sacred domes, domes in flames

@burntuprelics doctoral research archive. insult anne rice's intelligence and craft while engaging with scholarship on it and i will block you.

[reliquiaeperustae]

current tbr to guide my restructuring my exam lists:

auerbach, our vampires, ourselves

bride and antoszek, financial gothic: monsterized capitalism in american fiction

davidel, agency in the ricean vampire's compulsion to feed

doane and hodges, undoing feminism: from the preoedipal to postfeminism in anne rice's vampire chronicles

haggerty, anne rice and the queering of culture

holmes, becoming-other: (dis)embodiments of race in anne rice's tale of the body thief

horner, european gothic

hoppenstand, the gothic world of anne rice

keller, anne rice and sexual politics: the early novels

pintilie, gender conventions: homosexual eroticism and family liasons in anne rice and neil jordan's interview with the vampire

powell, duration and the vampire: a deleuzian gothic

sonser, subversion, seduction, and the culture of consumption: the american gothic revisited in the work of toni morrison, joyce carol oates, and anne rice

tomc, dieting and damnation: anne rice's interview with the vampire

[reliquiaeperustae]

sources pulled from auerbach:

barreca, sex and death in victorian literature

byron, "fragment of a novel"

coleridge, christabel

craft, "kiss me with those red lips: gender and inversion in bram stoker's dracula"

dellamora, masculine desire: the sexual politics of victorian aestheticism

dollimore, sexual dissidence: augustine to wilde, freud to foucault

dollimore, death, desire and loss in western culture

fisher, dracula

hammer, lust for a vampire

garber, vested interests: cross-dressing and cultural anxiety

planché, the vampire; or, the bride of the isles

sedgwick, between men: english literature and male homosocial desire

sedgwick, epistemology of the closet

skal, the monster show: a cultural history of horror

twitchell, the living dead: a study of the vampire in romantic literature

white, "two vampires of 1828"

sources pulled from davidel:

butler, bodies that matter: on the discursive limits of “sex”

clements, the vampire defanged: how the embodiment of evil became a romantic hero

cohen, monster theory: reading culture

liberman, "eroticism as moral fulcrum in rice's vampire chronicles"

ng, dimensions of monstrosity in contemporary narratives: theory, psychoanalysis, postmodernism

piatti-farnell, the vampire in contemporary popular literature

sources pulled from doane and hodges:

haug, critique of commodity aesthetics: appearance, sexuality, and advertising in capitalist society

kristeva, "stabat mater"

moretti, signs taken for wonders

sources pulled from haggerty:

bell, "decadence, dandyism and aestheticism in the vampire chronicles" [not from the bibliography but rather a jstor recommendation]

case, "tracking the vampire"

dyer, "children of the night: vampirism as homosexuality, homosexuality as vampirism"

miller, the novel and the police

zizek, the sublime object of ideology

more from haggerty because i am so impressed by the article

haggerty, gothic fiction/gothic form

haggerty, queer gothic: gothic fiction and the history of sexuality

sources pulled from holmes:

halberstam, skin shows: gothic horror and the technology of monsters

secondary sources pulled from horner:

berger, ways of seeing

bogatyrev, vampyres in the carpathians: magical acts, rits, and beliefs in subcarpathian rus'

botting, "in gothic darkly: heterotopia, history, culture"

burke, a philosophical enquiry

crook, "sleuthing towards a mary shelley canon"

coleridge, remorse. a tragedy, in five acts

corner, the gothic-fantastic in nineteenth-century russian literature

cornwell, the gothic-fantastic in nineteenth-century russian literature

diderot, the nun

frayling, vampyres: lord byron to count dracula

freeborn, "frankenstein's last journey"

gaustad, "rebuilding gothic on russian soil: the roles of religion and intertwining of minds in dostoevskii's the landlady"

gelder, reading the vampire

halberstam, skin shows: gothic horror and the technology of monsters

howard, reading gothic fiction: a bakhtinian approach

hurley, the gothic body: sexuality, materialism, and degeneration at the fin de siecle

karamzin, the island of bornholm

karlinsky, the sexual labyrinth of nikolai gogol

korovin, russian 19th-century gothic tales

leighton, the esoteric tradition in russian romantic literature

leroux, the phantom of the opera

lewis, the monk; a romance

maturin, melmoth the wanderer

mighall, a geography of gothic fiction: mapping history's nightmares

monleon, a spectre is haunting europe: a sociohistorical approach to the fantastic

mulvey, "visual pleasure and narrative cinema"

odoevsky, the salamander and other gothic tales

perkowski, vampires of the slavs

perkowski, the darkling: a treatise on slavic vampirism

praz, the romantic agony

punter, gothic pathologies: the text, the body and the law

de sade, justine

schiller, the robbers

shelley, valperga, or, the life and adventures of castruccio, prince of lucca

simpson, romanticism, nationalism, and the revolt against theory

simpson, the russian gothic novel and its british antecedents

state, "cloistered closets: enlightenment pornography, the confessional state, homosexual persecution, and the monk"

todorov, the fantastic: a structural approach to a literary genre

walpole, the castle of otranto

williams, art of darkness: a poetics of gothic

sources pulled from sonser:

bakhtin, the dialogic imagination

barthes, image-music-text

baudrillard, the consumer society: myths and structures

baudrillard, symbolic exchange and death

d'haen, "postmodern gothic"

dietrichson, the image of money

ecco, a theory of semiotics

kilgour, from communion to cannibalism: an anatomy of metaphors of incorporation

sources pulled from clark:

moretti, signs taken for wonders

sources pulled from blake and soltysik:

berardi, the soul at work: from alienation to autonomy

botting, gothic

butler, precarious life: the power of mourning and violence

byron, global gothic

derrida, spectres of marx: the state of the debt, the work of mourning, and the new international

edelman, no future: queer theory and the death drive

gelder, reading the vampire

giroux, "the disimagination machine and the pathologies of power"

gordon and hollinger, blood read: the vampire as metaphor in contemporary culture

jarmusch, only lovers left alive

khair, the gothic, postcolonialism and otherness: ghosts from elsewhere

latham, consuming youth: vampires, cyborgs, and the culture of consumption

lindqvist, handling the undead

loher, manhattan medea

punter, the literature of terror

serres, the parasite

sources pulled from houston

jameson, the political unconscious: narrative as a socially symbolic act

lukacs, history and class consciousness

williams, marxism and literature

sources pulled from barreca:

barthes, the pleasure of the text

bataille, literature and evil

brooks, reading for the plot: design and intention in narrative

ellis, studies in the psychology of sex

hardy, tess of the d'urbervilles: a pure woman faithfully presented

marcuse, eros and civilization

sources pulled from sedgwick:

levi-strauss, the elementary structures of kinship

sources pulled from dellamora:

cohen, "foucauldian necrologies: 'gay' 'politics'? politically gay?"

cohen, "writing gone wilde: homoerotic desire in the closet of representation"

dowling, language and decadence in the victorian fin de siecle

gagnier, idylls of the marketplace: oscar wilde and the victorian public

hopkins, poems

mcgann, "the beauty of the medusa: a study in romantic literary iconology"

macus, the other victorians: a study of sexuality and pornography in mid-nineteenth century england

ruggiero, the boundaries of eros: sex crime and sexuality in renaissance venice

sources pulled from dollimore

baldwin, giovanni's room

barthes, preface to tricks: 25 encounters (camus)

bataille, the accursed share

baudrillard, symbolic exchange and death

benjamin, illuminations

bersani, "is the rectum a grave?"

brown, the body and society: men, women and sexual renunciation in early christianity

heraclitus, fragments

land, the thirst for annihilation

mann, death in venice

vermeule, aspects of death in early greek art and poetry

zhdanov, on literature, music and philosophy

[yvain]

Fred Botting, Gothic

[yvain]

Fred Botting, Gothic

[reliquiaeperustae]

Doesn't poetry lead to the establishment of an object as a substitute for the symbolic order under attack, an object that is never clearly posited but always "in perspective." The object may be either the body proper or the apparatuses erotized during vocal utterance...Moreover, since the symbolic is corrupted so that an object - the book, the work - will result, isn't this object a substitute for the thetic phase?..isn't art a fetish par excellence, one that badly camoflages its archaeology?

kristeva, "the subject in signifying practice," revolution in poetic language

[macklesufficient]

almost peed my pants today when my bf told me about this dude in his hometown who dressed up like ryan gosling in Drive every day (including driving gloves) but did not own a car. bf was like “yeah we called him Walk”

[menloathe]

hi everyone to make a long story short coming out to my parents did not go well and i'm in an extremely unsafe environment that i need to move out of asap. if you have anything at all to spare please direct it to ko-fi.com/seans999 i would be incredibly grateful for any amount

[reliquiaeperustae]

Fetishism is a compromise with the thetic...we shall content that it is the thetic, and not fetishism, that is inherent in every cultural production, because fetishism is a displacement of the thetic onto the realm of drives...fetishism is a telescoping of the symbolic's characteristic thetic movement and of one of those instinctually invested stases (bodies, parts of bodies, orifices, containing objects, and so forth). This stasis thus becomes the ersatz of the sign. Fetishism is a stasis that acts as a thesis...The object [which is a substitute for the symbolic order under attack] may be either the body proper or the apparatuses eroticized during vocal utterance (the glottis, the lungs), objects that are either linked to the addressee of desire or to the very material of language as the predominant object of pleasure. Moreover, since the symbolic is corrupted so that an object - the book, the work - will result, isn't this object a substitute for the thetic phase? Doesn't it take the thetic's place by making its symbolicity opaque, by filling the thetic with its presence whose pretension to universality is matched only by its very finite limits?

kristeva, "the unstable symbolic," revolution in poetic lanaguage

[reliquiaeperustae]

[The passage from one sign system to another] comes about through a combination of displacement and condensation, but this does not account for its total operation. It also involves an altering of the thetic position - the destruction of the old position and the formation of a new one. The new signifying system may be produced with the same signifying material; in language, for example, the passage may be made from narrative to text...In this connection we examined the formation of a specific signifying system - the novel - as the redistribution of several different sign systems: carnival, courtly poetry, scholastic discourse.

kristeva, "breaching the thetic," revolution in poetic language

[reliquiaeperustae]

For there to be enunciation, the ego must be posited in the signified, but it must do so as a function of the subject lacking in the signifier; a system of finite positions (signification) can only function when it is supported by a subject and on the condition that this subject is a want-to-be [manque à être]. Signification exists precisely because there is no subject in signification. The gap between the imaged ego and drive motility, between the mother and the demand made on her, is precisely the break that establishes what Lacan calls the place of the Other as the place of the "signifier." The subject is hidden "by an ever purer signifier"; this wants-to-be confers on the other the role of containing the possibility of signification.

kristeva, "the mirror and castration," revolution in poetic language

[reliquiaeperustae]

Formal linguistic relations are thus connected to an "externality" in the psychosomatic realm, which is ultimately reduced to a fragmented substance [substance morcelée] (the body divided into erogenous zones) and articulated by the developing ego's connections to the there points of the family triangle.

kristeva, "the semiotic and the symbolic," revolution in poetic language

[reliquiaeperustae]

Because of its specific isolation within the discursive totality of our time, this shattering of discourse reveals that linguistic changes constitute changes in the status of the subject - his relation to the body, to others, and to objects; it also reveals that normalized language is just one of the ways of articulating the signifying process that encompasses the body, the material referent, and language itself.

kristeva, "prolegomenon," revolution in poetic language

[reliquiaeperustae]

...the thinking subject, the Cartesian subject who defines his being through thought or language, subsumes within that being and the operations which supposedly structure it, all translinguistic practice - a practice in which language and the subject are merely moments.

kristeva, "prolegomenon," revolution in poetic language

[reliquiaeperustae]

These static thoughts, producs of a leisurely cogitation removed from historical turmoil, persist in seeking the truth of language by formalizing utterances that hang in midair and the truth of the subject by listening to the narrative of a sleeping body - a body in repose, withdrawn from its sociohistorical imbrication, removed from direct experience...This thinking points to a truth, namely, that the kind of activity encouraged and privileged by (capitalist) society represses the process pervading the body and the subject, and that we must therefore break out of our interpersonal and intersocial experience if we are to gain access to what is repressed in the social mechanism: the generating of significance.

kristeva, "prolegomenon," revolution in poetic language

[themonstrousother-moved]

The Contemporary Gothic, Catherine Spooner

[clairertalk]

Anne Rice had all the answers and people still ignores them

[reliquiaeperustae]

Another aspect of Anne's childhood that impressed itself on her imagination was her healthy sense of the physical world. She liked to be touched and she noticed the finest details in her surroundings...She also found stimulation in the daily ceremonies of her parochial education..."You sit there and you imagine what Christ felt as he walked down the street carrying the cross...what the thorns felt like going into his forehead and the nails into his hands."..In her own private oratory, made from an unused bathroom in the back of her home on St. Charles Avenue, Anne prayed fervently for the stigmata, the bloody imprint that marked unusual devotion.

ramsland, "the lived world of anne rice's novels" in the gothic world of anne rice

[reliquiaeperustae]

[Rice's] grand achievement in Memnoch the Devil is the writing of a modern-day Divine Comedy. Interestingly, however, her most hostile critics don't recognize in her novel this marvelous accomplishment...If anything other than a "quick fix" of fear appears in Rice's gothic writing, some of her reviewers yammer that something has gone dreadfully wrong with her story...her latest vampire novel is disappointing, they argue, and, because of their own ignorance of the important history of genre, they miss entirely her point in the novel...This is a book about religion, salvation, and personal confession...Regarding Memnoch's ongoing debate with God about mercy, Rice's novel also echoes John Milton's religious epic Paradise Lost

hoppenstand and browne, introduction to the gothic world of anne rice