![]() ![]() Zofloya is uniquely placed to aid such an interrogation because it “challenges the easy gender distinctions that have governed much thinking about Gothic fiction’ by combining elements from purportedly ‘male’ and ‘female’ traditions. These three posts aim to investigate whether Zofloya is a ‘female gothic’ work by looking at a number of formulations of the ‘female gothic’ and in turn interrogating these definitions. The vexed questions of what parameters to use to define the genre are at the centre of an ongoing debate. However, since Ellen Moers first coined the term ‘female gothic’ there has been a continual refining and redefining of the concept. Whether Zofloya, or The Moor (1806)is ‘female gothic’ novel feels like it should be a simple question. This is how I got there – my first faltering steps as an academic! If you follow my work, you’ll know that I largely reject this term as unhelpful. It’s an investigation of the term Female Gothic and its legitimacy through an exploration of Charlotte Dacre’s Zofloya and the simple question of whether or not it is ‘female gothic’. I’ve been rereading it today as I finalise my lesson slides for tomorrow. ![]() ![]() ![]() This is a series of ‘blogs’ (hmmm) which I wrote as a baby scholar during my Masters. ![]()
0 Comments
Leave a Reply. |