Loading

Module 1: The ‘Explained Supernatural’, Gothic Sublime, and Aristocratic Villainy

Notes d'étude
Study Reminders
Support
Text Version

Gothic Domesticity and Patriarchy

Set your study reminders

We will email you at these times to remind you to study.
  • Monday

    -

    7am

    +

    Tuesday

    -

    7am

    +

    Wednesday

    -

    7am

    +

    Thursday

    -

    7am

    +

    Friday

    -

    7am

    +

    Saturday

    -

    7am

    +

    Sunday

    -

    7am

    +

Hello and welcome to this. Uh, we deal lecture. We deal on the mysteries of your dog food. In this session, I'm going to talk about Gothic, domestic city and the nature of patriarchy that is found in a Gothic Gianna, especially in relation to the mystery. You'd also what is the structure and nature of the family unit and the Gothic fiction and the misreading of Rudolfo. But not at the, it's a powerful argument against the oppressiveness of the patriarchal family unit. In other words, the unit, the family unit in this Gothic novel is patriarchal in nature. And the patriarchy is represented by count when Tony not by Emily's the, uh, precisely, uh, it is count Montani who, uh, really very, uh, potent cleat represents the oppressive nature of patriarchy in this, uh, a novel. And, um, it provides a catalog of the latter. Sins against the individual and her understandable wish for personal growth and emotional fulfillment. So, um, if you look at the character of Tony, it can, and also be characterized as, um, sinful, the sins against Emily and her aunt, who is his wife. So it is a catalog. Count Tony's character, a catalog of sins against the individual and the individual here, uh, in this critique is, um, of course Emily and, um, this individual Emily, uh, desire for personal growth and fulfillment, emotional fulfillment, and that is denied by comfortable Tony. In other words, the family unit represented by the family of Councilman Tony it's oppressive, and that he's responsible for the unhappiness, uh, cost in Emily's and ABA, the heroine of the ministries of Adolfo. So the family doesn't come off very well in this, um, novel in relation to count and Tony, so the family, um, Unit or the family house, because the novel is kind of centered around that key evil castle of it Adolfo, it becomes a prison. It becomes a prison for two women with men, Tony, the equal and of death jailer. And he decided. He stipulates they're living conditions. Uh, he decides where they will reside and he prevents them from having any kind of meaningful connection with anybody outside his. Circle. So you can very clearly see how this domestic set up have this domesticity becomes a structure of imprisonment for, um, Emily and her aunt, the wife of our account when Tony and the father figure code and code, uh, becomes the jailer of the, uh, doctor and, and, uh, his wife device has gone on Tony. You can also see, um, The nature of gender regulations prevalent, um, largely in the late, um, 18th century, uh, through the, uh, not, or don't have this, um, Novel. So, uh, in, uh, in the kind of, um, confrontation, uh, between counterman Tony and Emily, uh, we get to see that Emily is expected to behave in a particular way. Uh, so as Tony chastises. Scold reprimands Emily during a heated conversation between, and then, um, the word choose that are expected of Emily and of women heard, uh, a woman who, uh, in general are sincere CRV, uniformity of conduct and yeah, obedience most important. Definitely. She is expected to be the head of the household and the head of the household here is right when Tony, uh, In whose house she is residing for protection. And that is, uh, an irony in itself, um, because the family that support is supposed to kind of save God, her fails her, um, in, in this, um, set of circumstances. Is there a feminist in the mysteries that you do all four by, uh, Andy Ratcliffe, at least implicitly, um, you know, in a subtle manner, there is a kind of a feminist agenda, um, which can be noted in a Radcliffe's work. And, um, This agenda does not make the heroine a kind of step outside the conventions of society, but within the regulations, within the expected tradition, she somehow tries to, um, assert her individuality, set her personality and get a measure of freedom. So, um, The heroin stays within the bounds of social conventions of the time she doesn't break away from them, but, uh, she is able to, uh, attain self-governance to a certain extent. The novel seems to argue for fairness, in terms of gender relations. So, um, Rat clips seems to be subtly, uh, seem to be implicitly argue for a fair treatment. And, and that kind of demand for fairness in treatment to women, resonates with the work of, um, you know, uh, women such as women writers, uh, sort of smear will stone craft. Well also, um, you know, kind of wrote for, uh, women's rights wrote, um, gender fairness, um, at that point of time. So you can see it kind of a resemblance and between, uh, Mary we'll start craft and rock cliff, uh, in certain respects in this regard and, and, and, and in, um, The Gothic fiction in the world of fiction. Um, especially in, uh, in the mysteries, if it does, where we can see how the hero wins resistance to and Tony, because a restless stints to the oppression of patriarchy. The house is an interesting structure. Yeah. Um, in this, uh, novel, as in many other gods friction, the houses important because the house seems to embody or contain the whole experience for women who are largely confined within households. So let's see what this, uh, credit has to say. Uh, Brigida Burgland argues, um, you know, paraphrasing Byron it's summing up Barbara's words, uh, that it is not a monster love, but his house that proves a woman's whole existence. So, uh, the house is important because it does in that house, the whole existence of a womanhood, um, you know, is manifest. She is found within the house and. That gives her identity. And in late 18th century, England women's lives a much more confined than men's and women inhabited the houses that were owned and controlled by men. So that property was owned by men largely, and the middle class women who wrote. Fiction during that period, uh, wrote novels confined, um, within domesticity. And therefore you can see a lot of things, representation of the nature and structure of, um, the domestic, um, uh, set up the domestic, uh, editor. Um, so it is not surprising to find that women writers are more hands on than men. With the image of the house. So house is an image, which is very powerful, which is very record rent. And that house has a lot of symbolic connotations depending on the nature of the emotions that are, um, orchestrated that are at play in that particular house. So it becomes very clear that the house, since it belongs to the master, uh, somehow. Seems to kind of represent the master as well and his nature. Um, so one of, uh, Rackless main themes, according to the perfect Bergland is that how's this reflect the onus. That is the capture of the owners. That's bear witness. Not only do they taste the taste of the master, but the characters and dispositions as well. So, um, this, um, idea that the house. Represents the character of the owner, the people who are living inside it is a very common trope. And, and we also see this kind of, uh, come to, uh, great, the height, this kind of idea of being represented more thoroughly, more fully later in Jane Austin as well, especially in pride and prejudice. We at the house comes to kind of Stanford DASSI himself because the house is full of, um, No generosity to the people who are dependent or who are inhabitants of fit. So there is a kind of a direct correlation between the character of the master and the nature of the household. Um, you know, uh, with regard to this kind of structures. So. The point that I'm trying to, uh, indicate here is that, um, with the private prejudice, it's a more positive connotation. Um, ultimately, but here, uh, the connotations are negative. So, uh, the council of adults who becomes representative of County when Tony and his evil, the costume in itself kind of contains a lot of dark energy as well. What is, um, the kind of feminism that, uh, can be, uh, deducted in rock clips works. Um, Ratcliffe of course, it's very much concerned at how the patriarchal system, um, you know, especially, uh, You know, as represented in the extended family, which was the case and the mysteries of adulthood with Emily being forced to live with her aunt and her husband, how that kind of thing, extended family unit becomes oppressive to women. And therefore, by recording this fact, and by kind of. Fictionalizing this idea, very, very powerfully, um, and, uh, very, very puffy, uh, Radcliffe, the right kind of, of, uh, Vince, a place in the wider feminist movement that has come to prominence, uh, since her day. So she can be labeled a feminist because of her very, um, empathetic representation of the oppressive nature of patriarchy as represented in. Um, in, in concert with Tony and, uh, and his family, um, structure, which, which is a doll for the castle, if at all, for heroic aneurysm. And how do we kind of approach this idea in relation to, um, Ratcliffe and her, uh, work, uh, the situations that drag cliff places of, uh, in, in. In, uh, uh, make gender inequality, starkly evident. So, uh, the position of the heroines in got infection, uh, tell us that, um, it is, uh, highly unfair to women and, um, When she does it, she is making a statement. And, um, when the, when the Herodians kind of resist the, the unfair state of play that is offered to them in such friction, they are, uh, kind of accruing to themselves, um, the title of ism. Uh, so they become heroic in their own, right. In the work that they find themselves, uh, themselves in. So, uh, Radcliffe is creating a narrative structure there, uh, the hero, the hero, and it's like the heroes are given tests and trials of their, uh, morals, which become as a character building. Um, as, um, as it does for the heroes, uh, in mail center, um, works of, of the 18th century and the 19th century. Um, so. The counterpart. Um, she does what the male counterpart does. So is she becomes, um, G kind of wins the title. He Romanism. So, uh, the point is that this is heroin centric narrative, and this heroin centric are not of kind of, um, Is as legitimate as a Hebrew centric novel, therefore there's a kind of a subtle, uh, argument for, uh, gender equality, um, in, um, Gothic fiction, uh, written by women in terms of, uh, romance and marriage. We understand that, uh, arranged marriages are not part of the Ratcliffe worldview. So at the end of the tale, Uh, we see that Emily is not forced into an arranged marriage. She is not forcibly married off to anybody and she chooses her a marital partner. So Emily Radcliffe's here, Ryan's invariably married for love and not for social advantage of a property. o that is pretty clear. And in romances. In terms of Emily's and Arbor and the mysteries of Philadelphia, she is most representative, um, incomes of Ratcliffe in Ryan's in this respect. And, uh, in fact, she is someone who is determined to, uh, assert Oh, rights within the limited space, the limited domain that's been given to her. So in that regard, Emily kind of represents spirited heroines, um, off Radcliffe. In fact, if you look at the nature of her resistance, even though. Claim that she has an existence outside of the family unit is in itself a subversive that in itself becomes a powerful statement against the state of school of patriarchy, um, to argue that she has individual, um, needs and desires. And she has her own particular worldview as to what kind of satisfies her emotionally, um, all these kind of, uh, Faith and belief system, uh, is subversive to the patriarchal world. You to reach that stage of resistance, Emily has to develop considerable the inner resource. So the novel become, um, a kind of a means. Kind of a large landscape, a symbolic landscape traverse to kind of, or gain those inner resources and most of them. And she has to kind of build her or sell spiritually in a stronger manner in the teeth of opposition from her guardian. So. We got to remember that the aunt initially resisted her. Yeah. Uh, engagement to Vaillancourt. Infectuous responsible for her in, in breaking up that engagement with that. We need to remember that the guardians, the guardians of Emily, the ant and are extremely not know beneficial to the happiness of Emily is, um, a novel. So, uh, The claim to individuality on the part of this young female becomes a resistance to the state of school. The mysteries, if a dog for charts maps. Plots the conflict between Emily's little network of the individual have not heard of the young woman's Snyder dub, a fulfillment of emotional fulfillment and the grand narrative of the joker family system. I'm represented by Councilman Tony. Um, and, and B, I start in this conflict between the small system of Emily and the large bedraggled system, family system of my journey, and really eventually triumphs. And she does get her heart one time at the end of the day. Uh, we can also see this novel as a female build on swarm mine just got thick. A fiction is a female building stroma and that kind of chart the trajectory of Emily's and Auburn. And, uh, it's, it's quite very clear in the novel too, that this traces, um, The story traces the course of it. Emily's life from childhood to young adulthood, NBC her develop into a sensitive, very, um, you know, mindful and resourceful and sensible young woman who has the right measure of sentimentality. And she also possessed. Courage to resist the many pressures exerted on her by patriarchy, by the family unit, which is detrimental to her happiness and emotional fulfillment. And, um, that family are disrupted by count. Tony that even count, Emily does face a CES of trials, which strengthened her. So this novel becomes a process of. Strengthening Emily's character and resolve, and it makes her immensely resourceful. And at the end, at the end, by the novels contusion, she is very, very self possessed. Um, she's an individual with a keen moral watch. You. She knows what is right and wrong. She knows the right kind of amp sensibility, and she knows how to conduct oneself and socially in a world, which is full of hypocrisy and corruption. And that is represented by Tony. Once again, the hypocrisy, the way in which he kind of musts his emotions in order to get what he wants from a situation and the way in which he is corrupt and pushes everybody to give up their property. So as to expand himself, so. Uh, in this crop world, Emily kind of manages to teach herself as she's, um, basically, uh self-taught and this not a trajectory. It gives her that space to grow into a sense, but young woman, thank you for watching. Uh, I'll continue in the next session.