Studienarbeit aus dem Jahr 2011 im Fachbereich Anglistik - Literatur, Note: 1,6, Universität Konstanz, Sprache: Deutsch, Abstract: Edgar Allan Poe is one of the most famous American authors; however, he is “the most controversial” . Not only his works fueled the debate on him, but also his almost scandalous biography, which includes alcohol, drugs, financial problems, a marriage with his only 13-year-old cousin and a strange personality, that gave him a reputation of a grumpy, even violent person. Nevertheless he had a great influence on American literature and the modern short story. The attention of this essay will be focused on Poe's means and methods of manipulating the reader with the effect of horror and fear. This shall be demonstrated on the example of “The Fall of the House of Usher”. The story was written in spring or summer of 1839 in Philadelphia. It was published in September of that year in Burton’s Gentleman’s Magazine, of which Poe was assistant editor. A collection of 25 stories named “Tales of the Grotesque and Arabesque”, including Usher, came out in December. Thomas Woodson describes Usher as “Succession of futile efforts to establish himself, to define a solid identity for posterity, for his contemporaries, and for himself. It is of course typical for him that he should try to construct his own literary personality by dramatizing the fall of a house and of a family.”

The Works of Edgar Allan Poe Volume 2 Edgar Allan Poe - Includes The Purloined Letter, The Thousand-and-Second Tale of Scheherezade, A Descent into the Maelström, Von Kempelen and his Discovery, Mesmeric Revelation, The Facts in the Case of M., Valdemar, The Black Cat, The Fall of the House of Usher, Silence -- a Fable, The Masque of the Red Death, The Cask of Amontillado, The Imp of the Perverse, The Island of the Fay, The Assignation, The Pit and the Pendulum, The Premature Burial, The Domain of Arnheim, Landor's Cottage, William Wilson, The Tell-Tale Heart, Berenice and Eleonora.

Spanning the extraordinary breadth of the genre, these terrifying stories are sure to leave you sleeping with the light on for many nights to come. Whether the threat comes from accursed artefacts, supernatural villains, or deadly rituals, there is always some unknowable evil lurking around the corner waiting to pounce. Ranging from the efforts of classic literary writers like Mary Shelley and Robert Louis Stevenson to pulp icon H. P. Lovecraft, these masters of the dark arts knew how to create suspense and an impending sense of dread. Horror fiction found its first connoisseurs amongst the Victorian public. This collection features several of its most accomplished pioneers. Short stories from Mary Shelley, the author of Frankenstein, Bram Stoker, the author of Dracula, and Robert Louis Stevenson, the author of The Strange Case of Dr Jekyll and Mr Hyde, show that some of the 19th century's most revered horror novelists could provide equally terrifying experiences in a shorter form. Other authors such as H. P. Lovecraft, William Hope Hodgson, Pearl Norton Swet, and M. P. Shiel established themselves in the emerging pulp magazines of America in the early 20th century. There, they mastered their craft and provided terrifying thrills for an audience eager for a new type of fiction. Meanwhile, in the United Kingdom and Ireland, writers like Joseph Sheridan Le Fanu, E. F. Benson, and M. R. James mastered the classic ghost story. And who can forget Edgar Allan Poe? He devoted himself almost entirely to his poetry and his short stories, and his lyrical style and ability to evoke an atmosphere are unparalleled. includes stories by: Edward Frederic Benson Ambrose Bierce Francis Marion Crawford George Allan England William Hope Hodgson W. W. Jacobs M. R. James Vernon Lee Joseph Sheridan Le Fanu H. P. Lovecraft Arthur Machen Guy de Maupassant Edgar Allan Poe Charlotte Riddell Mary Shelley M. P. Shiel Robert Louis Stevenson Bram Stoker Pearl Norton Swet

This book examines the issues of ecological crisis and sustainable development through critical reading of literary texts. By analysing writings of Rabindranath Tagore, Amitav Ghosh, Gerard Manley Hopkins, Hannah Arendt, and Lawrence Buell, it discusses themes like oriental representations of ecological consciousness; environmental evocations; misogyny and its postmodern creations; tracing nature’s footprints in English literature; statelessness and consequent environmental refugees; ecocriticism and comics; and, absolute trust in the goodness of the earth. The volume argues that within the ambit of debates between ecological threats and socio-economic concerns, culture plays a vital role particularly in relation to parameters such as identity and engagement, memory and projection, gender and generations, inquiry and learning, wellbeing and health. This book will be of interest to scholars and researchers of cultural studies, English literature, social anthropology, gender studies, sustainable development, environmental studies, ecological studies, development studies, and post-colonial studies.

This 50th anniversary reissue of G.R. Thompson's Poe's Fiction makes available for Poe scholars, students, and aficionados the groundbreaking work that changed the course of Poe studies. Written in highly accessible prose, the book reads as fresh today as when it first appeared. Poe's Fiction, which established that Poe was neither a hack nor a madman, neither a writer purely devoted to ideality nor solely a morbid Gothicist-but rather consistently a romantic ironist-was not only the first book to make full sense of Poe, it also helped to explain Poe's enormous influence on twentieth-century literature.

Nostalgic essays and archival photographs of Hollywood in its Golden Age.

Although Edgar Allan Poe is most often identified with stories of horror and fear, there is an unrecognized and even forgotten side to the writer. He was a self-declared lover of beauty who “from childhood’s hour . . . [had] not seen / As others saw.” Poe and the Visual Arts is the first comprehensive study of how Poe’s work relates to the visual culture of his time. It reveals his “deep worship of all beauty,” which resounded in his earliest writing and never entirely faded, despite the demands of his commercial writing career. Barbara Cantalupo examines the ways in which Poe integrated visual art into sketches, tales, and literary criticism, paying close attention to the sculptures and paintings he saw in books, magazines, and museums while living in Philadelphia and New York from 1838 until his death in 1849. She argues that Poe’s sensitivity to visual media gave his writing a distinctive “graphicality” and shows how, despite his association with the macabre, his enduring love of beauty and knowledge of the visual arts richly informed his corpus.