Bøger af Avril Horner

[headline]Extends the existing body of scholarship on Comic Gothic to cover new media, contemporary texts and writing from a range of cultures Comic Gothic: An Edinburgh Companion explores the role of irony, satire, parody, pastiche and the absurd in Gothic texts dating from the eighteenth century to the present day. By bringing together important analyses of classic and recent Gothic texts, this collection assesses the place of Comic Gothic in the realms of culture, social interaction and politics. From revisiting foundational Gothic writers such as Horace Walpole to highlighting contemporary Gothic fiction from across the world, seventeen essays examine the role of comedy in early formations of the Gothic and the genre today. Its particular focus on the use of Comic Gothic in social media, popular culture and the visual domain make this book a distinctive and original contribution to Gothic Studies. [editor biographies] Avril Horner is Emeritus Professor of English Literature at Kingston University, London. With Sue Zlosnik she has co-authored many articles and several books, including Daphne du Maurier: Writing, Identity and the Gothic Imagination (1998), Gothic and the Comic Turn (2005) and Women and the Gothic (2016). Other works include Edith Wharton: Sex, Satire and the Older Woman (with Janet Beer, 2011) and Living on Paper: Letters from Iris Murdoch, 1934-1995 (with Anne Rowe, 2015). Sue Zlosnik is Emeritus Professor of English at Manchester Metropolitan University and former co-President of the International Gothic Association. With Avril Horner, she has published six books, including the aforementioned, as well as numerous articles. Alone, she has published essays on writers as diverse as J. R. R. Tolkien and Chuck Palahniuk, and a monograph, Patrick McGrath (2011). She is co-editor (with Agnes Andeweg) of Gothic Kinship (2013).

Wharton's late and critically-neglected novels are reclaimed as experimental in form and radical in content in this book, which also suggests that her portrayal of older female characters in her last six novels anticipates contemporary unease about the cultural marginalization of the older woman in Western society.

This new collection of essays by major scholars in the field looks at the ways in which cross-fertilization has taken place in Gothic writing from France, Germany, Britain and America over the last 200 years, and argues that Gothic writing reflects international exchanges in theme and form.