![]() ![]() Haggerty, Queer Gothic (Urbana: University of Illinois Press, 2006). Davidson, Revolution and the Word: The Rise of the Novel in America (Oxford: Oxford University Press, 1986), 212–53. This process is experimental and the keywords may be updated as the learning algorithm improves.Ĭathy N. These keywords were added by machine and not by the authors. ![]() Finally, I use the word queer to describe nonnormative sexual relations of various kinds, as indeed I did in my recent book, Queer Gothic. ![]() This happens a lot in Brown’s novel, and I want to look at these situations and examine what they share. I also use queer as a transitive verb, in the sense of queering a situation or relationship. I am interested in how the text gives rise to such effects. In the first place, queer signifies what is odd and, perhaps in an uncanny way, off-putting, bizarre, or strange. ![]() The effect that is created in the novel is often called “uncanny” 1 but I would prefer to call such effects “queer.” I use “queer” in this essay to signify a number of different things. Sentiment and seduction, in Brown’s hands, are features of the gothic that render experience both questionable and meaningless. The novel also asks us to consider the function of sentiment in establishing gothic effects as well as how gothic emotionality enables seduction and makes it, in at least one sense, inevitable. Charles Brockden Brown’s Wieland challenges us to consider what happens to gothic tropes as they are carried across the Atlantic. ![]()
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