Gothic fiction , most known by the Gothic horror subgenre, is a genre or literary and film mode that combines fiction and horror, death, and sometimes romance. Its origins are associated with the English writer Horace Walpole, with his 1764 novel The Castle of Otranto, subtitle (in the second edition) "A Gothic Story". The effects of Gothic fiction feed on the delightful terror, an extension of the relatively recent romance of Romantic literature at the time of Walpole's novel. It originated in England in the second half of the 18th century where, after Walpole, it was further developed by Clara Reeve, Ann Radcliffe, William Thomas Beckford and Matthew Lewis. The genre has been much successful in the 19th century, as witnessed in prose by Mary Shelley Frankenstein and the works of Edgar Allan Poe and Charles Dickens with his novel A Christmas Carol, and in the poetry of Samuel Taylor Coleridge, Lord Byron and Poe. Another famous novel in this genre, dating from the late Victorian era, is Bram Stoker's Dracula . The name Gothic refers to building (pseudo) -medisval, imitating Gothic architecture, where many of these stories occur. This form of extreme romanticism is very popular in Britain and Germany. The British Gothic novel also brings out new types of novels such as German Schauerroman and French Georgia .
Video Gothic fiction
Romantis Gothic Awal
The novel which is usually regarded as the first Gothic novel is The Castle of Otranto by the English writer Horace Walpole, first published in 1764. Walpole states his goal is to combine elements of medieval romance, which he considers to be too illusory , and modern novels, which he considered too limited to strict realism. The basic plot creates many generic traits of other staple gothics, including the threatening mystery and the curse of the ancestors, as well as countless ornaments such as hidden parts and heroes who often faint.
Walpole published the first edition disguised as a medieval romance from Italy found and republished by a fictitious translator. When Walpole recognizes his authorship in the second edition, his initial acceptance by a literary reviewer turned into a rejection. Rejection of the reviewers reflects a larger cultural bias: romantism is usually held by educated people as a disparaging and disparaging type of writing; this genre got some honor only through the work of Samuel Richardson and Henry Fielding. A romanticism with superstitious elements, and even more empty of didactic intentions, is regarded as a setback and unacceptable. The forgery of Walpole, along with a mixture of history and fiction, goes against the principles of the Enlightenment and links Gothic novels with false documentation.
Clara Reeve
Clara Reeve, famous for his work The Old English Baron (1778), set out to take the Walpole plot and adjust it to the demands of time by balancing the fantastic elements with 18th century realism. In his introduction, Reeve writes: "This story is a descendant of literature from The Castle of Otranto, written on the same plan, with a design to unite the most interesting and interesting state of ancient and modern Roman novels." The question now arises whether supernatural events are not obviously absurd because Walpole will not direct the simpler mind to believe them as possible.
Reeve's contribution in the development of Gothic fiction, therefore, can be shown on at least two fronts. First, there is the strengthening of the Gothic narrative framework, which focuses on the expansion of imaginative domains to include the supernatural without the loss of realism that marks the novel popularized by Walpole. Secondly, Reeve also seeks to contribute to finding the right formula to ensure that fiction is trustworthy and coherent. The result was that he rejected specific aspects of the Walpole style such as his tendency to incorporate too much humor or comic elements in such a way as to reduce the Gothic story's ability to trigger fear. In 1777 Reeve mentioned the advantages of Walpole in this regard:
a very large sword that required a hundred men to lift it; a helmet whose own weight forced a passage through the court yard into a vaulted arch, big enough for a man to pass through; a picture coming out of its frame; ghost skeleton in cowl hermit...
Although the succession of Gothic writers did not really pay attention to Reeve's focus on emotional realism, he was able to place a framework that made Gothic fiction possible. This aspect remains a challenge for writers in this genre after the publication of The Old English Baron. Outside the context of his destiny, the supernatural often suffers the risk of turning in the absurd direction.
Ann Radcliffe
Ann Radcliffe developed a supernatural explanatory technique in which any supernatural-looking intrusion was eventually traced back to the natural cause. Radcliffe has been called the "Supreme Enchantress" and "Mother Radcliffe" because of its influence on gothic literature and gothic women. The use of visual elements and their effects by Radcliffe is an innovative strategy for reading the world through "linguistic visual patterns" and developing an "ethical view", enabling readers to visualize events through words, understanding situations, and feeling the terror that the character itself is experiencing.
His success attracted many imitators. Among other elements, Ann Radcliffe introduced the figure of the Gothic villain (A Roman Sicilia) in 1790, the literary device that will come to be defined as Byronic's hero. The Radcliffe novel, above all The Mysteries of Udolpho (1794), is the bestseller. However, along with most novels at the time, they were looked down upon by many highly educated people as sensational nonsense.
Radcliffe also inspired the emergence of the idea of ​​"gothic feminism", which he expressed through the ideology of "women's power through feigned weakness and staged". The formation of this idea initiated the gothic women's movement to "challenge... the gender concept itself".
Radcliffe also provides aesthetics for the genre in the influential article "On the Supernatural in Poetry", examining the differences and correlations between horror and terror in Gothic fiction, exploiting the uncertainty of terror in his works to produce remarkable models. Combining the experience of terror and wonders with visual descriptions is a technique that pleases the reader and distinguishes Radcliffe from other Gothic writers.
Maps Gothic fiction
Developments in continental Europe and Monks
A romantic literary movement developed in continental Europe along with the development of Gothic novels. The romance noir ("black novel") appeared in France, by writers such as FranÃÆ'§ois Guillaume Ducray-Duminil, Baculard d'Arnaud and Madame de Genlis. In Germany, Schauerroman ("shuddering novel") gained fascination with writers such as Friedrich Schiller, with novels such as The Ghost-Seer (1789), and Christian Heinrich Spiess, with a novel like Das PetermÃÆ'¤nnchen (1791/92). These works are often more gruesome and cruel than British Gothic novels.
Matthew Lewis's basic account of monastic feasts, black magic, and diabolism titled The Monk (1796) offers the first continental novel to follow the Gothic novel conventions. Although Lewis's novel can be read as a pastiche of the emerging genre, self-parody has been part of the Gothic composer since the early genre with Walpole's Otranto . Lewis's portrayal of depraved monks, sadistic inquisitors and spectral nuns - and his cruel view of the Catholic Church - shocked some readers, but the Buddhist monk was important in the development of the genre.
Monk also influenced Ann Radcliffe in her latest novel, The Italian (1797). In this book, the poor protagonists are caught in a network of frauds by a ferocious monk called Schedoni and finally dragged to the tribunal court of the Inquisition in Rome, leading a contemporary to comment that if Radcliffe wants to surpass the horrors of these scenes, he should visit hell itself.
The Marquis de Sade uses a subgothic framework for some of his fiction, especially The Misfortunes of Virtue and Eugenie de Franval, though the Marquis himself never thought of it like this. Sade criticized the genre in his preface to Reflections on the novel (1800) stating that Gothic is "the inevitable product of the revolutionary surprise by which the whole of Europe resounds". The contemporary critics of this genre also noted the correlation between French revolutionary terrorism and the "terrorist schools" of writing represented by Radcliffe and Lewis. Sade considers the monk superior to Ann Radcliffe's work.
German
German gothic fiction is usually described by the term "Schauerroman" ("shuddering novel"). However, the genre of Gespensterrome / Geography ("ghost novel"), RÃÆ'¤uberroman ("robber novel"), and Ritterroman ("knight novel") also often shares plot and motifs with "English novel gothic". As the name suggests, RÃÆ'¤uberroman focuses on the life and deeds of criminals, influenced by the drama Friedrich von Schiller The Robbers (1781). Heinrich Zschokke's AbÃÆ'¤llino, der grosse Bandit (1793) is translated into English by M.G. Lewis as The Bravo of Venice in 1804. The Ritterroman focuses on the lives and deeds of warriors and soldiers, but displays many of the elements found in gothic novels, such as magic, tribunals secrets, and medieval settings. Novel Benedikte Naubert Hermann of Unna (1788) is seen as very close to the genre Schauerroman .
While the term Schauerroman is sometimes likened to the term "Gothic novel", this is only partially true. Both genres are based on the frightening side of the Middle Ages, and both often feature the same elements (castles, ghosts, monsters, etc.). However, the key element of Schauerroman is necromancy and secret society and it is very more pessimistic than the British Gothic novel. All of those elements are the basis for Friedrich von Schiller's unfinished novel. The Ghost-Seer (1786-1789). The motives of secret societies are also present in Karl Grosse Horrid Mysteries (1791-1794) and Christian August Vulpius Rinaldo Rinaldini, Captain of Robbers (1797).
Christian Heinrich Spiess, with his works The Petermännchen (1793), The Old Everywhere and Nowhere (1792), The LÃÆ'¶s wenritter > (1794), and Hans Heiling, the fourth and final Regent of the Earth and Water Fire Spirit (1798); Short story of Heinrich von Kleist "Woman of the Locarno beggar" (1797); and Ludwig Tieck The Blonde Eckbert (1797) and The Rune Mountain (1804). Sophie Albrecht's polite ghost (1797) and Graumännchen or Rabenbühl Castle: ghost stories about old origins (1799).
For the next two decades, the most famous Gothic literature writer in Germany was the polymath E. T. A. Hoffmann. The novel The Devil's Elixirs (1815) was influenced by Lewis's novel The Monk, and even mentioned it throughout the book. The novel also explores the doppelgÃÆ'¤nger motif, a term coined by other German writers (and Hoffmann's supporters), Jean Paul in his cute novel SiebenkÃÆ'¤s (1796-1797). He also wrote an opera based on the Gothic story of Friedrich de la Motte Fouquà © Undine , with de la Motte FouquÃÆ'  © himself writing libretto. Apart from Hoffmann and de la Motte Fouquà ©  ©, the other three important authors of the era were Joseph Freiherr von Eichendorff ( Marble Statue , 1819), Ludwig Achim von Arnim ( Die Majoratsherren , 1819), and Adelbert von Chamisso ( Peter Schlemihls wundersame Geschichte , 1814).
After them, Wilhelm Meinhold wrote The Amber Witch (1838) and Sidonia von Bork (1847). Also writing in German, Jeremias Gotthelf writes The Black Spider (1842), an allegorical work that uses the Gothic theme. The latest work by German author Theodor Storm, The Rider on the White Horse (1888), also uses Gothic motifs and themes. At the beginning of the 20th century, many German writers wrote works influenced by Schauerroman, including Hanns Heinz Ewers.
Russian Empire
Gothic Russia is not, until recently, seen as a critical label by Russian critics. When used, the word "gothic" is used to describe (mostly early) the works of Fyodor Dostoyevsky. Most critics only use tags like "Romanticism" and "fantastique". Even in the relatively recent collection of stories translated as Russian 19th century Gothic Tales (from 1984), editors use the name ?????????????? ??? ??????? ????????????? ??????? (The Fantastic World of Russian Romantic Stories/Novella). However, since the mid-1980s, Russian gothic fiction is discussed in books like The Gothic-Fantastic in Nineteenth-Century Russian Literature, Gothic Europe: A Spirited Exchange 1760-1960 >, the Russian Gothic novel and its British predecessor and Goticheskiy roman v Rossii (Gothic novel in Russia) .
The first Russian writer whose work can be described as gothic fiction is considered Nikolay Mikhailovich Karamzin. Although many of his works feature gothic elements, the first to be considered pure in the "gothic fiction" label is Ostrog Borngolm ( Bornholm Island ) from 1793. The important early Russian writer next was Nikolay Ivanovich Gnedich with his novel Don Corrado de Gerrera from 1803, with a Spanish background under Philip II.
The term "gothic" is sometimes also used to describe ballads from Vasily Andreyevich Zhukovsky (especially "Ludmila" (1808) and "Svetlana" (1813). Also, the following poems are considered to belong to the gothic genre: Meshchevskiy's "Lila", Katenin's "Olga", Pushkhin's "The Bridegroom", Pletnev's "The Gravedigger" and Lermontov's "Demon".
Other authors of the era of romance include: Antony Pogorelsky (penname Alexey Alexeyevich Perovsky), Orest Somov, Oleksa Storozhenko, Alexandr Pushkin, Nikolai Alekseevich Polevoy, Mikhail Lermontov (Stuss's) and Alexander Bestuzhev-Marlinsky. Pushkin is very important, because his short story "The Queen of Spades" (1833) was adapted into opera and film by Russian and foreign artists. Parts of Mikhail Yuryevich Lermontov's (AH) "A Hero of Our Time" are also considered to belong to the gothic genre, but they have no supernatural elements from other Russian gothic stories.
The principal author of the transition from romanticism to realism, Nikolai Vasilievich Gogol, is also one of the most important authors of romance, and has produced a number of works that qualify as gothic fiction. His works include three short story collections, each featuring a number of stories in the gothic genre, as well as many stories with gothic elements. The collection is: Night in the Farm Near Dikanka (1831-1832) with the story "St John's Eve" and "A Terrible Vengeance"; Arabesques (1835), with the story "The Portrait"; and Mirgorod (1835), with the story "Viy". The last story is probably the most famous, having inspired at least eight film adaptations (two of which are now considered missing), one animated film, two documentaries, and one video game. Gogol's work is very different from Western European gothic fictions, as he is influenced by Ukrainian folklore, the Cossacks lifestyle and, being a very religious, Orthodox Christian.
Other writers from the Gogol era include Vladimir Fyodorovich Odoevsky ( The Living Corpse , written in 1838, published in 1844; The Ghost ; The Sylphide ; ), Count Aleksey Konstantinovich Tolstoy (Vourdalak Family, 1839, and The Vampire , 1841), Mikhail Zagoskin ( Unexpected Guests ), Józef S ? Kowski/Osip Senkovsky (Antar), and Yevgeny Baratynsky ( The Ring ).
After Gogol, the Russian lecturer saw the emergence of realism, but many writers wrote stories belonging to the gothic fictional region. Ivan Sergeyevich Turgenev, one of the world's most famous realists, wrote Faust (1856), Phantom (1864), Song of the Triumphant Love 1881), and Clara Milich (1883). Another Russian classical realist, Fyodor Mikhailovich Dostoyevsky, incorporated the gothic element in many of his works, though none of his novels were seen as pure gothic. Grigory Petrovich Danilevsky, who wrote early and early science fiction and science fiction, wrote the Dead Murderer in 1879. Also, Grigori Alexandrovich Machtet wrote the story of "Zaklyatiy kazak ".
During the last years of the Russian Empire, at the beginning of the 20th century, many writers continued to write in the genre of gothic fiction. These include historian and historical fiction writer Alexander Valentinovich Amfiteatrov; Leonid Nikolaievich Andreyev, who developed a psychological characterization; symbolic Valery Yakovlevich Bryusov; Alexander Grin; Anton Pavlovich Chekhov; and Aleksandr Ivanovich Kuprin. Nobel Prize winner Ivan Alekseyevich Bunin wrote Dried Valley (1912), which is thought to be influenced by gothic literature. In his monograph on the subject, Muireann Maguire writes, "The centrality of Gothic-fantastical fiction to Russia is almost impossible to exaggerate, and certainly exceptional in the context of world literature."
Romance
Further contributions to the Gothic genre are seen in the work of the Romantic poet. Prominent examples include Samuel Taylor Coleridge's The Rime of the Ancient Mariner and Christabel and John Keats' La Belle Dame sans Merci (1819) and < i> Isabella, or Pot of Basil (1820) featuring the mysterious fey lady. In the last poem the names of characters, dream vision and horrible physical details were influenced by Gothicis Ann Radcliffe's premiere novel. The first work published by Percy Bysshe Shelley is the Gothic novel Zastrozzi (1810), about a criminal who is obsessed with revenge against his father and stepbrother. Shelley published the second Gothic novel in 1811, St. Irvyne; or, The Rosicrucian , of an alchemist who tries to instill the secret of immortality.
The poetry, the romantic adventure, and the character of Lord Byron - characterized by her lover who Lady Caroline Lamb rejected as "mad, bad and dangerous to know" - is another inspiration for Gothic, giving the archetypal of Byronic heroes. Byron features, under the codename "Lord Ruthven", in Lady Caroline's own Gothic novel: Glenarvon (1816).
Byron is also the host of the famous ghost-story competition involving him, Percy Bysshe Shelley, Mary Shelley, and John William Polidori at Villa Diodati on the shores of Lake Geneva in the summer of 1816. The show is prolific both from Mary Shelley's Frankenstein (1818) and Polidori The Vampyre (1819). This last story revives Lamb's Byronic "Lord Ruthven", but this time as a vampire. The Vampyre has been held accountable by cultural critic Christopher Frayling as one of the most influential fictional works ever written and spawned a madness for vampire fiction and theater (and the last movie) that has not stopped to this day. The novel Mary Shelley, though clearly influenced by the Gothic tradition, is often regarded as the first science fiction novel, despite the negligence in the novel of any scientific explanation of animated monsters and its focus on moral issues and the consequences of such creation.
The final example of traditional Gothic is Melmoth the Wanderer (1820) by Charles Maturin, which combines anti-Catholic themes with a wasted Byronic heroes.
Gothic Victorian
In the Victorian era, Gothic has ceased to be the dominant genre, and was fired by most critics. (Indeed, the popularity of this form as an established genre has begun to erode with the success of the historical romance popularized by Sir Walter Scott.) However, in many ways, it is now entering the most creative phase. Recently readers and critics have begun to reconsider a number of previously neglected Penny Bloods or "penny dreadful" series fictions by writers such as G.W.M. Reynolds who wrote the Gothic horror novel trilogy: Faust (1846), Wagner the Wehr-wolf (1847) and The Necromancer (1857). Reynolds is also responsible for The Mysteries of London which has been given important places in urban development as a Gothic Victorian setting, an area where interesting links can be made with established readings. Dickens and others. Another great famous penny of this era is the anonymous writer Varney the Vampire (1847). Varney is the vampire story of Sir Francis Varney, and introduces many of the allusions present in vampire fiction that can be recognized by modern audiences - this is the first story to refer to sharp teeth for vampires. Formal relationships between these fictions, are formalized for the dominant class audience, and contemporary sensational fictions that are serialized in middle-class magazines are also areas worth examining.
The important and innovative interpreter of Gothic in this period was Edgar Allan Poe. Poe is less focused on the traditional elements of gothic stories and more about the psychology of his character because they often descend into madness. Critics Poe complained about his "German" stories, which he replied, "the terror is not of Germany, but of the soul". Poe, a critic of his own, believes that terror is a legitimate literary subject. The story of "The Fall of Usher's House" (1839) explores the 'terror of the soul' while reviewing the classic Gothic obstacles of aristocratic decay, death, and madness. The legendary criminal of the Spanish Inquisition, previously explored by Gothicis Radcliffe, Lewis, and Maturin, is based on the true story of a survivor in "The Pit and the Pendulum" (1842). Ann Radcliffe's influence can also be detected in Poe's "The Oval Portrait" (1842), including the mention of his honor in the text of the story.
The influence of Byronic Romanticism is evident in Poe also seen in the work of the Bronte sisters. Emily Bronte Wuthering Heights (1847) transports the Gothic to the creepy Moorish Moors and displays the appearance of the ghost and hero Byronic in the figure of the Heathcliff demon. Bronese fiction is seen by some feminist critics as a prime example of Gothic Women, exploring women's traps in domestic space and submitting to patriarchal authority and transgressive and dangerous attempts to subvert and escape such restrictions. Emily Cathy and Charlotte Brontà ¢ â,¬Â Jane Eyre are two examples of female protagonists in such a role. Gothic potboiler belonging to Louisa May Alcott, A Long Fatal Love Chase (written in 1866, but published in 1995) is also an interesting specimen of this subgenre.
The story of Elizabeth Gaskell's "The Doom of the Griffiths" (1858) "Lois the Witch", and "The Gray Woman" all use one of the most common themes of Gothic fiction, the power of the ancestral sin to condemn future generations, or the fear that they will do it.
The poor villain, banning the house, and persecuting female heroes from Sheridan Le Fanu's
The genre was also very influential on the more important authors, such as Charles Dickens, who read Gothic novels as a teenager and incorporated gloomy ambience and melodrama into his own work, shifting them to more modern periods and urban settings, including Oliver Twist (1837-8), Bleak House (1854) (Mighall 2003) and Great Expectations (1860-61). It refers to the juxtaposition of rich, orderly and prosperous civilizations in addition to the chaos and savagery of the poor within the same metropolis. Bleak House in particular is credited with seeing the introduction of the urban fog on the novel, which will characterize urban Gothic literature and movies (Mighall 2007). His most explicit Gothic work is his final novel, The Mystery of Edwin Drood, which he did not live to finish and published in unfinished circumstances on his death in 1870. The atmosphere and theme of the Gothic novel have the power a special attraction for the Victorian people, with their unnatural obsession with mourning rituals, mementos, and death in general.
The 1880s saw Gothic revival as a powerful literary form allied to de siecle fins, which obscured contemporary fears such as ethical degeneration and questioned the social structure of the moment. Urban Gothic classic works include Robert Louis Stevenson The Strange Case of Dr. Jekyll and Mr Hyde (1886), Oscar Wilde Dorian Gray Picture (1891), George du Maurier > Trilby (1894), Richard Marsh The Beetle: A Mystery (1897), Henry James' The Turn of the Screw (1898) the story of Arthur Machen. Some of Canadian writer Gilbert Parker's works also fall into the genre, including the stories on The Lane that Had No Turning (1900).
The most famous Gothic villain ever, Count Dracula, was created by Bram Stoker in his novel Dracula (1897). Stoker's book also established Transylvania and Eastern Europe as the Gothic locus classicus. The serial novel Gaston Leroux The Phantom of the Opera (1909-1910) is another famous example of gothic fiction from the early 20th century.
In America, two famous authors of the late nineteenth century, in the Gothic tradition, were Ambrose Bierce and Robert W. Chambers. The short story of Bierce is in Poe's dreadful and pessimistic tradition. Chambers, though, is involved in the Wilde and Machen decadent styles, even to what extent the character 'Wilde' is included in his book The King in Yellow.
Precursors
Gothic literary conventions do not appear from nowhere into Horace Walpole's mind. The components that eventually merge into Gothic literature have a rich history at the time Walpole did a literary trick in 1764.
Imagination mysterious
Gothic literature is often described with words such as "wonder" and "terror." This curiosity and terror, which provides for suspension of mistrust is essential to the Gothic - which, except for parodies, even for all occasional melodrama, is usually played directly, in a serious way - requires the reader's imagination to accept the idea that there might be something " beyond that which is immediately ahead of us. " The mysterious imagination required for Gothic literature to gain attraction has grown for some time before the advent of Gothic. The need for this comes when the known world begins to be more explored, reducing the geographical mystery inherent in the world. The map's edge is being filled, and no one finds a dragon. The human mind needs a replacement. Clive Bloom theorizes that this void in collective imagination is crucial in the development of cultural possibilities for the rise of the Gothic tradition.
Medievalism
The setting of most early Gothic works is medieval, but this has been a common theme long before Walpole. Especially in England, there is a desire to reclaim the shared past. This obsession often leads to a luxurious display of architecture, and sometimes a mock tournament is held. It is not just in the literature that the medieval revival made him feel, and this also contributed to a culture ready to accept medieval work that was felt in 1764.
Macabre and morbid
Gothic often use sights of decay, death, and morbidity to achieve its impact (especially in the Italian Gothic Horror school). However, Gothic literature is not the origin of this tradition; indeed much older. Bodies, skeletons and churches so commonly associated with early Gothic were popularized by Maket Makam, and also present in novels such as Daniel Defoe's Journal of the Plague Year, which contains scenes of funny carts of plague and piles of plague corpses. Even earlier, poets like Edmund Spenser evoke a sad and sad mood in poems like Epithalamion.
Emotional aesthetic
All aspects of pre-Gothic literature mentioned above occur at a certain level in Gothic, but even taken together, they are still far from true Gothic. What is lacking is aesthetics, which will serve to bind elements together. Bloom noted that this aesthetic should take the form of a theoretical or philosophical core, which is necessary to "make the best stories into mere anecdotes or incoherent sensationalism." In this particular case, aesthetics must be an emotional one, ultimately given by Edmund Burke's 1757 work, The Philosophical Inquiry into the Origin of Our Idea of ​​the Supreme and the Beautiful , the "ultimately codif [ ied] gothic emotional experience. "In particular, Burke's thoughts about Sublime, Terror, and Obscurity are most applicable. These passages can be summarized as follows: The Most Holy One is the one that produces or produces "the strongest emotions that the mind can feel"; His Majesty is most often caused by Terror; and to cause Terror, we need a certain amount of Unclear - we can not know everything about what drives Terror - or else "most fears are gone"; Unclearness is required to experience the Unknown Terror. Bloom asserts that Burke's descriptive vocabulary is crucial to Romantik's work that ultimately tells the Goths.
Political influence
The birth of Gothic may also be influenced by political upheaval beginning with the British Civil War and culminating in the recent revolt of Jacob (1745) into the first Gothic novel (1764). The collective political memory and deep cultural fear associated with it may have contributed to the early Gothic evil character as a literary representation of the losing Tory nobles or Royalists "rising" from their political graveyards in the early Gothic pages to terrorize the bourgeois readers at the end eighteenth. -century England.
Parody
The advantages, stereotypes, and frequent absurdities of the traditional Gothic make it a rich region for satire. The most famous parody of the Gothic is the Jane Austen novel Northanger Abbey (1818) in which the naïve protagonist, having read too much of Gothic fiction, considers himself the hero of the Radcliffian novel and imagines murder and evil on every side, although the truth is far more boring. Jane Austen's novel is worthwhile to include a list of early Gothic works known as the Novel Northanger Horrid. These books, with their terrible titles, were once thought to be the creation of Jane Austen's imagination, though later research by Michael Sadleir and Montague Summers confirmed that they really existed and stimulated a renewed interest in Gothic. They are all currently being reprinted.
Another example of a Gothic parody in the same vein is The Heroine by Eaton Stannard Barrett (1813). Cherry Wilkinson, a foolish female protagonist with a history of novel reading, considers herself a Gothic romantic heroine. He saw and modeled reality according to the stereotypes and plot structures typical of the Gothic novel, leading to a series of absurd events culminating in disasters. After his downfall, his excessive pretense and imagination were subdued by the voice of reason in the form of Stuart, a father figure, under his direction the protagonist received a healthy education and corrected his heresy.
The post-Victorian legacy
Pulp
The 20th century British famous writers in the Gothic tradition include Algernon Blackwood, William Hope Hodgson, M. James, Hugh Walpole, and Marjorie Bowen. In America magazines like Weird Tales reprinted classic Gothic horror stories from earlier centuries, by writers such as Poe, Arthur Conan Doyle, and Edward Bulwer-Lytton and printed new stories by modern writers featuring both traditional and new horrors. The most significant of these is HP Lovecraft who also wrote the conspectus of Gothic and supernatural horror traditions in his Supernatural Horror in Literature (1936) and developed Mythos which will influence the Gothic and the contemporary horror well. into the 21st century. Lovaval's protà © gà © ©, Robert Bloch, contributed to Weird Tales and written Psycho (1959), which illustrates the classic interest of the genre. From this, the Gothic genre provides an avenue for modern horror fiction, considered by some literary critics to be a branch of Gothic although others use the term to cover the entire genre.
New Roman Gothic
Gothic Romance This description became popular during the 1950s, 1960s, and 1970s, with authors such as Phyllis A. Whitney, Joan Aiken, Dorothy Eden, Victoria Holt, Barbara Michaels, Mary Stewart, and Jill Tattersall. Many excellent covers depict a woman struck by terror with a silent dress in front of a gloomy castle, often with a single window on. Many are published under Paperback Library Gothic writings and are marketed to female audiences. Although writers are mostly women, some men write Gothic romances under female pseudonyms. For example the productive Clarissa Ross and Marilyn Ross are pseudonyms for male authors Dan Ross, and Frank Belknap Long publishes Gothics with the name of his wife, Lyda Belknap Long. Another example is the English author Peter O'Donnell, who wrote under the pseudonym Madeleine Brent. Outside companies like Lovespell, who brought Colleen Shannon, very few books were published using the term today.
Southern Gothic
This genre also influenced the American writings to create the Southern Gothic genre, which incorporated some Gothic sensibilities (as weird) with the South South American background and style. Examples include William Faulkner, Eudora Welty, Truman Capote, Flannery O'Connor, Davis Grubb, Anne Rice, and Harper Lee.
Other contemporary Gothic
American contemporary authors in this tradition include Joyce Carol Oates, in novels such as Bellefleur and Bloodsmoor Romance and short story collections like Night-Side (Skarda 1986b) and Raymond Kennedy in his novel Lulu Incognito.
The Southern Ontario Gothic applies the same sensibility to the Canadian cultural context. Robertson Davies, Alice Munro, Barbara Gowdy, Timothy Findley, and Margaret Atwood have all produced works that are a famous example of this form.
Another writer in this tradition is Henry Farrell, whose most famous work is the Hollywood horror novel 1960 What Happened To Baby Jane? Farrell's novels gave the subgenre "Grande Dame Guignol" in theaters, represented by films such as the 1962 film based on Farrell's novel, starring Bette Davis versus Joan Crawford; The subgenre of the film is dubbed the genre "psycho-biddy". Modern horror
Many modern horror writers (or any other type of fiction) exhibit considerable Gothic sensibilities - examples include Anne Rice, Stella Coulson, Susan Hill, Poppy Z. Brite and Neil Gaiman and some sensational works by Stephen Novel King Thomas M. Disch > The Priest (1994) was given a subtitle A Gothic Romance , and some were modeled on Matthew Lewis' The Monk . Many of these authors, such as Poppy Z. Brite, Stephen King, and especially Clive Barker have focused on the surface of the body and the visibility of blood. The Gothic Romantic strand is taken at Daphne du Maurier Rebecca (1938) which is considered by some to be influenced by Charlotte BrontÃÆ'Â Â «Jane Eyre . Other books by du Maurier, such as Jamaica Inn (1936), also show a Gothic tendency. Du Maurier's work inspired a large number of "Gothic women", about the heroes who alternated or frightened by the Byronic men who pouted in real estate and appertaining droit du seigneur .
In education
Educators in literary, cultural, and architectural studies appreciate the Gothic as an area that facilitates an initial investigation of scientific certainty. As Carol Senf puts it, "Gothic is (...) a counterweight generated by writers and thinkers who feel constrained by a confident worldview and recognize that past, irrational, and violent powers continue to hold onto the powers of the World." Thus, Gothic helps students better understand their own doubts about the current self-assurance of scientists. Scotland is the location of what may be the first graduate program in the world to exclusively consider the genre: MLitt in the Gothic Imagination at the University of Stirling, which was first recruited in 1996.
Other media
Gothic literary themes have been translated into other media. Early 1970s saw a mini-trend Gothic Romance comic book with titles like DC Comics 'The Dark Mansion Of Forbidden Love and The Sinister House of Secret Love, Charlton Comics' < i> Haunted Love , Curtis Magazine Gothic Tales of Love , and one-shot Atlas/Seaboard comic magazine Gothic Romances .
There is an important resurgence in the 20th century Gothic horror films like the classic Universal 1930s monstrous movies, the Hammer Horror movies, and the Poe Roger Corman cycle. In Hindi cinema, the Gothic tradition is combined with aspects of Indian culture, especially reincarnation, to give birth to the genre of "Indian Gothic", beginning with the movies Expensive (1949) and Madhumati (1958 ). Modern Gothic horror movies include Sleepy Hollow , Interview with Vampires , Underworld , The Wolfman , From Hell , Dorian Gray , Let Be Right In , Dressed Women , and Crimson Peak >.
The 1960s Gothic television series Dark Shadows was borrowed freely from Gothic traditions and featured elements such as the haunted mansion, vampires, witches, cursed romances, werewolves, obsessions, and madness.
The Showtime TV series Penny Dreadful brings many classic gothic characters together in a psychological thriller that takes place in a dark corner of Victorian London (2014 debut).
20th century rock music also has a Gothic side. Black Sabbath's debut album in 1969 created a dark sound that was different from other bands at the time and has been called the first "Goth-rock" record. Themes of Gothic writers such as H. P. Lovecraft are also used among gothic rock and heavy metal bands, especially on black metal, thrash metal (Metallica's
A variety of video games featuring Gothic horror themes and plots. For example, the Castlevania series usually involves a heroine of the Belmont bloodline that roams a dark old castle against vampires, werewolves, Frankenstein monsters, and other Gothic monster staples, culminating in a battle against Dracula himself. Others, such as Ghosts'n Goblins show a Gothic fiction campier parody.
Elements found primarily in American Gothic fiction include:
- Night trips are common elements seen throughout Gothic literature. They can occur in almost any setting, but in American literature more often seen in wilderness, forests or other areas that do not have people.
- Evil characters are also seen in Gothic literature and especially Gothic America. Depending on the setting or the period from which the work came, the evil characters can become native Americans, trappers, gold miners, etc.
- American Gothic novels also tend to deal with "madness" in one or more characters and carry the theme throughout the novel. In his novel Edgar Huntly or Memoirs of a Sleepwalker Charles Brockden Brown writes of two characters that gradually become increasingly chaotic as the novel progresses.
- Miraculous survival is an element in American Gothic literature where characters or characters will somehow survive some of the achievements that should lead to their destruction.
- In American Gothic novels it is also typical that one or more characters will have some kind of supernatural power. In Brown Edgar Huntly or Memoirs of a Sleepwalker , the main character, Huntly, is able to confront and kill not just one, but two panthers.
- The fear element is another characteristic of American Gothic literature. These are usually connected to the unknown and are generally visible along the course of the entire novel. This can also be attributed to the despair that the characters in the novel can be overcome. This element can cause the character to commit a heinous crime. In the case of Brown's character, Edgar Huntly, she experiences this element when she thinks of eating herself, eating unboiled panther, and drinking her own sweat. The element of fear in gothic women is generally portrayed through terror and supernatural fears, while male gothics use horror and physical fear and gore to create feelings of fear to the reader.
- Psychological overlays are elements connected to how characters in American Gothic novels are influenced by things like the night and the environment. An example of this is if characters are in areas like labyrinths and connections are made to the labyrinths represented by their minds.
The role of architecture and setting in Gothic novel
Gothic literature is closely related to the Gothic Awakening architecture of the same era. In a manner similar to the Gothic revivalist's rejection of the clarity and rationalism of the neoclassical style of Enlightened Creation, Gothic literature embodies an appreciation of the extreme emotional excitement, the sensation of fear and admiration inherent in the sublime, and the search for atmosphere.
The ruins of Gothic buildings bring up many intertwined emotions by representing the inevitable destruction and collapse of human creation - so the urge to add fake ruins as an eye brace in the English landscape garden. British Gothic writers often link medieval buildings with what they see as dark and frightening periods, characterized by harsh laws enforced by torture, and with mysterious, fantastic, and ritualistic rituals. In such Anti-Catholic literature it has a European dimension that features Roman Catholic institutions such as the Inquisition (in southern European countries such as Italy and Spain).
Just as elements of Gothic architecture borrowed during the Gothic Awakening period in architecture, the notion of the Gothic period and Gothic period architecture is often used by Gothic novelists. The architecture itself plays a role in naming Gothic novels, with many titles referring to palaces or other common Gothic buildings. This naming is followed by many Gothic novels that are often made in Gothic buildings, with the action taking place in palaces, monasteries, monasteries and monasteries, many of which are destroyed, evoking "fear, surprise, confinement". The setting of this novel, a castle or a religious building, often falls into disrepair, is an important element of the Gothic novel. Placing stories in Gothic buildings serves several purposes. It draws on a sense of awe, it implies a story set in the past, it gives the impression of isolation or disconnection from around the world and it appeals to the religious association of the Gothic style. Trends using Gothic architecture begin with The Castle of Otranto and become the main element of the genre from that point forward.
In addition to using Gothic architecture as a setting, with the aim of eliciting certain associations of readers, there is a close relationship between the use of arrangements and Gothic novel storylines, with architecture often serving as a mirror for the characters and the plot of the storyline. Buildings in the Castle of Otranto, for example, are full of underground tunnels, which the characters use to move back and forth in secret. This secret movement reflects one of the story lines, in particular the secrets that surround Manfred's property about the castle and how he entered his family. The arrangement of novels in the Gothic castle is meant to imply not only a set of stories in the past, but one veiled in the dark.
In William Thomas Beckford The History of the Caliph Vathek , architecture is used to illustrate certain elements of the Vathek character and also warns of the dangers of overreaching. Vathek Hedonism and devotion to the pursuit of pleasure are reflected in the pleasure wings that he adds to his castle, each with a clear purpose to satisfy different feelings. He also built towers to continue his quest for knowledge. This tower represents Vathek's pride and his desire for forces that are beyond the reach of mankind. He is then warned that he must destroy the tower and return to Islam or else take the risk of dire consequences. Vathek's pride won and, in the end, his quest for power and knowledge ended with him confined to Hell.
In the Castle of Wolfenbach the fortress that Matilda seeks to protect on the way is believed to be haunted. Matilda finds it is not a ghost but the Countess of Wolfenbach who lives upstairs and who has been forced to hide by her husband, Count. Matilda's discovery of the Countess and then he tells others about the Countess's existence destroying the Count's secrets. Shortly after Matilda met Countess Castle of Wolfenbach itself was destroyed in the fire, reflecting the destruction of Count's attempts to keep his wife's secrets and how his plot along the story eventually led to his own destruction.
The main part of the action in the Romance of the Forest is set in an abandoned monastery and destroyed and the building itself serves as a moral lesson, as well as a great setting for and a mirror of the action in the novel. The arrangement of action in a devastated monastery, describes Burke's sublime aesthetic theory and beautifully establishes its location as a place of terror and safety. Burke argues that noble is the source of admiration or fear caused by strong emotions such as terror or mental illness. At the other end of the spectrum is beautiful, which is a matter of bringing pleasure and security. Burke argues that the most noble is the preferred one of the two. Relating to noble and beautiful concepts is a wonderful idea, introduced by William Gilpin, who is considered to be one of the other two extremists. The beautiful ones are those who carry on the elements of both noble and beautiful and can be regarded as a natural or uninvited beauty, such as beautiful ruins or partly partly covered buildings. In the Romance of the Forest Adeline and La Mottes live in fears that are constantly found by the police or Adeline's father and, sometimes, certain characters believe that the castle will be haunted. On the other hand, the monastery also functions as a comfort, as it provides shelter and security for the characters. Finally, it is beautiful, because it is destruction and serves as a combination between the natural and the human. By arranging stories at the devastated monastery, Radcliffe was able to use the architecture to capitalize on the aesthetic theories of time and set the tone of the story in the reader's mind. Like many buildings in the Gothic novels, the monastery also has a series of tunnels. This tunnel serves as a hideout for the characters and as a secret place. This is reflected later in the novel with Adeline hiding from the Marquis de Montalt and the secret of the Marquis, which would eventually lead to Adeline's fall and safety.
Architecture serves as an additional character in many Gothic novels, bringing associations into the past and for secrets and, in many cases, mobilizing joint action and predicting future events in the story.
Gothic women and supernatural explains
Marked with castles, dungeons, gloomy forests and hidden parts, from the Gothic genre of Gothic Woman appears. Guided by the works of writers such as Ann Radcliffe, Mary Shelley and Charlotte BrontÃÆ'Â «, the Gothic Women allow the introduction of feminine social and sexual desires into the Gothic texts.
Gothic women differ from male goths through differences in narrative techniques, plots, supernatural assumptions, and the use of terror and horror. Gothic Gothic narratives focus on topics of female heroes who are abused in flight from evil fathers and search for absent mothers, while male authors tend toward plots of masculine violations of social taboos. The emergence of ghost stories gives women writers something to write next to a general marriage plot, allowing them to offer a more radical critique of male power, violence and predator sexuality.
It is said that medieval societies, in which some Gothic texts are based, gave women writers the opportunity to associate "fashion features [Gothicism] as a result of suppressing female sexuality, or else as a challenge to gender, dominated hierarchy and cultural values man ".
Significantly, with the development of the Gothic Woman comes the literary technique explains the supernatural . The Supernatural Explained - as the technique is appropriately named - is a recurring plot device at Radcliffe The Romance of the Forest . The novel, published in 1791, was one of Radcliffe's earlier works. This novel triggers tension for terrible events, all of which have a natural explanation. However, the deletion of possible explanations based on reality is what instills anxiety and terror in both characters and readers.
The 18th century response to the novel of Monthly Review reads: "We must no longer hear about forests and castles, giants, dragons, fire walls and so on" great and extraordinary things; '- - there are still many forests and castles left, and still in the province of fiction, without going beyond the bounds of nature, to exploit them for the purpose of creating a surprise. "
The use of Radcliffe from Supernatural Explained is characteristic of Gothic writers. The female protagonists pursued in these texts are often caught in a strange and frightening landscape, providing a higher level of terror. The end result, however, is a supernatural explanation, rather than the terror known by women such as rape or incest, or expected ghosts or haunted castles. The gothic women also discussed women's discontent with patriarchal society, overcoming the position and role of troubled and unsatisfactory mothers in that society. Fear of women will be traps in elements such as domestic, female body, marriage, childbirth, and domestic violence generally depicted through gothic women. The female gothic formula is said to be "a plot that refuses to shut down unhappy or ambiguous and explains the supernatural".
In Radcliffe
The decision of the Gothic Woman author to complete the true supernatural horror by explaining the cause and effect of transforming the romantic plot and Gothic story into public life and writing. Instead of building a romantic plot in an unlikely event Radcliffe deviates far from writing "just a fairy tale, which can not be realized."
The introduction by British scholar Chloe Chard published for The Romance of the Forest refers to the "promised effect of terror". The result, however, "may prove less terrible than the originally suggested novel". Radcliffe sets the tension along the way of the novel, insinuating supernatural or superstitious causes into the mysterious and horrific events of the plot. However, the tension was relieved by the Supernatural Explanation.
For example, Adeline was reading the illegible manuscripts she had found in the secret passage of her bed at the monastery when she heard a cold voice from outside her door. He went to bed quietly, only to wake up and learn that what he considered a haunting spirit was actually the domestic voice of the servant, Peter. La Motte, her nanny at the monastery, admits her imagination's height after reading an autobiographical manuscript of a man who was murdered in a convent.
- "'I'm not wondering, that after you suffer terror to impress your imagination, you think you see ghosts, and hear amazing voices.' La Motte said.
- 'God bless you! Ma'amselle, "said Peter.
- 'Sorry I scared you last night.'
- 'I'm afraid,' said Adeline; 'how do you care about that?'
She then tells him, that when he thinks Monsieur and Madame La Motte are asleep, he has stolen to the door of his room (...) that he has called several times as loudly as he dares, but does not receive an answer, he believes he is asleep (...) This account from the sounds he heard has dispelled the spirit of Adeline; she was even surprised she did not know it, until remembering her mind disorder for some time before, this surprise disappeared. "
While Adeline is alone in his typical Gothic space, he detects something supernatural, or mysterious about setting. However, "the actual voice he heard was taken into account by the faithful servant's efforts to communicate with him, there were still occult signs in his dream, inspired, to be seen, by the fact that he was at the place of his father's murder and that his unburied skull was hidden in the next room hers ".
The supernatural here is described indefinitely, but what remains is "the tendency in the human mind to reach beyond the real and the visible, and it represents a vague and half-defined emotion superior to Mrs. Radcliffe."
Transmitting a Gothic novel into a story that could be understood by an imaginative 18th-century woman was useful to the writers of Gothic Women of the day. Novels are an experience for women who do not have a channel for a thrilling journey. Sexual encounters and superstitious fantasies are a blank element of the imagination. However, the use of Female Gothic and Supernatural Explained, is "a good example of how the [Gothic novel] formula changes according to the interests and needs of today's readers."
In many ways, the "current reader" of that era was a woman who, even as she enjoyed such novels, would feel she should "[put] her book with ignorance affected, or shame for a moment," according to Jane. Austen, author of Northanger Abbey . The Gothic novel forms its form for female readers to "shift to Gothic romance to find support for their own mixed feelings".
Following the typical Gothic sequence of Bildungsroman, Gothic Women allows its readers to graduate from "adolescence to adulthood," in the face of the impossibility embodied in the supernatural. As female protagonists in novels such as Adeline in The Romance of the Forest, learn that their superstitions and superstitions are replaced with natural reasons and reasonable doubts, the reader can understand the true position of the hero in the novel:
"The heroine has a romantic temperament that senses the strangeness that other people do not see, its sensitivity, therefore, prevents it from knowing that the true state is its condition, the disability of being a woman."
Another text in which the female heroes of the Gothic novel met the Supernatural Explanation was The Castle of Wolfenbach (1793) by author Gothic Eliza Parsons.
Source of the article : Wikipedia
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