Anne Williams – författare

This text aims to describe the principles governing Gothic literature. Ranging across five centuries of fiction, drama and verse - including tales as diverse as Horace Walpole's "The Castle of Otranto", Shelley's "Frankenstein", Coleridge's "The Rime of the Ancient Mariner" and Freud's "The Mysteries of Enlightenment", Anne Williams proposes three new premises: that Gothic is poetic, not novelistic, in nature; that there are two parallel Gothic traditions - Male and Female; and that the Gothic and the Romantic represent a single literary tradition. Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions, such as the haunted castle and the family curse, signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions. In the Male plot, the protagonist faces a cruel, violent and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible.By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics.

This collection of essays explores the thesis that Shakespeare as we know him today was born in the eighteenth century, at the same time as the Gothic tradition, first named by Horace Walpole in 1764. The two are inextricable. Writers interested in pursuing 'Gothic' themes and forms (the supernatural events and generic hybrids decried by French neoclassicism) justified their aesthetic choices as following the example of their great - and emphatically English - precursor. They cited him in their epigraphs and appropriated his narratives. They echoed his language and imitated his dramatic devices. Like Shakespeare, they explored the ways in which familial ghosts may haunt the present. Like him, they mixed modes and genres: tragedy and comedy, verse and prose. Together, critics of Shakespeare and creators of the Gothic (often one and the same author) not only canonized England's secular saint and created a new literary mode; they collectively initiated a mode of subjectivity that remains with us today in both high and popular culture.

This collection of essays explores the thesis that Shakespeare as we know him today was born in the eighteenth century, at the same time as the Gothic tradition, first named by Horace Walpole in 1764. The two are inextricable. Writers interested in pursuing 'Gothic' themes and forms (the supernatural events and generic hybrids decried by French neoclassicism) justified their aesthetic choices as following the example of their great - and emphatically English - precursor. They cited him in their epigraphs and appropriated his narratives. They echoed his language and imitated his dramatic devices. Like Shakespeare, they explored the ways in which familial ghosts may haunt the present. Like him, they mixed modes and genres: tragedy and comedy, verse and prose. Together, critics of Shakespeare and creators of the Gothic (often one and the same author) not only canonized England's secular saint and created a new literary mode; they collectively initiated a mode of subjectivity that remains with us today in both high and popular culture.

This book aims to put right the fact that there is a dearth of texts written specifically for primary school teachers, which provides information about key issues and current research evidence in ways which are comprehensible to a non-specialist and which guide practice. The ability to use research evidence to improve and inform practice is now a requirement for the award of QTS.

This book aims to put right the fact that there is a dearth of texts written specifically for primary school teachers, which provides information about key issues and current research evidence in ways which are comprehensible to a non-specialist and which guide practice. The ability to use research evidence to improve and inform practice is now a requirement for the award of QTS.

This popular BEC series has been completely revised. PASS Cambridge BEC is a practical course for students who wish to gain a recognised business English qualification. Focusing on relevant international business situations, the course has been structured to provide students with a thorough preparation for the Business English Certificates (BEC).

This popular BEC series has been completely revised. PASS Cambridge BEC is a practical course for students who wish to gain a recognised business English qualification. Focusing on relevant international business situations, the course has been structured to provide students with a thorough preparation for the Business English Certificates (BEC).

This popular BEC series has been completely revised. PASS Cambridge BEC is a practical course for students who wish to gain a recognised business English qualification. Focusing on relevant international business situations, the course has been structured to provide students with a thorough preparation for the Business English Certificates (BEC).

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