Critical commentary on Dracula & The Bloody Chamber 0.0 / 5 ? English LiteratureThe Bloody ChamberA2/A-levelOCR Created by: jroe99Created on: 09-06-18 18:15 Bidisha (beds) 'beds [particularly marital beds] are traps' 1 of 45 Miles (1994) Female Gothic had 'hardened into a literary category' 2 of 45 Duncker (sexuality) 'Women's sensuality simply as a response to male arousal' 3 of 45 Duncker (limitations) 'rewriting the tales within the straitjacket of their original structures' 4 of 45 Simpson 'struggling out of the straitjackets of history, idealogy, and biological essentialism' 5 of 45 Bettelheim 'metamorphoses imply a liberation from sexual repression' 6 of 45 Atwood 'lamb-and-tiger dichotomy' 7 of 45 Duncker 'could go much further' 8 of 45 Day 'Carter's fiction is a bit extreme' 9 of 45 Vandermeer 'escaping...the traps laid by men' 10 of 45 Makinen 'it is the women who become active and saviours, not the men' 11 of 45 Spectator 'The up-to-dateness of the book hardly fits with the medieval narrative' 12 of 45 Punch (1897) 'very weirdest of weird tales' 13 of 45 Eagelton 'allegory of the situation of the Irish under the rule of the British' 14 of 45 Marx 'vampirically sucking the lifeblood out of the living' 15 of 45 Freud supernatural is the 'return of the repressed' 16 of 45 Punter 'existance of female passion' 17 of 45 Botting (anxieties) 'feeds off prevailing cultural anxieties' 18 of 45 Mighall must be read from 'a Freudian standpoint' 19 of 45 Wicke 'not possible to write about Dracula without raising the sexual issue' 20 of 45 Buzwell (sexuality) 'alluring representation of nocturnal glamour and potent sexuality' 21 of 45 Buzwell (immigration) 'untramelled immigration' 22 of 45 Vandermeer (stereotypes) 'fairytales clothe themselves in stereotypes' 23 of 45 Botting (otherness) 'Otherness takes centre stage' 24 of 45 Bacchilega 'Snow Child is a masculine fantasy' 25 of 45 Bidisha 'presses on the line between choice and fear' 26 of 45 Carter 'latent content is violently sexual' 27 of 45 Wood 'destabilising women as purely passive' 28 of 45 Punter (taboos) 'Concerned with the breaking of taboos' 29 of 45 Arata 'The coloniser is colonised' 30 of 45 Kidd (transgression) 'Gothic texts tend to be about transgression' 31 of 45 Kidd (innocence) 'Possible violation of innocence' 32 of 45 Botting (castles) 'Castles distort perception' 33 of 45 Hurley 're-emerges in time of cultural stress' 34 of 45 Punter (modernity) 'insists on the modernity of it's setting' 35 of 45 Botting (disgust) 'terror grows out of suspense whilst horror produces disgust' 36 of 45 Bunten 'Castle...masculine world in which womrn are trapped and persecuted' 37 of 45 Botting (secularisation) Secularisation means the gothic has 'undergone significant transformation' 38 of 45 Punter (barbarity) 'civilised human reverting back to the barbaric' 39 of 45 Griffin(1980) 'the worst horror it can imagine is not Dracula but the released, transforming sexuality of the Good Woman' 40 of 45 Roth (1977) 'hostility towards female sexuality' 41 of 45 Wasson (1966) 'forces in Eastern Europe which seek to overthrow' 42 of 45 Hatlan (1980) Dracula is physically other: the sexuality that Victorian England denied' 43 of 45 Bristol Times and Mirror (1897) 'We must confess that we are not particularly fond of novels cast in diary form' 44 of 45 Punter (other) 'the threatening other which resides within the characters is simply repressed once more' 45 of 45
practice questions- GOTHIC COMPARISON, GOTHIC CRITICAL APPRECIATION, HAMLET, DRAMA AND PRE POETRY 0.0 / 5
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