Imagination, Terror, and Affective Silence in Ann Radcliffe’s A Sicilian Romance
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This paper examines Ann Radcliffe’s A Sicilian Romance (1790) to explore the complexities of imagination, terror, and language, or the lack of linguistic register through moments of pauses, suspensions, and silence. Particularly, I attend to moments of silence as recesses that reflect the character’s unspoken velocity of emotions; silence articulates moments of temporal liminality that linger between past and present, memory and reality, speech and acoustic impasse. By examining what I term “affective silence,” the kind of silence that is reshaped by the emotional state of those producing or consuming silence, this paper explores how A Sicilian Romance utilizes silence and “liminal sounds” as rhetorical tools for emotional and cognitive revelation. The ability to read the “gap” between words and meaning enables a Gothic epistemology, a strategy that involves negotiating the boundaries of spectral experience but also the imaginative power to manipulate speech, space, and fancy. By attending to interior workings of the imagination created by the absence, gap, and pause between words and sounds, this paper claims that Radcliffe employs affective silence to explore the turbulent nature between imagination and terror.
Abstract
This paper examines Ann Radcliffe’s A Sicilian Romance (1790) to explore the complexities of imagination, terror, and language, or the lack of linguistic register through moments of pauses, suspensions, and silence. Particularly, I attend to moments of silence as recesses that reflect the character’s unspoken velocity of emotions; silence articulates moments of temporal liminality that linger between past and present, memory and reality, speech and acoustic impasse. By examining what I term “affective silence,” the kind of silence that is reshaped by the emotional state of those producing or consuming silence, this paper explores how A Sicilian Romance utilizes silence and “liminal sounds” as rhetorical tools for emotional and cognitive revelation. The ability to read the “gap” between words and meaning enables a Gothic epistemology, a strategy that involves negotiating the boundaries of spectral experience but also the imaginative power to manipulate speech, space, and fancy. By attending to interior workings of the imagination created by the absence, gap, and pause between words and sounds, this paper claims that Radcliffe employs affective silence to explore the turbulent nature between imagination and terror.
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