotiken var en reaktion mot den förnuftsbaserade upplysningstiden och en viktig del av den borgerliga romanens framväxt i industrialismens tidevarv. Påfallande många författare som skrev i den gotiska traditionen var kvinnor. En av genrens verkliga pionjärer var Ann Radcliffe, som med sin Udolphos mysterier, som sägs ha inspirerat författare som Edgar Allan Poe och Marquis de Sade. Den krassa Jane Austen skrev sin Northanger Abbey som en satir över Radcliffe och hela den gotiska vågen. Huvudpersonen har fått hela sin verklighetsbild förvrängd efter att ha förläst sig på gotiska romaner. Ann Radcliffe efterföljdes av namn som Clara Reeves, Mary Elizabeth Braddon och förstås Frankensteins skapare, Mary Shelley. Det var också vanligt att annars realistiska författare som till exempel systrarna Brontë, eller Elizabeth Gaskell inkluderade gotiska inslag i sina romaner. Varför lockades kvinnliga författare av det gotiska? En pragmatisk förklaring som KG Johansson ger i sin lite väl schematiska introduktion till antologin är att romanskrivande över huvud taget under 17- och 1800-talet till stora delar var en kvinnlig syssla. Troligtvis är det kvinnolitteraturens låga status som gjorde att det dröjde relativt länge innan det började forskas om den gotiska romanen på allvar. Termen Female Gothic myntades på 70-talet av litteraturvetaren Ellen Moers, och sedan dess är den ett eget forskningsfält. Den gotiska litteraturen är en tacksam brunn att ösa ur när det gäller feministiska tolkningar. Den unga kvinnan som sakta drivs till vansinne i Charlotte Perkins Gilmans Den gula tapeten är instängd i hemmet, övervakad av en make som ideligen förklarar att det är farligt för henne att skriva. Betänk att novellen är skriven nästan 40 år innan Virginia Woolfs Ett eget rum. När Mary Elizabeth Braddons kvinnliga vålnad i Den kalla omfamningen hemsöker sitt svekfulla ex genom att lägga sina iskalla armar runt hans hals ligger det nära till hands att se det som en hämnd på ett helt patriarkalt förtryckarsamhälle. Och ett av de mest klassiska exemplen, den galna kvinnan på vinden i Charlotte Brontës Jane Eyre, har fått representera varenda känsla av undertryckt vrede och sexualitet en kvinna kan härbärgera. Den starka symboliken i det gotiska lockar fortfarande många kvinnliga författare och litteraturforskare. Daphne du Maurier, Shirley Jackson, Joyce Carol Oates, Angela Carter, Toni Morrison, Margaret Atwood och Monika Fagerholm är bara några författare som har gotiska inslag i sina böcker. Här i Sverige är Maria Gripe, Inger Edelfeldt och Mare Kandre några av de tydligaste exemplen. Populär- och ungdomslitteraturen svämmar över av skildringar om vampyrer och zombier. På senare år har gotiken haft ett uppsving i litteraturen. Den så kallade gurlesktraditionen har inslag som är tydligt gotiska: av skräck, förvridning och ett söndertrasat flickideal. Skrivarutbildningen Litterär Gestaltning vid Göteborgs universitet inrättade nyligen en speciell häxskola där unga kvinnliga författare uppmuntras att skriva fram sin inre häxa. Det danska litterära stjärnskottet Olga Ravn är en av de två lärarna, vars egen debutroman Celestine går direkt tillbaka till gotiken när hon låter huvudpersonen leva ett parallellt liv i en inmurad 1500-talsflickas kropp. Den dystopiska tid vi lever i nu har onekligen vissa likheter med tiden för den gotiska litteraturens födelse. Dels känslan av att befinna sig på den teknologiska utvecklingens höjdpunkt, samtidigt en allt starkare förnimmelse av undergång och katastrof. Men jag tror också att gotikens lockelse har en annan mindre tidsbunden förklaring, som handlar om ett evigt behov av att närma sig de egna gränserna för tillåtna känslor och fantasier. Det behovet har förstås både män och kvinnor, men kvinnor omges fortfarande i hög grad av oskrivna regler och begränsningar, även om de ser annorlunda ut idag än under den viktorianska eran. Charlotte Perkins Gilmans novell om kvinnan som ligger och stirrar på den gula tapeten är ju så svindlande otäck just för att den också visar galenskapen också kan vara en väg till frihet. Annina Rabe, litteraturkritiker Litteratur Förfärande kvinnor gotisk skräck från Brontë till Gilman i urval och översättning av KG Johansson.

Torniamo con questa piccola rubrica all'interno della quale ci piace promuovere la lettura e renderla un vero e proprio piacere da condividere. Quest'anno i nostri appuntamenti saranno a tema gotico e iniziamo con la maestra del genere: Ann Radcliffe.

durée : 00:58:51 - Fictions / Samedi noir - Elena est enlevée tandis que Vivaldi est retenu prisonnier avec son domestique Paolo.

durée : 00:58:51 - Fictions / Samedi noir - Elena est enlevée tandis que Vivaldi est retenu prisonnier avec son domestique Paolo.

durée : 00:58:23 - Fictions / Samedi noir - L'Amour au bout du chemin !?

durée : 00:58:23 - Fictions / Samedi noir - L'Amour au bout du chemin !?

From Horace Walpole to Ann Radcliffe, renegade novelists of the eighteenth century wanted to claim back the supernatural for fiction and so invented the Gothic Novel. This lecture pursues the gift of Gothic to later novelists, seeing how great Victorian novelists like Emily Brontë, Charlotte Brontë and Charles Dickens were entranced by the supernatural. Finally, it looks at how the possibility of supernatural explanation energises contemporary novelists like Hilary Mantel and Sarah Waters.A lecture by John Mullan, 14 AprilThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/supernatural-fictionGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

Outline Amy: Welcome to Breaking Down Patriarchy! I'm Amy McPhie Allebest. Today we will be discussing the first, and possibly the only, work of fiction on our list of essential texts. It's a short story called “The Yellow Wallpaper,” by Charlotte Perkins Gilman, and if you haven't read it, or if you haven't read it in awhile, then I encourage you to press pause on this podcast, go read it, and then come back. Or even easier, you can go listen to it! It's about 40 minutes long, and you can find it on Audible, or for free on Librivox or YouTube. It was written in 1892 so it's in the public domain now, which means it's free, and it's a really, really good story, so go read or listen and then come back. Ok, so welcome back! Today we are going to be discussing Charlotte Perkins Gilman's “The Yellow Wallpaper,” but first I want to introduce my reading partner, Shannon Johnson. Hi, Shannon! Shannon: Hi, Amy! Amy: I will always remember the moment that you and I met, Shannon - it was at the welcome dinner for our master's program at Stanford, and I was feeling so nervous that I would be the only mom there, and I wouldn't have anything in common with anyone… and I stood up and introduced myself and mentioned that I had four kids, and you piped up from across the room and said “I have four kids too, and I think we went to the same college, so we need to talk afterward.” And we did, and it turns out we have tons in common and speak the same language and have been fast friends ever since. But can you tell us some more about yourself - where you come from, etc? Shannon bio I'm descended on both sides from white Europeans who came to the U.S. in the 1800s. My middle name, Olena, actually comes from my great-great-great grandmother who emigrated from Norway. She and her husband and several children (one of whom worked as a boot boy in Brigham Young's house) left the Mormon church a few years after settling in Utah, probably because of polygamy.  I grew up mostly in Utah and went to BYU, where I met my husband online before that was a thing. I've taught conversational English in Japan and Cairo, and now I work in admin at Stanford. I am currently procrastinating writing my master's thesis on the Mormon church's history of racial restrictions and revelations and how the memorialization of these events serves the present moment.  I like to view Mormon history as a case study in patriarchal American culture. I also like hiking, yoga, British tv, and trashy romance novels. I live in Santa Clara, California with my four daughters, aged 10-20, and my patient husband. Amy: Shannon and I were both English majors, and when we were talking about how to present the book, of course we discussed which critical approach we wanted to assume as we introduced the text. So Shannon, why don't you start us off.  Shannon: Jump into the book - let's read the story as a story I re-listened again this week, and I was struck by how appropriate it is for Halloween (since we're lucky enough to be recording on October 30th). It's a deceptively simple tale that functions so well as both thrilling short story and parable on the dangers and consequences of unchecked patriarchy. It employs the tropes common to Gothic Romance (think the Bronte sisters, Ann Radcliffe, Daphne Du Maurier, Mary Shelley), elements of atmospheric sensory description, a creeping, mounting sense of disquiet, even the stock characters of naive, Mary-Sue protagonists, unsympathetic housekeepers, and insensitive/hyper-rational love interests/husbands.  Last warning to those who don't want spoilers, I'm going to go over the plot briefly, including the ending. So really, go listen or read first. A young woman is brought to a grand summer rental house by her physician husband. She has mixed feelings about the house, and even mentions how “romantic” it would be if the house were haunted in the second paragraph. She has been unwell,...

One of Austen's more underrated novels, Northanger Abbey mimics Austen's Gothic predecessors such as Ann Radcliffe. In fact, Radcliffe's The Mysteries of Udolpho is referenced throughout! This episode continues our January discussion in which we explore the extent to which Northanger Abbey is Gothic, satirical, or just plain silly!

Dark Academia is a fascinating new subculture and a big part of it is about books and reading. The Dark Academia folks know great writing and celebrate it. You can bet they know Ann Radcliffe, the mother of all gothic great storytelling and tonights featured author.

Un día como hoy, 7 de febrero. Acontecimientos: 1765, se publica El castillo de Otranto, de Horace Walpole. Nace: Tomás Moro. 1478: Tomás Moro, político, humanista y escritor inglés. 1812: Charles Dickens, escritor británico . 1864: Ricardo Castro Herrera, compositor mexicano. 1885: Sinclair Lewis, novelista estadounidense, premio nobel de literatura en 1930. Fallece: 1823: Ann Radcliffe, escritora y novelista británica. 1994: Witold Lutosławski, compositor polaco. 2003: Augusto Monterroso, escritor guatemalteco. Una producción de Sala Prisma Podcast. 2021

Known as the archetypal Gothic, Radcliffe's 1794 novel follows a young French noblewoman through more than just a spooky castle adventure. In this episode, we explore the influence of the picturesque, female authorship and, of course, the Gothic, in our modern interpretations of this classic story.

Literatura Gótica do século XVIII --- Send in a voice message: https://anchor.fm/anatomiadolivro/message

Join us for The Mysteries of Udolpho, written by Ann Radcliffe, the queen of 18th century female Gothic!

Gothic literature started in England in 1764 with Horace Walpole’s “The Castle of Otranto”. It then boomed in the 1790s with the author Ann Radcliffe. Listen to this episode and know more about how this genre came to be, and how it expanded into the 20th and 21st centuries.

El terror nace en forma de relato con un fin aleccionador, después se transforma en un género que busca provocar el miedo como forma de divertimento. David Calpa nos adentra en la literatura de terror y en el género en España, con un recorrido histórico y con muchas recomendaciones de libros. Pasen y teman... Dónde encontrar a David Calpa: Canal de YouTube “Gafas y ojeras”: https://youtu.be/YqrUDdhAw2o Instagram: @davicalpa Libros recomendados: “El castillo de Otranto” de Horace Walpole. Novela de 1764, texto inaugural de la literatura de terror gótico. “Los misterios de Udolfo” de Ann Radcliffe. “El monje de Matthew G. Lewis. “Frankenstein” de Mary Shelley. “El vampiro”, de John Polidori. “Leyendas”, de Gustavo Adolfo Bécquer. “La mujer alta”, relato de Pedro Antonio de Alarcón. “La pata de palo”, relato de José de Espronceda. “La sombra”, relato de Benito Pérez Galdós. “La resucitada”, relato de Emilia Pardo Bazán. “La chica de al lado”, de Jack Ketchum. “Drácula”, de Bram Stoker. “La chica de al lado”, de Jack Ketchum . “Las doncellas de óxido”, Gwendolyn Kiste. Premio Bram Stoker a la mejor primera novela en 2019. “El monstruo pentápodo”, de Liliana Blum “Los pájaros”, Daphne du Maurier “La maldición de Hill House”, de Shirley Jackson “Agujeros de sol”, de Nieves Mories. “El que susurra”, de Malenka Ramos. “Los sauces”, de Algernon Blackwood. “La mujer de negro”, de Susan Hill. Libros especialmente recomendados: “Ponzoña”, de David Luna Lorenzo. “Nuestra parte de la noche”, de Mariana Enríquez Editoriales de terror: La biblioteca de Carfax Dilatando Mentes Editorial Editorial Valdemar Dolmen Editorial Autores clásicos contemporáneos: Pilar Pedraza Emilio Bueso Asociación Española de Fantasía, Ciencia Ficción y Terror.

El terror nace en forma de relato con un fin aleccionador, después se transforma en un género que busca provocar el miedo como forma de divertimento. David Calpa nos adentra en la literatura de terror y en el género en España, con un recorrido histórico y con muchas recomendaciones de libros. Pasen y teman... Dónde encontrar a David Calpa: Canal de YouTube “Gafas y ojeras”: https://youtu.be/YqrUDdhAw2o Instagram: @davicalpa Libros recomendados: “El castillo de Otranto” de Horace Walpole. Novela de 1764, texto inaugural de la literatura de terror gótico. “Los misterios de Udolfo” de Ann Radcliffe. “El monje de Matthew G. Lewis. “Frankenstein” de Mary Shelley. “El vampiro”, de John Polidori. “Leyendas”, de Gustavo Adolfo Bécquer. “La mujer alta”, relato de Pedro Antonio de Alarcón. “La pata de palo”, relato de José de Espronceda. “La sombra”, relato de Benito Pérez Galdós. “La resucitada”, relato de Emilia Pardo Bazán. “La chica de al lado”, de Jack Ketchum. “Drácula”, de Bram Stoker. “La chica de al lado”, de Jack Ketchum . “Las doncellas de óxido”, Gwendolyn Kiste. Premio Bram Stoker a la mejor primera novela en 2019. “El monstruo pentápodo”, de Liliana Blum. “Los pájaros”, Daphne du Maurier. “La maldición de Hill House”, de Shirley Jackson. “Agujeros de sol”, de Nieves Mories. “El que susurra”, de Malenka Ramos. “Los sauces”, de Algernon Blackwood. “La mujer de negro”, de Susan Hill. Libros especialmente recomendados: “Ponzoña”, David de Luna Lorenzo. “Nuestra parte de la noche”, de Mariana Enríquez. Editoriales de terror: La biblioteca de Carfax Dilatando Mentes Editorial Editorial Valdemar Dolmen Editorial Autores clásicos contemporáneos: Pilar Pedraza Emilio Bueso

Laura was told that, if she ever wanted to secure the tenure-track job of her dreams, she needed to convince a certain high-profile professor to serve as her dissertation advisor. That’s how she ended up like Emily St. Aubert—the heroine of Ann Radcliffe’s The Mysteries of Udolpho whose life is dominated by one very imposing figure. Find out exactly what makes these figures so imposing and how each heroine makes her escape in this chapter of My Gothic Dissertation.

On this day in 1764, Ann Radcliffe is born in Holborn in the West End of London. Learn how her signature style permeated literature so much, Jane Austen even parodied her. Today is July 9, 2020. This is the Librarian's Almanac. Feel free to check out more from the Librarian's Almanac on their website: http://www.librariansalmanac.com/ I'd also love to hear from you directly. Feel free to send me an email at librarians.almanac@gmail.com

Courtney is a former English Professor, with a background in 18th-century literature, which includes some of the strangest and most perplexing fiction ever written. She loved her life as a scholar–especially working with students and still writes and geeks out over authors like Jane Austen, Charlotte Dacre, Ann Radcliffe, and the Marquis de Sade. Courtney is also a lifelong animal advocate and made helping animals her "naughty side project" during her dissertation. While teaching at Indiana University, Bloomington, she co-founded the first successful animal welfare organization on the campus. Since leaving academia, she has volunteered and worked in local and national animal welfare organizations, served as a Community Organizer for Pets for Life, and now the Regional Manager for the Central United States at Michelson Found Animals–a non-profit with a free microchip Registry dedicated to getting pets home, where they belong. Her goal is to channel her imaginative and analytical thinking skills into making the world a kinder, more beautiful place for animals.

This episode features special guest co-host, musician and Rebecca's husband, Shawn P. Russell. We consider the horror genre in general and specifically in two short stories by Edgar Allan Poe: "The Fall of the House of Usher" and "The Masque of the Red Death." We discuss the theme of isolation as it relates to the House of Usher and Stanley Kubrick's film, The Shining. We also talk about the uncanny yet timely parallels between the Red Death and COVID-19. We used public versions of these two short stories found on poestories.com We also reference H.P. Lovecraft's essay "Supernatural Horror in Literature" and Ann Radcliffe's essay "On the Supernatural in Poetry." You can follow Shawn on Soundcloud at Shawn P. Russell or visit his website shawnprussell.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Music: Fugue in C# Major, from The Well-Tempered Clavier, Book 1": J.S. Bach Music Synthesizer and Programming: Shawn P. Russell Sound Consultant and Mixing: Shawn P. Russell Recording and Editing: Rebecca L. Salois

This week, we’re talking about Ann Radcliffe and the female gothic with author Helena Kelly. We also cover chapters 17-24 of Northanger Abbey (a most excellent set of chapters) and bang on about General Tilney.

Tonight, by listener request, we’ll read the opening to 1794’s "The Mysteries of Udolpho" by English author Ann Radcliffe. Radcliffe was a pioneer of Gothic fiction and the most popular author of her day. Later the author Dostoevsky would write that he had been influenced by Radcliffe as a child. "I used to spend the long winter hours before bed listening... agape with ecstasy and terror, as my parents read aloud to me from the novels of Ann Radcliffe. Then I would rave deliriously about them in my sleep.” The Mysteries of Udolpho tells of Emily St. Aubert, who suffers, among other misadventures, the death of her mother and father, supernatural terrors in a gloomy castle and machinations of an Italian brigand. -- Read by 'V'Support the show (https://www.patreon.com/snoozecast)

Vi gästar Kulturhuset Kåken i Göteborg för att belysa några bärande motiv i den moderna skräckfilmsklassikern Hereditary inför visning. Tomas bryter mot ljudteknikerns förmaning att inte andas hårt genom näsan innan vi ens hunnit hälsa publiken välkommen och Lars griper efter tunna, tunna halmstrån för att komma på exempel i realtid på 1700-talsromaner med en liknande psykologisering av platsen som den vi ser i Ari Asters mästerverk. I övrigt gick det rätt så bra. Vi pratar också om: The Babadook, Get Out, It Comes at Night, The Texas Chainsaw Massacre, Motorsågsmassakern, The Night Evelyn Came Out of the Grave, Rosemary’s Baby, Carrie, Don’t Look Now, The Amityville Horror, Huset som Gud glömde, Exorcisten, The Entity, A Quiet Place, Stephen King, Danse Macabre, Dödsdansen, The Shining, Shirley Jackson, The Haunting of Hill House, House on the Haunted Hill, Legend of Hell House, Besökarna, Kjell Bergqvist, bröderna Ersgård, Rancid, A Tale of Two Sisters, Ju-On: The Grudge, The Monk, The Castle of Otranto, Ann Radcliffe, The Turn of the Screw, George C. Scott, The Changeling, det återupplevda, John Ajvide Lindqvist, Människohamn, Hanteringen av odöda, Dante, Den gudomliga komedin, Jurtjyrkogården, The Evolution of Horror, derealisation och Äkta skräck-författaren Magnus Blomdahl. Nostalgi och analys i balanserad förening. Löst tycks det regelbundet.

Un breve excursus nella vita e nella scrittura della donna che è diventata il simbolo del genere gotico in Inghilterra.

Speaker – Sam Baker Often described as the inventor of the historical novel, the Scottish author Walter Scott (1771-1832) was also a poet, lawyer, pioneering editor, and popular historian. This talk will explore the theme of stewardship in Scott’s fiction—with particular reference to his best remembered work, Ivanhoe, and one of his least remembered, The […]

Hello and welcome to the Inkandescent Radio show, “Authors Between the Covers.” I'm your host, the founder of the Inkandescent Radio Network, Hope Katz Gibbs. I'm thrilled to be here today with Christine Mangan, author of Tangerine, the Hitchcockian tale of Alice Shipley and Lucy Mason — college roommates who reconnect in the Moroccan city of Tangier, 1956. Drama and intrigue ensue, and indeed this page-turner is incredibly hard to put down. In the last six months, “Tangerine” has gotten tremendous attention — having been a featured in The New Yorker, and reviewed in The New York Times. Also incredibly exciting is that it has been optioned for film by George Clooney's Smokehouse Pictures, and Scarlett Johansson is set to star. This is the first novel for the woman who has a PhD in English from the University College of Dublin, where her thesis focused on 18th century Gothic literature. She also has an MFA in fiction writing from the University of Southern Maine, and has spent much of her career traveling the world. Welcome to “Authors Between the Covers,” Christine! Before we get into our interview, I want to tell our listeners a little about this engrossing novel: The last person Alice Shipley expected to see since arriving in Tangier with her new husband was Lucy Mason. After the accident at Bennington, the two friends—once inseparable roommates—haven't spoken in over a year. But there Lucy was, trying to make things right and return to their old rhythms. Perhaps Alice should be happy. She has not adjusted to life in Morocco, too afraid to venture out into the bustling medinas and oppressive heat. Lucy—always fearless and independent—helps Alice emerge from her flat and explore the country. But soon a familiar feeling starts to overtake Alice—she feels controlled and stifled by Lucy at every turn. Then Alice's husband, John, goes missing, and Alice starts to question everything around her: her relationship with her enigmatic friend, her decision to ever come to Tangier, and her very own state of mind. Be Inkandescent: That description just makes you want to pick up the book! So, Christine, tell us about the story, your inspiration for it, and the journey you embarked on to take it from an idea to this 388-page hardback. Christine: Sure! The whole novel was inspired by a trip I took to the city of Tangier back in the spring of 2015. I had just finished my PhD at the University College of Dublin, and had a little bit of time left on my visa, so I wanted to travel and see as much as possible before I returned to the states. One of the places I really wanted to go to was Tangier. I had been there once before but for about only 10 minutes when I passed through the city on an overnight train from Marrakesh. I hopped on a ferry and went back to Spain. It was one of those things I regretted, not being able to spend time there. When I finally did go, I discovered that Tangier was, and still is, unlike any place I've ever been to. There's a certain amount of romance to it, which is why a lot of creative people are drawn to live here — artists, writers, and travelers. But Tangier can also be entirely overwhelming. It's hot and chaotic, and the streets can be a nightmare, ranging from being frustrating to terrifying at moments. There's no place to stop and take a breath. I think that’s the reason people say, “You cry when you arrive in Tangier, and you cry when you leave.” You have to engage and overcome so many obstacles. But once you get accustomed to the rhythm of the place, you become enamored by it. I find myself still thinking about it, years after leaving. The people I met there, the stories they told me, in particular, the different ways people react to the city — it’s unforgettable. Be Inkandescent: Did you always want to be a novelist? C: I grew up in Metro Detroit, and lived on Long Island and in North Carolina for a bit. I went to Bennington College for a year, left, and went to Chicago where I lived for quite some time. Then I went to Dublin for four years and received my PhD before moving to Dubai to teach for a year. I always wanted to be a writer — but it was something that I never thought could happen — even after going to school for creative writing and receiving an MFA in fiction writing, and getting a PhD. That’s mostly because writing a novel and finding someone like it enough to publish it didn't seem like a possibility. That’s why I put all of my focus on academia. Be Inkandescent: So how was “Tangerine” born? Christine: It happened when I arrived back in the states, and found myself in the position of not studying or being in school or working. While I was applying for jobs, I took time to finally sit down and write this thing. Memories of Tangier were dancing in my mind, and the story began unfolding. Be Inkandescent: You have accomplished so much, and it seems like you have always trusted your guts to take you where you needed to go. Christine: It’s true. In fact, I loved working on my PhD because I got to spend my time researching 18th Century Gothic novels. I had hoped after graduating that I would be able to teach about these things that I have been studying — but the reality is that in academia it is really hard to find full-time positions, especially ones where you get to teach about your specialty. I was looking at were jobs that would mainly have me teaching composition, which I wasn't excited about. So I accepted a job in Dubai just as I found an agent. As I was preparing to leave for the United Emirates, the sale of the book happened so I was juggling a new job and the book sale. It was a very chaotic, exiting time. Be Inkandescent: It must have been fascinating! To go from zero to a thousand like that. Christine: Yeah, it was! I worked all day, then stayed up all night talking to people on the east coast. I remember during the auction, I got a terrible cold because I was adapting to being in air conditioning 24/7. It was very surreal, and I'm still processing it. Be Inkandescent: And then George Clooney optioned it as a film starring Scarlett Johansson, right? Congratulations! Christine: Yeah! Thank you! It just kind of added to everything. It seemed like it was happening to somebody else. Be Inkandescent: It is awesome but it happened to you, for it's every writer's dream to have that level of success. And, as always, with the highs there come lows, for when I was reading through some of the reviews of “Tangerine,” you got a couple of knocks. How do you handle the rollercoaster ride? Christine: I handle it by trying not to read the reviews. My editor knows not to send me anything, good or bad. It just makes me incredibly anxious. Still, I was aware of the bad ones when they came out in March 2018. It's really difficult and in the moment I thought to myself, “I don't want to do this again. I don't want to write a second novel.” But then I calmed down and realized I have to open myself up to the good and bad because that’s how this business works. I'm a very private person, though, and am still figuring out how to take it in, but not be taken down by the bad reviews. Be Inkandescent: It’s tough for anyone to handle that level of criticism, but the truth is that “Tangerine” is so engrossing, and the characters so layered, that you can’t put it down. So tell us how you thought up the story and those complex characters. Christine: I'm drawn to places that are unique, and to the idea of what it means to be an outsider. This relates to the main characters, Lucy and Alice. Through them, I investigate how being a tourist or visitor or expat, can something exciting, unnerving, and quite lonely. You are in this new country and are very isolated — whether by language or otherwise. Investigating the journey of the outsider appeals to me as a writer, and a reader. Be Inkandescent: Tell us more about Lucy and Alice. Christine: I've always been drawn to stories about female friendship, especially those we make during our formative years. There's something so unique about that time where senses and experiences are heightened and intense. Because of youth, and often, circumstance, this time in a woman’s life seems like the most important in the world. As a result, boundaries are often crossed and identity is blurred. I'm interested in looking at the moments when friendships begin to shift and crumble, and how that changes the people involved. Be Inkandescent: Losing a friend, or feeling betrayed by them, can feel like the end of the world. Christine: Exactly. Plus, when I wrote “Tangerine,” I had just submitted my PhD thesis, so I had the gothic stories of the Blondie sisters and James Hogg and Ann Radcliffe and Eliza Parsons circling in my brain. I love the psychological suspense — in particular, ones that focus on the idea of one character being the other’s dark double. So I wrote about the relationship between Alice and Lucy in a similar vein. Where we see Alice unable to voice concerns and fears she has, Lucy is able to pick that up and deal with it in a way that Alice cannot. Gothic tales also have a strong sense of place, whether it's Manderley in “Rebecca” or Thornfield in “Jane Eyre.” That was on my mind as well. Tangier was a stand in for a haunted castle motif. In fact, the streets of that city can be just as frightening and threatening and overwhelming in the structure of the walls in those gothic novels. Be Inkandescent: The relationships are so intertwined and twisted, the reader doesn’t don't know who is sane. What was it like to write a story like that? Did you feel the characters? Did you become them? Christine: I found Lucy to be the more interesting character; she’s the one I had the most fun writing about because she gets things going. She’s the pusher, the doer. In many ways, Alice is simply a response to all of that chaos. It was a lot of fun plotting out what would happen next. And, there was a bit of tracking required to make sure that the story everything added up in the end. It was definitely interesting to jump into their world and flesh out the characters so they were as believable and real as possible. Be Inkandescent: There’s an air of mystery, too because you don't know who to fully trust and believe. Christine: Yes! Indeed that was something I really wanted to come across as I fleshed out these two characters. Neither was necessarily good or bad — they linger in between. There are things they can both be blamed for, and I wanted to make sure that there was something about each of them that was also relatable and likable. Be Inkandescent: I love the concept of having a dark double. It's fascinating how fiction takes you to all kinds of places — in the world, and in your mind. What are you working on now? Christine: I'm going back and forth between two different things. I'm a good ways into one project, but I'm not too sure about it yet. I have a habit of writing things and getting near the end, or even to the end, then deciding that it's not what I want to be working on. That said, I'm excited about what I'm writing and am hoping that by the end of it, I'll still feel that way. Be Inkandescent: What’s does your writing process look like? Christine: When I'm first putting something together, I tend to hand write everything. I buy a whole stack of journals that I’ll blow through as I write little pieces or scenes. When I have enough fleshed out, and feel there is a strong story there, that’s when I type it up and put it into a document that eventually becomes the book. Be Inkandescent: I had an editor once, I'm a journalist as well, and he said, “Writing is not typing.” Christine: Yes! Yes, I agree, exactly. *Be Inkandescent: Christine, I wish you only the best of success with “Tangerine,” your first novel and the “Costco Connection” January 2019 book pic. I really appreciate you being on “Authors Between the Covers” on the Inkandescent Radio Network. Thanks to all of our listeners listening to us and tune back in to the Inkandescent Radio Network for some more fascinating and fun interviews.

Are you a GoT fan and/or a Jane Austen one? Can you describe GoT and Jane Austen in 3 little words? Take the challenge and find out what would Jane Austen have made of the cult TV hit. Going back in time for an early nineteenth century perspective, Julia Golding takes a tour of the gothic in fiction and fact, touching on the scandalous hit of the 1790s, The Monk, and the gothic-lite of Ann Radcliffe. Next stop is Lord Byron and his GoT-worthy life. And what would a mash-up of Austen and Thrones have been like?

Did you know Northanger Abbey is actual a satire of a whole genre of books? It is...listen to learn more! I’m also learning how to creat audio files - enjoy not so accurate Chopin.

**This episode was recorded remotely** Get outta here, Roger Ebert! Alien (1979) is an awesome film! This week your favorite ghouls discuss Ridley Scott's sophomore masterpiece in sci-fi and terror! Discussions include but are not limited to: Archaic Mothers, Ripley's feminism, gender, the patriarchy in space, and Jung's theory on the Shadow Self! Thanks to Lily LeBlanc for our theme song: www.lilythecomposer.com Buy some coffee from our sponsors: www.recesscoffee.com Resources: "The Black Imagination, Science Fiction and the Speculative" By Sandra Jackson & Julie Moody-Freeman "Interstellar Sleep Produces Such Matriarchal Monsters" By Davina Quinlivan "Alien Thoughts: Mind Reading and Spectatorial Pleasure in Ridley Scott’s Horror Film" by Cecilia Madeline Bolich https://scholarcommons.usf.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=4207&context=etd “Woman: The Other Alien in Alien” by Tom Shone https://slate.com/culture/2012/06/prometheus-why-are-academics-so-obsessed-with-ridley-scotts-alien-and-its-sequels.html "The First Action Heroine" by Xan Brooks https://www.theguardian.com/film/2009/oct/13/ridley-scott-alien-ripley "GENDER AND THE HORROR FILM: BIRTH, RAPE AND FEMALE SEXUALITY IN RIDLEY SCOTT’S ALIEN (1979)" by Jake Martyn Bogira https://www.researchgate.net/publication/316657606_Gender_and_the_Horror_Film_Birth_Rape_and_Female_Sexuality_in_Ridley_Scott's_Alien_1979 'Alien' Is Sci-Fi Horror's Most Feminist Movie Franchise https://broadly.vice.com/en_us/article/qvdn4d/alien-is-sci-fi-horrors-most-feminist-movie-franchise "Illusionary Strength: An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives" by Jennifer Lynn Ruben ‘Alien’ Revisited: Nearly Four Decades Later, Ripley Is Still the Boundary-Busting Heroine We Deserve by Kate Erbland https://www.indiewire.com/2017/05/alien-ripley-heroine-ridley-scott-sigourney-weaver-1201817775/ "Why Alien is one of the most influential movies ever made" by Peter Howell https://www.thestar.com/entertainment/movies/2015/09/03/a-parasite-to-remember-why-alien-is-one-of-the-most-influential-movies-ever-made.html "Reassessing Alien: Sexuality and the Anxieties of Men" By Jason Haggstrom http://reel3.com/reassessing-alien-sexuality-and-the-anxieties-of-men/ (In)alienable Rights: Property, Feminism, and the Female Body from Ann Radcliffe to the Alien Films by Lauren Fitzgerald https://www.erudit.org/en/journals/ron/2001-n21-ron433/005961ar/ Ripley, Sexism, and Classism in ‘Aliens’ by Adam Sherman http://www.btchflcks.com/2016/07/ripley-sexism-and-classism-in-aliens.html#.XGSKRxlKjfY "Alien" as an Abortion Parable by John L. Cobbs (Literature/Film Quarterly Vol. 18, No. 3 (1990), pp. 198-201 (4 pages). Sigourney Weaver on Ellen Ripley (AFI) https://www.youtube.com/watch?v=zev0m1Gmw0g

Hoy nos reunimos con Laura Huelin (Anxo), Ana Morán, Raquel Froilán y Almijara para hablar de novelas de género y humor. Las efemérides de las dedicamos a Ann Radcliffe, autora de Los misterios de Udolfo y El romance del bosque. Hablamos también de los límites del humor.

Swears, Spoilers and Assassin Monks... Morgan tells Brent about Ann Radcliffe, the hermetic aunt of the gothic novel. Our blog thefrankenpod.wordpress.com  Music: Swing Gitane by The Underscore Orkestra is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License.

Oh Dang! That Eddie is still on this darn Gothic kick! When will they stop? Never. When will Lee stop complaining about it? Also never.If the Gothic's weird obsession with Italy has got you down, don't worry! Lee has a book about everyone's favourite type of event: A Reunion! ¯_(ツ)_/¯Then our two intrepid hosts are off to the movies, for Halloween, and a bit of a Haunting at Hill House!Click here for a bonus episode where Eddie plays The Exorcist Legion in virtual reality!__________________________________________ If you like what you hear, we'd really appreciate if you sent us some stars on iTunes! It's one the best ways to support the show!We've had many requests for beta reading from Crime Time listeners over the years, and we're thrilled to finally be able to offer this service to our book community! Check out Frankcoreaders.com for all your manuscript assessment needs!Tell us what books are your faves in the comments below, or via Twitter!Join the Crime Time Team at Patreon!Make sure to check out the books of the week via the affiliate link below! Crime Time has partnered with Book Depository to bring you books at a great price – with free shipping worldwide thrown in!

Oh Dang! That Eddie is still on this darn Gothic kick! When will they stop? Never. When will Lee stop complaining about it? Also never. If the Gothic's weird obsession with Italy has got you down, don't worry! Lee has a book about everyone's favourite type of event: A Reunion! ¯_(ツ)_/¯ Then our two intrepid hosts are off to the movies, for Halloween, and a bit of a Haunting at Hill House! The post 4.8 | Ann Radcliffe, Samantha Hayes, & Halloween appeared first on Crime Time.

Olá pessoal, no episódio desse mês falamos de “A abadia de Northanger” (1817) da musa inspiradora do Chá das Cinco com Literatura, Jane Austen. Conversamos sobre o primeiro livro escrito pela autora, mas o último a ser publicado! Falamos sobre romance gótico e suas características como os personagens patriarcas abusivos; o sobrenatural representado por fantasmas, aparições e portas secretas; e finalmente sobre as heroínas desse tipo de narrativa. Muitos desses elementos permanecem ainda hoje no nosso imaginário, resultando em narrativas cinematográficas assim como outras obras literárias. Livros citados: O monge (1796), de Matthew Gregory Lewis. O castelo de Ortranto (1764), de Horace Walpole. Os mistério de Udolpho (1794), de Ann Radcliffe. Rebbeca (1938), de Daphne du Maurier. Música da nossa trilha sonora: The Vampire Masquerade –  Peter Grundy The Awakening – Peter Grundy J. Garth: Op.1 n.4 / Concerto for violoncello – John Garth Deixe seus comentários aqui pra gente. Sempre que acabamos de gravar, lembramos de algo mais que poderia ser dito, logo o tema sempre fica em aberto. Podcast: 00:01:06 Apresentação 00:01:57 A abadia de Northanger 00:56:10 As adaptações 01:15:02 Outras indicações Northanger Abbey (1987) https://www.imdb.com/title/tt0091649/ Northanger Abbey (2007) https://www.imdb.com/title/tt0844794/ O post #22: A abadia de Northanger de Jane Austen apareceu primeiro em Chá das Cinco Com Literatura.

Matthew G. Lewis's 1796 novel The Monk represents the first sordid blooming of the gothic horror novel. Rockstar Spanish monk Ambrosio faces an increasingly jaw-dropping series of temptations thanks to a novice monk who may not be what he seems, imperiling the virginal young Antonia in the bargain. But that's just the beginning! With more plot developments per scene than most soap operas, this is a ripping yarn that adds a heaping helping of sex, grotesquerie, and hysteria to Ann Radcliffe's successful formula. What happens when you accidentally elope with a ghost? Why did the Surrealists love this novel? Does this book contain the best character in all of gothic fiction? Who is the unexpected moral center of the story? Find out all this and more in this month's episode of Bad Books for Bad People. Find us at BadBooksBadPeople.com, on Twitter @badbooksbadppl, Instagram @badbooksbadpeople and on Facebook. You can discover where to get all the books featured on Bad Books for Bad People on our About Page.

www.StoryLinkRadio.com Published 1793 - A gothic novel set in a powerful landscape, with complex clan feuds and mysterious romantic intrigues played out against a backdrop of ruined medieval castles and rugged Scottish coastlines. The present Earl of Athlin, Osbert, is driven by the desire to avenge his father’s murder at the hand of Malcolm, the Baron of Dunbayne. His sister, Mary, attempts to resist her passion for Alleyn, a highlander not of noble birth. Alleyn is driven to heroic deeds of rescue because of his love for Mary. The villain, Baron Malcolm, is driven by his desire to kill Osbert; and to possess Mary. Along with the characters, the castles of the title are central to this gothic tale. GOTHIC NOVEL

Vi knackar på porten till det arketypiska kråkslottet och säger hej till några gamla spöken. Tomas lägger ut texten om sitt föräldrahem i den småländska granskogen och Lars sänder ut dubbla budskap i fråga om värdet av psykoanalytisk litteraturteori. Vi pratar också om: Horace Walpole, The Castle of Otranto, Ann Radcliffe, The Mystery of Udolpho, Edgar Allan Poe, The Fall of the House of Usher, Aurora Ljunstedt, Hin ondes hus, Henry James, Turn of the Screw, The Innocents, Sigmund Freud, Shirley Jackson, The Haunting of Hill House, The Amityville Horror, Richard Matheson, The Legend of Hell House, Stephen King, Stanley Kubrick, The Shining, The Changeling, Lucio Fulci, House by the Cemetery, Besökarna, Lena Endre, Kjell Bergqvist, Johannes Brost, Susan Hill, The Woman in Black, Hanna von Corsvant, Barnflickan, Roberta Williams, Phantamagoria, Scream 2, The Others, Ju-on, The Grudge, A Tale of Two Sisters, Skeleton Key, Peter Sarsgaard och Haunted Heartland. Nostalgi, löst tyckande och akademisk analys i en salig röra.

Northanger Abbey follows Catherine Morland and family friends Mr. and Mrs. Allen as they visit Bath, England. Seventeen year-old Catherine spends her time visiting newly made friends, like Isabella Thorpe, and going to balls. Catherine finds herself pursued by Isabella’s brother John Thorpe and by Henry Tilney. She also becomes friends with Eleanor Tilney, Henry’s younger sister. Mr. Henry Tilney captivates her with his view on novels and knowledge of history and the world. The Tilneys invite Catherine to visit their father’s estate, Northanger Abbey, which, because she has been reading Ann Radcliffe’s gothic novel The Mysteries of Udolpho, Catherine expects to be dark, ancient and full of fantastical mystery. The first chapter introduces the reader to the protagonist of the novel, Catherine Morland.

Join us as we continue our literary journey with gothic writer/novelist Regina Maria Roche who wrote very much in the shadow of Ann Radcliffe. Roche's novel "The Children of the Abbey" was one of the period’s most popular novels, a sentimental Gothic Romance. Her book, "Clermont"¸ was Roche’s only real attempt at writing a truly Gothic novel, and is decidedly darker in tone than anything else she wrote. She wrote 11 more novels, mostly set in the rural Ireland she returned to in the 1820s. All in all during her time Regina Maria Roche was a best seller who success as a gothic writer made an impact on the world of literature. Join us as we journey with Regina Maria Roches. Stay tuned and keep it locked.

Join us as we continue our literary journey with English author and pioneer of the goth novel Ann Radcliffe. She is considered to be the founder of Gothic Literature with her true style. While there were others that preceded her, Ann was the one that legitimized Gothic literature. Ann's fiction is characterized by seemingly supernatural events being explained through reason. Throughout her work traditional morals are asserted, women’s rights are advocated for, as shown throughout her work. Her style is romantic in its vivid descriptions of landscapes, and long traveled scenes; yet the Gothic element is obvious through her use of the supernatural. She influenced many authors in her time and that influence still carries today. Tune in as we journey with the literary diva of "goth lit" Ann Radcliffe. Stay tuned and keep it locked.

Albert Schweitzer. In background, clockwise from lower left: Charlotte Perkins Gilman, Ann Radcliffe, Horace Mann, J.M. Barrie, Marian Wright Edelman, Anne Frank Albert Schweitzer was a musician and physician who won the Nobel Peace Prize in 1952. This is the message he left for us when he died: “I don't know what your destiny will be, but one thing I do know: the only ones among you who will be really happy are those who have sought and found how to serve.” Now lest you think I've gone all touchy-feely, riding my unicorn over the rainbow as I sprinkle sparklies on the world below, I'll poke you with the pointed advice of Ann Radcliffe: “One act of beneficence, one act of real usefulness, is worth all the abstract sentiment in the world.” In other words, “No one wants to hear what you believe. We're watching. Show us.” You go, Ann. Talk is cheap. Beautiful dreams are for rainbow riders. Small actions, relentless actions, committed actions are the signature of people who change the world. Are you a world changer? “The first duty of a human being is to assume the right functional relationship to society – more briefly, to find your real job, and do it.” – Charlotte Perkins Gilman Have you found your real job? Are you doing it? No? (Don't worry, if you're not yet sure of your real job, http://wizardacademy.org/ (Sid Lloyd) will help you find it on March 13.) “You're not obligated to win. You're obligated to keep trying to do the best you can every day. A lot of people are waiting for Martin Luther King or Mahatma Gandhi to come back – but they are gone. We are it. It is up to us. It is up to you.” – Marian Wright Edelman In the spirit of Marian Edelman, Horace Mann challenged the 1859 graduating class of Antioch University thusly: “Be ashamed to die until you have won some victory for humanity.” “Be ashamed to die.” It takes real teeth to say things like that. Horace had him some teeth. Remember the happiness promised to us by Albert Schweitzer? Jimmy James Barrie gave us Peter Pan, then said, “Those who bring sunshine into the lives of others, cannot keep it from themselves.” I'm thinking he was right. I have confidence in the words of these 7 worthies because they agree with the Jewish rabbi we quoted last week. “Anyone who seeks his own happiness will not find it. But those who seek the happiness of others will find happiness in all they do.” – a transliteration of the words of Jesus from Mathew 16 Hiding for her life in an attic, the irrepressible Anne Frank said, “How wonderful it is that nobody need wait a single moment before starting to improve the world.” This was a buoyant attitude for a teenage girl hiding in an attic. But you're not hiding in an attic. You're staring into the mirror of a brand new year, full of possibilities. Look into the eyes of that mirror. Who will you be in 2009? Roy H. Williams