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- Genre: Doctoral Dissertation
This research conceptualizes Gothic literature featuring undead characters produced and popularized by Britain in the early nineteenth century as educational texts. As an influx of new ideas at home and abroad disrupted the lives of the Romantics, not to mention the literal uprising of bodies in the French Revolution and the lost war with the North American colonies, British citizens dedicated themselves to preserving the relative safety of their shores from external and internal threats. I expand the definition of the “undead” to include any tangible, corporeal being once technically dead and now reanimated. In doing so, I invite a broader range of texts, and authors, into the conversation of Gothic literature and the genre’s continued legacy. My work reads male and female authors in dialogue with one another, both sexes working within common networks, rather than as creating separate or disparate traditions. The production of instructive undead bodies becomes particularly important to the development of British national identity and reveals a reliance on the maternal to educate and inform future citizens. The texts examined in this dissertation reveal the necessity of contemplating the histories and experiences of the past, of non-white voices, and of the female influence.
The texts range in publication date from 1805 to 1863 and thus demonstrate the continued used of the undead in the Gothic genre. An examination of the reanimated corpse in Romantic narrative demonstrates how authors utilized the undead as an educational tool both for the characters inside the text and the actual individuals reading the narrative. The undead offers a lens to look at the Gothic not regarding authorial gender or even a character’s gender, but rather in how the genre portrays bodies, and how those bodies interact with and instruct others. This dissertation’s perception of the undead as a powerful educational force in literature assists in the attempt to complete a more comprehensive analysis of Gothic, and therefore Romantic, literature.
The first chapter, using texts by Sir William Hamilton, Hester Piozzi, and Priscilla Wakefield, argues that in the late eighteenth century important aspects of volcanoes, like their impact upon human life and their existence through time, were beginning to be defined in texts ranging from the scientific to the educational. The second chapter focuses on works by Sir Edward Bulwer-Lytton and Charles Lyell to demonstrate the ways that volcanoes were stripped of metaphysical or symbolic meaning as the nineteenth century progressed. The third chapter contrasts the 1883 eruption of Krakatoa with Constance Gordon-Cumming’s travels to Kīlauea. The chapter shows how even towards the end of the century, trying to connect human minds with the process of volcanic phenomenon was a substantial challenge, but that volcanoes like Kīlauea allowed for new conceptions of volcanic action. The last chapter, through a post-apocalyptic novel by M. P. Shiel, shows how volcanoes were finally beginning to be categorized as a primary agent within the environment, shaping all life including humanity. Ultimately, I argue that the change in thinking about volcanoes parallels today’s shift in thinking about global climate change. My work provides insight into how we imagine ecological catastrophes like volcanic eruptions or climate change in the past and present and what that means for their impact on people.
Interspeciesism is informed by feminist influences, functioning as a framing paradigm that engages with a politicized question of the animal that explicitly acknowledges human-animal entanglements across sites that are shaped by imperialism and colonialism. This interspecies project considers the political nature of relationships between humans and canines. It suggests that people situate their own identities and power not only in relation to other humans but also to other species. Simultaneously, the interspeciesm I engage with extends analyses of biopolitics, or the regulations of living bodies, beyond humans to all species. It interrogates how contemporary U.S. society has organized and identified itself in part through the ways in which it controls and monitors canines, often in relationship to the multiple ways dogs in the U.S. are racialized, classed and gendered by specific breeds. This coding of canine bodies with various taxonomies of power is not about dog breeds’ in-and-of themselves, but instead indicates that dominant U.S. society seeks to assert control over certain populations that are constructed as undesirable and unproductive.
Canines exist in a unique space in the U.S. cultural imaginary where they have multiple and oftentimes contradictory meanings that are influenced by a variety of power relations that transcend species. At stake is a critical concern regarding how interspecies bodies are made, controlled, formed, and refigured together under heteropatriarchal white supremacist modes of power. It draws attention to what these corporeal un(makings) imply for an ethics of being with, and thinking of, the other—human and animal.