Agriculture, Body Sculpture, Gothic Culture: Gothic Parody in Gibbons, Atwood and Weldon

Gothic Studies

Volumn 4, Issue 2, 2002, Pages 167-177

  Horner, Avril ^a   Zlosnik, Sue ^b  

^a KINGSTON UNIVERSITY   (United Kingdom)

^b LIVERPOOL HOPE UNIVERSITY   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84895006549     PISSN: 13627937     EISSN: 2050456X     Source Type: Journal    
DOI: 10.7227/GS.4.2.7     Document Type: Article

References (29)

1. Chris Baldick, ‘Introduction’ to The Oxford Book of Gothic Tales (Oxford: Oxford University Press, 1992), p. xxiii.
2. Daniel Cottom, The Civilized Imagination: A Study of Ann Radcliffe, Jane Austen, and Sir Walter Scott (Cambridge: Cambridge University Press, 1985).
3. Kate Ferguson Ellis, The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology (Urbana and Chicago: University of Illinois Press, 1983).
4. See Margaret Rose, Parody: Ancient, Modern and Post-Modern (Cambridge: Cambridge University Press, 1993); Linda Hutcheon, A Theory of Parody: The Teachings of Twentieth-Century Art Forms (London: Methuen, 1985); and Simon Dentith, Parody (London: Routledge, 2000).
5. Robert Phiddian, Swift’s Parody (Cambridge: Cambridge University Press, 1995), pp. 13–14 cited in Simon Dentith, Parody (London: Routledge, 2000), pp. 15–16.
6. Hutcheon, A Theory of Parody, p. 6.
7. Margaret Anne Doody, ‘Introduction’ to The Female Quixote or the Adventures of Isabella, [1752] (Oxford: Oxford University Press, 1989), p. xxvii.
8. Stella Gibbons, Cold Comfort Farm, [1932] (Harmondsworth: Penguin, 1994), p. 11. All subsequent quotations are taken from this edition. Page numbers will appear in parentheses in the text.
9. See Faye Hammill, ‘Cold Comfort Farm, D. H. Lawrence and English Literary Culture between the Wars’, Modern Fiction Studies, 47/4 (Winter 2001), 831–52 for a more detailed examination of the literary sources of Gibbons’ parody, particularly in relation to rural fiction of the period.
10. See Hammill, ibid, for a more detailed examination of Gibbons’ parodic attacks on Lawrence and his works.
11. Hutcheon, A Theory of Parody, p. 26.
12. Lorna Sage (ed.), The Cambridge Guide to Women’s Writing in English (Cambridge: Cambridge University Press, 1999), p. 140.
13. As described by Diana Wallace, in ‘Revising the Marriage Plot in Women’s Fiction of the 1930s’ in Women Writers of the 1930s: Gender, Politics and History, ed. Maroula Joannou (Edinburgh: Edinburgh University Press, 1999), p. 64.
14. Although Marie Stopes had published her Married Love in 1918, it was not until the 1930s that local authorities were permitted – but not required – to provide birth control information. ‘By 1937 only 95 out of 423 local authorities had actually authorised birth control advice in their own clinics’: see Martin Pugh, Women and the Women’s Movement in Britain, 1914–1959 (Basingstoke: Macmillan, 1992), p. 257
15. Coral Ann Howells, Margaret Atwood (Basingstoke: Macmillan, 1996), p. 62.
16. Margaret Atwood, Lady Oracle, [1976] (London: Virago, 1982) p. 225. All subsequent quotations are taken from this edition. Page numbers will appear in parentheses in the text.
17. Susanne Becker, Gothic Forms of Feminine Fictions (Manchester: Manchester University Press, 1999), p. 184.
18. Margaret Atwood, interview with Karla Hammond (1978), quoted in Earl Ingersoll, ed., Margaret Atwood: Conversations (Princeton: Ontario Review Press, 1990), p. 107.
19. Tania Modleski, Loving with a Vengeance: Mass-Produced Fantasies for Women (New York and London: Routledge, 1982); and Janice Radway, Reading the Romance (London: Verso, 1984).
20. Margaret Atwood, interview with Susanne Becker, cited in Becker, Gothic Forms of Feminine Fictions, p. 190.
21. Linda Hutcheon, The Canadian Postmodern: A Study of Contemporary English-Canadian Fiction (Oxford and Toronto: Oxford University Press, 1988), p. 146.
22. Becker, Gothic Forms of Feminine Fiction, p. 196.
23. Fay Weldon, The Life and Loves of a She Devil [1983] (London: Coronet Books, 1987), p. 6. All subsequent quotations are taken from this edition. Page numbers will appear in parentheses in the text.
24. Becker, Gothic Forms of Feminine Fictions, p. 191.
25. Jerrold E. Hogle, ‘Our Culture of Simulation’, in Fred Botting, ed., The Gothic (Cambridge: Brewer, 2001), pp. 153–79..
26. Hutcheon, A Theory of Parody, p. 26.
27. Our forthcoming book, Gothic and the Comic Turn, discusses work by such writers as Sylvia Townsend Warner and the critically neglected Barbara Comyns.
28. Cited in Ruth Robbins and J. Wolfreys, eds., Victorian Gothic: Literary and Cultural Manifestations in the Nineteenth Century (Basingstoke: Palgrave, 2000), p. xviii.
29. Sybil Korff Vincent, ‘The Mirror and the Cameo: Margaret Atwood’s Comic/Gothic Novel, Lady Oracle’, in Julianne E. Fleenor, ed., The Female Gothic (Montreal and London: The Eden Press, 1983), p. 153