Gothic Violence

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Lisa Hopkins, "Jane C. Loudon's The Mummy!: Mary Shelley Meets George Orwell, and They Go in a Balloon to Egypt", in Cardiff Corvey: Reading the Romantic Text, 10 (June 2003). Cf.ac.uk (25 January 2006). Retrieved on 18 September 2018. Many modern writers of horror or other types of fiction exhibit considerable Gothic sensibilities – examples include Anne Rice, Stella Coulson, Susan Hill, Billy Martin, and Neil Gaiman, and in some works by Stephen King. [88] [89] Thomas M. Disch's novel The Priest (1994) was subtitled A Gothic Romance and partly modeled on Matthew Lewis' The Monk. [90] Many writers such as Billy Martin, Stephen King, and particularly Clive Barker have focused on the body's surface and blood's visuality. [91] England's Rhiannon Ward is among the recent writers of Gothic fiction. Catriona Ward won a British Fantasy Award for Best Horror Novel for her gothic novel Rawblood in 2016. Bécquer es el escritor más leído después de Cervantes". La Provincia. Diario de las Palmas (in Spanish). 28 July 2011 . Retrieved 22 February 2018. A late example of a traditional Gothic novel is Melmoth the Wanderer (1820) by Charles Maturin, which combines themes of anti-Catholicism with an outcast Byronic hero. [45] Jane C. Loudon's The Mummy! (1827) features standard Gothic motifs, characters, and plot, but with one significant twist: it is set in the twenty-second century and speculates on fantastic scientific developments that might have occurred four hundred years in the future, making it and Frankenstein among the earliest examples of the science fiction genre developing from Gothic traditions. [46] During two decades, the most famous author of Gothic literature in Germany was the polymath E. T. A. Hoffmann. Lewis's The Monk influenced and even mentioned it in his novel The Devil's Elixirs (1815). The novel explores the motive of Doppelgänger, a term coined by another German author and supporter of Hoffmann, Jean-Paul, in his humorous novel Siebenkäs (1796–1797). He also wrote an opera based on Friedrich de la Motte Fouqué's Gothic story Undine (1816), for which de la Motte Fouqué wrote the libretto. [47] Aside from Hoffmann and de la Motte Fouqué, three other important authors from the era were Joseph Freiherr von Eichendorff ( The Marble Statue, 1818), Ludwig Achim von Arnim ( Die Majoratsherren, 1819), and Adelbert von Chamisso ( Peter Schlemihls wundersame Geschichte, 1814). [48] After them, Wilhelm Meinhold wrote The Amber Witch (1838) and Sidonia von Bork (1847).

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Several Gothic traditions have also developed in New Zealand (with the subgenre referred to as New Zealand Gothic or Maori Gothic) [93] and Australia (known as Australian Gothic). These explore everything from the multicultural natures of the two countries [94] to their natural geography. [95] Novels in the Australian Gothic tradition include Kate Grenville's The Secret River and the works of Kim Scott. [96] An even smaller genre is Tasmanian Gothic, set exclusively on the island, with prominent examples including Gould's Book of Fish by Richard Flanagan and The Roving Party by Rohan Wilson. [97] [98] [99] [100]

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L. Wiley, Jennifer (2015). Shakespeare's Influence on the English Gothic, 1791-1834: The Conflicts of Ideologies (PDF) (PhD dissertation). University of Arizona. hdl: 10150/594386 . Retrieved 4 May 2022. Regardless of genre and period, literary violence has been a subject of controversy as it is often considered unethical and harmful for readers, particularly when it comes to juvenile literature. [2] Historical development [ edit ] Walpole, H. 1764 (1968). The Castle of Otranto. Reprinted in Three Gothic Novels. London: Penguin Press. Especially in the late 19th century, Gothic fiction often involved demons and demonic possession, ghosts, and other kinds of evil spirits. [6] Punter, David (1980). "Later American Gothic". The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. United Kingdom: Longmans. pp.268–290. ISBN 9780582489219.

Gothic: Violence, Trauma, and the Ethical — University of Bristol Gothic: Violence, Trauma, and the Ethical — University of Bristol

Generally, violence in epics presents itself as a truth and way of life that a person may follow either for goodness or evil. It is also used as a device to convey the society's cultural value of reverence and respect for their deities; any act of disobedience or offense is punishable by the concerned deity. [10] For instance, in the Odyssey, Zeus destroys the surviving crew, except for Odysseus, when they transgress by slaughtering the sacred cattle of the sun. Another reason for the excessive display of violence, in addition to representing the darkness of human nature and the adversities of social conflicts, is characterization. Since an epic portrays the trials inflicted upon a hero, that these trials include physical and emotional violence serves to demonstrate the strength, control, and resilience expected from him. [10] Religious literature [ edit ] Clery, E. J. (1995). The Rise of Supernatural Fiction, 1762-1800. Cambridge: Cambridge University Press. ISBN 978-0-511-51899-7. OCLC 776946868. a b "Reading Frankenstein", Shelley’s Frankenstein, Bloomsbury Academic, 2008, doi: 10.5040/9781474211512.ch-003, ISBN 978-0-8264-9524-2 , retrieved 2022-04-19 War tales that employ similar violence, however, try to achieve a goal beyond the evoking of excitement. By describing unspeakable war crimes, authors depict the suffering felt by innocent people whose pleas go unheard. It is a means to compel empathy in readers for those affected by the psychological and physical agonies of armed conflict. Aleksander Hemon's short story " A Coin", told through letters sent by a journalist named Aida in Sarajevo to the narrator in Chicago, describes the horrors of the Bosnian 1990s war using explicit violence. In one of its passages, for instance, Aida relates having witnessed a dog chew off her deceased aunt's hand and carry it away in its jaw. Snipers shooting from buildings are characterized as vicious and inhumane, as the following lines describe: [43] Educators in literary, cultural, and architectural studies appreciate the Gothic as an area that facilitates investigation of the beginnings of scientific certainty. As Carol Senf has stated, "the Gothic was... a counterbalance produced by writers and thinkers who felt limited by such a confident worldview and recognized that the power of the past, the irrational, and the violent continue to sway in the world." [115] As such, the Gothic helps students better understand their doubts about the self-assurance of today's scientists. Scotland is the location of what was probably the world's first postgraduate program to consider the genre exclusively: the MLitt in the Gothic Imagination at the University of Stirling, first recruited in 1996. [116] See also [ edit ]Holgate, Ben (2014). "The Impossibility of Knowing: Developing Magical Realism's Irony in Gould's Book of Fish". Journal of the Association for the Study of Australian Literature (JASAL). 14 (1). ISSN 1833-6027. On one level, the book is a picaresque romp through colonial Tasmania in the early 1800s based on the not very reliable reminiscences of Gould, a convicted forger, painter of fish and inveterate raconteur. On another level, the novel is a Gothic horror tale in its reimagining of a violent, brutal and oppressive penal colony whose militaristic regime subjugated both the imported and original inhabitants. Jürgen Klein (1975), Der Gotische Roman und die Ästhetik des Bösen, Darmstadt: Wissenschaftliche Buchgesellschaft a b Hogle, Jerrold E. (2002). The Cambridge Companion to Gothic Fiction. England: Cambridge University Press. pp.1–20. ISBN 9780511999185.

Gothic literature guide for KS3 English students - BBC Bitesize Gothic literature guide for KS3 English students - BBC Bitesize

Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p.8.Yardley, Jonathan (16 March 2004). "Du Maurier's 'Rebecca,' A Worthy 'Eyre' Apparent". The Washington Post. a b Nichols "Place and Eros in Radcliffe", Lewis and Bronte, The Female Gothic, ed. Fleenor, Eden Press Inc., 1983. On days when snipers are particularly rabid, there are scattered bodies as well. Some of them may still be alive and twitching toward the distant cover, leaving a bloody trail behind, like snails. People seldom try to help them, for everybody knows that the snipers are just waiting for that. Sometimes a sniper mercifully finishes off the crawling person. Sometimes the snipers play with the body, shooting off his or her knees, feet, or elbows. They seem to have made a bet how far he or she is going to get before bleeding away. [44] The plays of William Shakespeare, in particular, were a crucial reference point for early Gothic writers, in both an effort to bring credibility to their works, and legitimize the emerging genre as serious literature to the public. [15] Tragedies such as Hamlet, Macbeth, King Lear, Romeo and Juliet, and Richard III, with plots revolving around the supernatural, revenge, murder, ghosts, witchcraft, and omens, written in dramatic pathos, and set in medieval castles, were a huge influence upon early Gothic authors, who frequently quote, and make allusions to Shakespeare's works. [16]