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• W33543862 abstract "In Steven Cohan's insightful study of Violation and Repair in the English Novel (1986), we find astute theorizing about the dialectical interrelatedness, or dialogic engagement, of romance and realism within the novel. A structure of violation and repair underlies the self s reluctant emergence out of into experience, Cohan argues, and this paradigm of experience is centered in a complex narrative tension, a dialectic interplay of the regressive drive to regain and the drive to complete maturation (224). The regressive drive to regain innocence is associated with Romance, and the progressive drive to complete maturation with narratives of psychological realism, but, modern fiction emerged as a genre of extraordinary imaginative and psychological power because of its layering of violation over repair, repair over so that one defines the other. Indeed, that violation and repair arc no more than different shadings of the same experience finds its semantic proof, as Ciarissa suggests, in the word penetration, which means insight as well as violation. This double meaning of penetration succinctly epitomizes the impact of experience upon characters in the novel, since the genre's paradigm organizes its various competing energies to demonstrate that the penetrated self is, at the same time, a penetrating self. (225) The thesis has much to recommend it, but Cohan applies it only to novels, and moves from Richardson to Scott without attention to Gothic novels, in particular those of Ann Radcliffe and M. G. Lewis, which have been analyzed by others as narratives of repressed desire to taste prohibited fruits, and which might aptly be called fictions of violation and repair.(1) Moreover, I will show that the paradigm of simultaneous layering of violation over repair, repair over violation, is highly relevant in short Gothic tales, especially in our reading of the Gothic fragments of the late eighteenth century. The first Gothic fragment published in England was the Aikins' Sir Bertrand: A Fragment.(2) Its antecedents were chivalric Romances, ballads, oriental and fairy tales, but it owes much to contemporary theories of the sublime, to Ossianic prose poems, and to eighteenth-century medievalism in general. Typically, a maiden, the captive of evil power, is rescued by an heroic knight, or prince, or beloved, who is rewarded by her loving embraces (or marriage). That the captivity of the maiden is a metaphoric arresting of her development, was intimated by her falling into a dream-trance, fainting into unconsciousness, or being thought dead. Indeed, one can argue for late-eighteenth-century Gothic fragments that the dream-death-stasis was also the expedient retreat of from the awareness of sexual appetite, and the differentiating attraction to the other. Many Gothic fragments figured forth the struggles of sexual urgings (emergence into a mature self) with withdrawal into (submergence in the old self), and did so, as we shall see, exactly in the manner described by Cohan. Projecting the tormented psyche of the maturing woman into the dreamscapes of these fictions is their essential purpose and art. They have in common, to a formulaic degree, the locating of the female at the figurative center of dreaming, in the bed/small chamber/coffin of some ancient castle's turret, or dungeon, the emblematic home of ancient, decaying, tyrannical patriarchy. To her, through hideous storm, entangling forests, blasted heaths, over foul moats, past unyielding barriers and dangers within the castle, the is drawn, fearfully, urged on by her cries and groans and by providentially glimpsed lights or by supernatural signs. Finally, she succeeds in bringing to her the rescuer who is her only hope, and by kiss or dying embrace, she is transformed. …" @default.
• W33543862 created "2016-06-24" @default.
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• W33543862 date "1996-01-01" @default.
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• W33543862 title "Eighteenth-Century Gothic Fragments and the Paradigm of Violation and Repair" @default.
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