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A Descent into Edgar Allan Poe and His Works: The Bicentennial

Edited By Beatriz González Moreno and Margarita Rigal Aragón

Today Edgar Allan Poe is a well-known and highly regarded author. When, a hundred years ago (1909), a group of Poe acquaintances, fans and scholars got together at the University of Virginia to commemorate Poe’s birth centenary, they had to do so in order to modify the persistent misstatements of his earlier biographers, and to correct the unsettled judgment of his literary rank.
Now, in 2009, many Poe fans and scholars are gathering together once more to honour Poe on the second centenary of his birth. Different types of events (theatrical and musical performances, book auctions, etc.) and academic conferences have been celebrated on both sides of the Atlantic, acclaiming Poe’s literary rank again. This volume brings together a wide range of scholars with varied critical approaches and succeeds in shedding new light on E. A. Poe on the occasion of his Bicentenary. The book is organized into three principal sections; the first part focuses on the reception of Poe in Great Britain, France, and Spain; the second revisits some of Poe’s main legacies, such as his stories of detection, the Gothic, and Science Fiction; and the third deals with the aesthetic quality of his narratives and also offers an analysis of his work integrating Text Linguistics within the broader study of social discourses.


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List of Illustrations ix


List of Illustrations* 1. Dupin and Sherlock Holmes as Book Reviewers, p. 69. The New York Times (January 23, 1921). Public Domain. 2. Elizabeth Poe, p. 142. “Elizabeth Arnold Poe, performing on stage behind the footlights”. Watercolor painted by Sir William Charles Ross (1794–1860). Date unknown. Edgar Allan Poe Digital Art Collection. Accession number: 77.22.5 (box 426). William H. Koester Collection. Harry Ransom Center. The University of Texas at Austin. We are grateful to Mr Rick Watson, Research Assistant, for helping us to obtain the copyright permission to reproduce this image. 3. Frances Allan, p. 142. Portrait of Frances Keeling Valentine Allan. Photograph of a stolen painting produced with copper and oil paint. Attributed to Thomas Sully (1783–1872). Circa 1810. The Valentine Richmond History Center. Accession number: V.30.36.129. We are grateful to Ms. Meghan Holder, Research Assistant, for helping us to secure the copyright agreement to reproduce this image. 4. John Allan, p. 143. Portrait of John Allan. Small oil portrait on tin of Edgar A. Poe’s foster father, attributed to a few different artists, including Thomas Sully. Probably painted in 1804. Courtesy of the Poe Museum, Richmond. We are very much indebted to Mr. Christopher Semtner, Curator, for providing free permission to reproduce this image. PL_gonzl_rigal_FM_i-xiv.indd ix 1/15/10 3:58:45 PM x List of Illustrations 5. Village Design of University of Virginia, p. 144. “Village Design of University of Virginia”. Lithograph of Henry Schenck Tanner (1786–1858), after a drawing by Benjamin...

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