Comments on: Deconstructing the Male and Female Gothic using Woodchipper http://mith.umd.edu/eng738T/deconstructing-the-male-and-female-gothic-using-woodchipper/?utm_source=rss&utm_medium=rss&utm_campaign=deconstructing-the-male-and-female-gothic-using-woodchipper English 738T, Spring 2015 Sat, 12 Nov 2016 04:10:10 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: alquilerdelocalesenalicante.com http://mith.umd.edu/eng738T/deconstructing-the-male-and-female-gothic-using-woodchipper/#comment-1647 alquilerdelocalesenalicante.com Mon, 20 Jun 2016 08:26:04 +0000 http://mith.umd.edu/eng738T/?p=676#comment-1647 <strong>alquilerdelocalesenalicante.com...</strong> "[...]Deconstructing the Male and Female Gothic using Woodchipper - Technoromanticism[...]"... alquilerdelocalesenalicante.com…

“[...]Deconstructing the Male and Female Gothic using Woodchipper – Technoromanticism[...]“…

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By: Neil http://mith.umd.edu/eng738T/deconstructing-the-male-and-female-gothic-using-woodchipper/#comment-391 Neil Thu, 19 Apr 2012 02:32:03 +0000 http://mith.umd.edu/eng738T/?p=676#comment-391 That is an excellent suggestion by Nigel. But I think you're going to have work with a much larger dataset before you can move from this interesting initial provocation to larger generalizations. No one could justifiably claim that there are hard and fast lines between "male" and "female" Gothic, just that there are certain strong tendencies that can be seen across them as a whole. Woodchipper is a good instrument to understand the empirical basis for such a claim, as you demonstrate, once the dataset is sufficiently large. That is an excellent suggestion by Nigel. But I think you’re going to have work with a much larger dataset before you can move from this interesting initial provocation to larger generalizations. No one could justifiably claim that there are hard and fast lines between “male” and “female” Gothic, just that there are certain strong tendencies that can be seen across them as a whole. Woodchipper is a good instrument to understand the empirical basis for such a claim, as you demonstrate, once the dataset is sufficiently large.

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By: Kathryn Skutlin http://mith.umd.edu/eng738T/deconstructing-the-male-and-female-gothic-using-woodchipper/#comment-387 Kathryn Skutlin Wed, 18 Apr 2012 19:13:48 +0000 http://mith.umd.edu/eng738T/?p=676#comment-387 That is a great suggestion! I had never thought about the crossovers as pointing to the queerness of the genre. I am not familiar with any scholarship that talks about _Frankenstein_ as queering the female Gothic, but it might be out there! I definitely think that Woodchipper could lend itself to further inquiry into this topic. That is a great suggestion! I had never thought about the crossovers as pointing to the queerness of the genre. I am not familiar with any scholarship that talks about _Frankenstein_ as queering the female Gothic, but it might be out there! I definitely think that Woodchipper could lend itself to further inquiry into this topic.

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By: Nigel Lepianka http://mith.umd.edu/eng738T/deconstructing-the-male-and-female-gothic-using-woodchipper/#comment-385 Nigel Lepianka Tue, 17 Apr 2012 16:04:23 +0000 http://mith.umd.edu/eng738T/?p=676#comment-385 Your visual depictions of how unstable the ideas of the "male" and "female" modes of the gothic really shows how odd it is to divide the genre like that. I wonder if this leads to questions about the queerness of the genre, however. I know Judith Halberstam, somewhere, has argued for the gothic in this way, but I wonder if your graphs do not lend some evidence to the idea that if a genre is gendered, but crosses the lines (the way <i>Frankenstein</i> does) does it become a queer text? Has a convincing case been made for a reading of <i>Frankenstein</i> like this? It would seem like a reasonable continuation of your argument to dismantle the "male" and "female" gothic by finding the points where gender lines are crossed metaphorically by the genre and by the texts themselves. Your visual depictions of how unstable the ideas of the “male” and “female” modes of the gothic really shows how odd it is to divide the genre like that. I wonder if this leads to questions about the queerness of the genre, however. I know Judith Halberstam, somewhere, has argued for the gothic in this way, but I wonder if your graphs do not lend some evidence to the idea that if a genre is gendered, but crosses the lines (the way Frankenstein does) does it become a queer text? Has a convincing case been made for a reading of Frankenstein like this? It would seem like a reasonable continuation of your argument to dismantle the “male” and “female” gothic by finding the points where gender lines are crossed metaphorically by the genre and by the texts themselves.

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