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Name : Diana Shahin

Academic Rank: Lecturer

Administrative Position : Faculty Academic Member

Office 6326       Ext No 6325

Email : dshahin@uop.edu.jo

Specialization: English Language and Literature

Graduate Of: University of Jordan

Qualification

    Qualification

    University

    Country

    Year

    Bachelor
    University of Jordan
    Jordan
    2006
    Master's
    University of Jordan
    Jordan
    2009



  • Master Thesis





      Diana Shahin, " Beautiful Uncanny Women: Death, Awakening and the Feminine in Fin de Siecle Gothic Literature " , "",Vol.,No., , Amman, Jordan, 09/22/2009 Abstract:
      Fin de siècle British Gothic fiction is littered with the casualties of authors’ imaginations, but the most intriguing and carefully-preserved corpse left on display is that of the beautiful and uncanny woman. The aim of this Study is to bring into focus how both women and their awakenings are uncannily juxtaposed with death in the British Gothic literature of the 1880s and 1890s. Through the analysis of the female characters in H. Rider Haggard’s She, Oscar Wilde’s The Picture of Dorian Gray and Bram Stoker’s Dracula, the image of the deathly femme fatale who meets with death takes on clearer dimensions as one that haunted the imagination and the unconscious of a number of British male writers, as much as the image of the recently-emerged and newly-powerful New Woman haunted their waking hours. Haggard, Wilde and Stoker provide a distinct variety of female characters, who all share certain commonalities: they are all beautiful, seductive and dangerous to men, and they all undergo awakenings of some kind. Each woman commits the ultimate sin of facilitating her self-awareness and self-empowerment, challenging male authority and becoming a female Frankenstein. Further analysis thus reveals that the awakened woman is perceived as an unknown, unpredictable and thereby terrifying creature. The Gothic provides the ideal site for that monstrosity to come to light, facilitating the killing off and laying to rest of the awakened woman and her late nineteenth-century incarnation, the New Woman.
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