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  1. May 28, 2006 · Summary. From the turn of the eighteenth into the nineteenth century and the beginnings of a distinctive American literature, the Gothic has stubbornly flourished in the United States. Its cultural role, though, has been entirely paradoxical: an optimistic country founded upon the Enlightenment principles of liberty and “the pursuit of ...

    • Eric Savoy
    • 2002
  2. Romanticism and the American Gothic; By Alfred Bendixen; Edited by Jeffrey Andrew Weinstock, Central Michigan University; Book: The Cambridge Companion to American Gothic; Online publication: 20 November 2017; Chapter DOI: https://doi.org/10.1017/9781316337998.003

  3. Jun 5, 2024 · A collection of short stories, including a number of Gothic tales, that explore the weird and curious incidents in the lives of soldiers and civilians during the American Civil War.

    • Jennifer Ferguson
    • 2018
  4. Nov 20, 2019 · Read this introductory essay on the Gothic in the antebellum American short story. "Gothic" is a term that has a great deal of flexibility and numerous references, from architecture to languages, letter fonts to post-punk youth subcultures and styles, etc.

  5. From these various points of view, then, the Gothic can be understood as a complex, multivalent mode that draws on personal and social trauma in its exploration of the darker passions and inexplicable behavior of human existence that disturb any judgments based in morality and rationality.

  6. American Gothic disrupts the dominant American narrative of progress, and reveals what is hidden or omitted by this narrative. It engages the inescapable facts of the emerging nation: the twinned original sins of African enslavement and native American removal, the shifting frontier, the rise of cities and of modern capitalism, poverty, disease ...

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  8. Sep 13, 2013 · American Gothic fiction has only recently been considered worthy of serious study. Before Leslie Fiedler's Love and Death in the American Novel (1960), such works were greatly deemphasized within the assumptions of New Criticism, “Old” Historicism, the History of Ideas, and the theories of literature and culture underpinning those movements.

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