Gothic fiction
Gothic fiction, sometimes called Gothic horror (primarily in the 20th century), is a loose literary aesthetic of
The first work to call itself Gothic was Horace Walpole's 1764 novel The Castle of Otranto, later subtitled "A Gothic Story". Subsequent 18th-century contributors included Clara Reeve, Ann Radcliffe, William Thomas Beckford, and Matthew Lewis. The Gothic influence continued into the early 19th century; works by the Romantic poets, and novelists such as Mary Shelley, Charles Maturin, Walter Scott and E. T. A. Hoffmann frequently drew upon gothic motifs in their works.
The early Victorian period continued the use of gothic aesthetic in novels by Charles Dickens and the Brontë sisters, as well as works by the American writers Edgar Allan Poe and Nathaniel Hawthorne. Later well-known works were Dracula by Bram Stoker, Richard Marsh's The Beetle and Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde. Twentieth-century contributors include Daphne du Maurier, Stephen King, Shirley Jackson, Anne Rice, and Toni Morrison.
Characteristics
Gothic fiction is characterized by an environment of fear, the threat of
Gothic fiction often moves between "high culture" and "low" or "popular culture".[3][clarification needed]
Role of architecture
Gothic literature is strongly associated with the Gothic Revival architecture of the same era. English Gothic writers often associated medieval buildings with what they saw as a dark and terrifying period, marked by harsh laws enforced by torture and with mysterious, fantastic, and superstitious rituals. Similar to the Gothic Revivalists' rejection of the clarity and rationalism of the Neoclassical style of the Enlightened Establishment, the literary Gothic embodies an appreciation of the joys of extreme emotion, the thrills of fearfulness and awe inherent in the sublime, and a quest for atmosphere. Gothic ruins invoke multiple linked emotions by representing inevitable decay and the collapse of human creations – hence the urge to add fake ruins as eyecatchers in English landscape parks.
Placing a story in a Gothic building serves several purposes. It inspires feelings of awe, implies that the story is set in the past, gives an impression of isolation or dissociation from the rest of the world, and conveys religious associations. Setting the novel in a Gothic castle was meant to imply a story set in the past and shrouded in darkness. The architecture often served as a mirror for the characters and events of the story.[9] The buildings in The Castle of Otranto, for example, are riddled with tunnels that characters use to move back and forth in secret. This movement mirrors the secrets surrounding Manfred's possession of the castle and how it came into his family.[10]
The Female Gothic
From the castles, dungeons, forests, and hidden passages of the Gothic novel genre emerged female Gothic. Guided by the works of authors such as Ann Radcliffe, Mary Shelley, and Charlotte Brontë, the female Gothic allowed women's societal and sexual desires to be introduced. In many respects, the novel's intended reader of the time was the woman who, even as she enjoyed such novels, felt she had to "[lay] down her book with affected indifference, or momentary shame,"[11] according to Jane Austen. The Gothic novel shaped its form for woman readers to "turn to Gothic romances to find support for their own mixed feelings."[12]
Female Gothic narratives focus on such topics as a persecuted heroine fleeing from a villainous father and searching for an absent mother. At the same time, male writers tend towards the masculine transgression of social taboos. The emergence of the ghost story gave women writers something to write about besides the common marriage plot, allowing them to present a more radical critique of male power, violence, and predatory sexuality.[13]
When the female Gothic coincides with the explained supernatural the natural cause of terror is not the supernatural, but female disability and societal horrors: rape, incest, and the threatening control of a male antagonist. Female Gothic novels also address women's discontent with patriarchal society, their difficult and unsatisfying maternal position, and their role within that society. Women's fears of entrapment in the domestic, their bodies, marriage, childbirth, or domestic abuse commonly appear in the genre.
After the characteristic Gothic Bildungsroman-like plot sequence, female Gothic allowed readers to grow from "adolescence to maturity"[14] in the face of the realized impossibilities of the supernatural. As protagonists like Adeline in The Romance of the Forest learn that their superstitious fantasies and terrors are replaced by natural cause and reasonable doubt, the reader may grasp the heroine's true position: "The heroine possesses the romantic temperament that perceives strangeness where others see none. Her sensibility, therefore, prevents her from knowing that her true plight is her condition, the disability of being female."[14]
History
Precursors
'Tis now the very witching time of night,
When churchyards yawn, and hell itself breathes out
Contagion to this world. Now could I drink hot blood,
And do such bitter business as the day
Would quake to look on.
— Lines from Shakespeare's Hamlet
The components that would eventually combine into Gothic literature had a rich history by the time Walpole presented a fictitious medieval manuscript in The Castle of Otranto in 1764.
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 to 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]
Alexander Pope, who had a considerable influence on Walpole, was the first significant poet of the 18th century to write a poem in an authentic Gothic manner.[18] Eloisa to Abelard (1717), a tale of star-crossed lovers, one doomed to a life of seclusion in a convent, and the other in a monastery, abounds in gloomy imagery, religious terror, and suppressed passion. The influence of Pope's poem is found throughout 18th-century Gothic literature, including the novels of Walpole, Radcliffe, and Lewis.[19]
Gothic literature is often described with words such as "wonder" and "terror."[20] This sense of wonder and terror that provides the suspension of disbelief so important to the Gothic—which, except for when it is parodied, even for all its occasional melodrama, is typically played straight, in a self-serious manner—requires the imagination of the reader to be willing to accept the idea that there might be something "beyond that which is immediately in front of us." The mysterious imagination necessary for Gothic literature to have gained any traction had been growing for some time before the advent of the Gothic. The need for this came as the known world was becoming more explored, reducing the geographical mysteries of the world. The edges of the map were filling in, and no dragons were to be found. The human mind required a replacement.[21] Clive Bloom theorizes that this void in the collective imagination was critical in developing the cultural possibility for the rise of the Gothic tradition.[22]
The setting of most early Gothic works was medieval, but this was a common theme long before Walpole. In Britain especially, there was a desire to reclaim a shared past. This obsession frequently led to extravagant architectural displays, such as Fonthill Abbey, and sometimes mock tournaments were held. It was not merely in literature that a medieval revival made itself felt, and this, too, contributed to a culture ready to accept a perceived medieval work in 1764.[21]
The Gothic often uses scenery of decay, death, and morbidity to achieve its effects (especially in the Italian Horror school of Gothic). However, Gothic literature was not the origin of this tradition; it was far older. The corpses, skeletons, and churchyards so commonly associated with early Gothic works were popularized by the Graveyard poets. They were also present in novels such as Daniel Defoe's A Journal of the Plague Year, which contains comical scenes of plague carts and piles of corpses. Even earlier, poets like Edmund Spenser evoked a dreary and sorrowful mood in such poems as Epithalamion.[21]
All aspects of pre-Gothic literature occur to some degree in the Gothic, but even taken together, they still fall short of true Gothic.[21] What needed to be added was an aesthetic to tie the elements together. Bloom notes that this aesthetic must take the form of a theoretical or philosophical core, which is necessary to "sav[e] the best tales from becoming mere anecdote or incoherent sensationalism."[23] In this case, the aesthetic needed to be emotional, and was finally provided by Edmund Burke's 1757 work, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, which "finally codif[ied] the gothic emotional experience."[24] Specifically, Burke's thoughts on the Sublime, Terror, and Obscurity were most applicable. These sections can be summarized thus: the Sublime is that which is or produces the "strongest emotion which the mind is capable of feeling"; Terror most often evoked the Sublime; and to cause Terror, we need some amount of Obscurity – we can't know everything about that which is inducing Terror – or else "a great deal of the apprehension vanishes"; Obscurity is necessary to experience the Terror of the unknown.[21] Bloom asserts that Burke's descriptive vocabulary was essential to the Romantic works that eventually informed the Gothic.
The birth of Gothic literature was thought to have been influenced by political upheaval. Researchers linked its birth with the
Eighteenth-century Gothic novels
The first work to call itself "Gothic" was Horace Walpole's The Castle of Otranto (1764).[2] The first edition presented the story as a translation of a sixteenth- century manuscript and was widely popular. Walpole, in the second edition, revealed himself as the author which adding the subtitle "A Gothic Story." The revelation prompted a backlash from readers, who considered it inappropriate for a modern author to write a supernatural story in a rational age.[29] Walpole did not initially prompt many imitators. Beginning with Clara Reeve's The Old English Baron (1778), the 1780s saw more writers attempting his combination of supernatural plots with emotionally realistic characters. Examples include Sophia Lee's The Recess (1783–5) and William Beckford's Vathek (1786).[30]
At the height of the Gothic novel's popularity in the 1790s, the genre was almost synonymous with
Other notable Gothic novels of the 1790s include William Godwin's Caleb Williams (1794), Regina Maria Roche's Clermont (1798), and Charles Brockden Brown's Wieland (1798), as well as large numbers of anonymous works published by the Minerva Press.[30] In continental Europe, Romantic literary movements led to related Gothic genres such as the German Schauerroman and the French Roman noir.[32][33] Eighteenth-century Gothic novels were typically set in a distant past and (for English novels) a distant European country, but without specific dates or historical figures that characterized the later development of historical fiction.[34]
The saturation of Gothic-inspired literature during the 1790s was referred to in a letter by Samuel Taylor Coleridge, writing on 16 March 1797, "indeed I am almost weary of the Terrible, having been a hireling in the Critical Review for the last six or eight months – I have been reviewing the Monk, the Italian, Hubert de Sevrac &c &c &c – in all of which dungeons, and old castles, & solitary Houses by the Sea Side & Caverns & Woods & extraordinary characters & all the tribe of Horror & Mystery, have crowded on me – even to surfeiting."[35]
The excesses, stereotypes, and frequent absurdities of the Gothic genre made it rich territory for satire.
Second generation or Jüngere Romantik
The poetry, romantic adventures, and character of
Byron was also the host of the celebrated ghost-story competition involving himself, Percy Bysshe Shelley, Mary Shelley, and John William Polidori at the Villa Diodati on the banks of Lake Geneva in the summer of 1816. This occasion was productive of both Mary Shelley's Frankenstein, or, The Modern Prometheus (1818), and Polidori's The Vampyre (1819), featuring the Byronic Lord Ruthven. The Vampyre has been accounted by cultural critic Christopher Frayling as one of the most influential works of fiction ever written and spawned a craze for vampire fiction and theatre (and, latterly, film) that has not ceased to this day.[40] Though clearly influenced by the Gothic tradition, Mary Shelley's novel is often considered the first science fiction novel, despite the novel's lack of any scientific explanation for the monster's animation and the focus instead on the moral dilemmas and consequences of such a creation.
John Keats' La Belle Dame sans Merci (1819) and Isabella, or the Pot of Basil (1820) feature mysteriously fey ladies.[41] In the latter poem, the names of the characters, the dream visions, and the macabre physical details are influenced by the novels of premiere Gothicist Ann Radcliffe.[41]
Although ushering in the historical novel, and turning popularity away from Gothic fiction, Walter Scott frequently employs Gothic elements in his novels and poetry.[42] Scott drew upon oral folklore, fireside tails, and ancient superstitions, often juxtaposing rationality and the supernatural. Novels such as The Bride of Lammermoor (1819), in which the character's fates are decided by superstition and prophecy, or the poem Marmion (1808), in which a Nun is walled alive inside a convent, illustrate Scott's influence and use of Gothic themes.[43][44]
A late example of a traditional Gothic novel is
During two decades, the most famous author of Gothic literature in Germany was the polymath
In Spain, the priest Pascual Pérez Rodríguez was the most diligent novelist in the Gothic way, closely aligned to the supernatural explained by Ann Radcliffe.[49] At the same time, the poet José de Espronceda published The Student of Salamanca (1837-1840), a narrative poem that presents a horrid variation on the Don Juan legend.
In Russia, authors of the Romantic era include
The following poems are also now considered to belong to the Gothic genre: Meshchevskiy's "Lila", Katenin's "Olga", Pushkin's "The Bridegroom", Pletnev's "The Gravedigger" and Lermontov's Demon (1829–1839).[52]
The key author of the transition from Romanticism to Realism,
Other relevant authors of this era include
Nineteenth-century Gothic fiction
By the
In addition to these short Gothic fictions, some novels drew on the Gothic.
The genre also heavily influenced writers such as Charles Dickens, who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his works, shifting them to a more modern period and an urban setting; for example, in Oliver Twist (1837–1838), Bleak House (1854) and Great Expectations (1860–1861). These works juxtapose wealthy, ordered, and affluent civilization with the disorder and barbarity of the poor in the same metropolis. Bleak House, in particular, is credited with introducing urban fog to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). Miss Havisham from Great Expectations, is one of Dickens’ most Gothic characters. The bitter recluse who shuts herself away in her gloomy mansion ever since being jilted at the altar on her wedding day.[63] His most explicitly Gothic work is his last novel, The Mystery of Edwin Drood, which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, mementos, and mortality in general.
Irish Catholics also wrote Gothic fiction in the 19th century. Although some Anglo-Irish dominated and defined the subgenre decades later, they did not own it. Irish Catholic Gothic writers included Gerald Griffin, James Clarence Mangan, and John and Michael Banim. William Carleton was a notable Gothic writer, and converted from Catholicism to Anglicanism.[64]
In Switzerland, Jeremias Gotthelf wrote The Black Spider (1842), an allegorical work that uses Gothic themes. The last work from the German writer Theodor Storm, The Rider on the White Horse (1888), also uses Gothic motives and themes.[65]
After Gogol, Russian literature saw the rise of Realism, but many authors continued to write stories within Gothic fiction territory.
The 1880s saw the revival of the Gothic as a powerful literary form allied to
In Ireland, Gothic fiction tended to be purveyed by the Anglo-Irish Protestant Ascendancy. According to literary critic Terry Eagleton, Charles Maturin, Sheridan Le Fanu, and Bram Stoker form the core of the Irish Gothic subgenre with stories featuring castles set in a barren landscape and a cast of remote aristocrats dominating an atavistic peasantry, which represent an allegorical form the political plight of Catholic Ireland subjected to the Protestant Ascendancy.[68] Le Fanu's use of the gloomy villain, forbidding mansion, and persecuted heroine in Uncle Silas (1864) shows direct influence from Walpole's Otranto and Radcliffe's Udolpho. Le Fanu's short story collection In a Glass Darkly (1872) includes the superlative vampire tale Carmilla, which provided fresh blood for that particular strand of the Gothic and influenced Bram Stoker's vampire novel Dracula (1897). Stoker's book created the most famous Gothic villain ever, Count Dracula, and established Transylvania and Eastern Europe as the locus classicus of the Gothic.[69] Published in the same year as Dracula, Florence Marryat's The Blood of the Vampire is another piece of vampire fiction. The Blood of the Vampire, which, like Carmilla, features a female vampire, is notable for its treatment of vampirism as both racial and medicalized. The vampire, Harriet Brandt, is also a psychic vampire, killing unintentionally.[70]
In the United States, notable late 19th-century writers in the Gothic tradition were Ambrose Bierce, Robert W. Chambers, and Edith Wharton. Bierce's short stories were in the horrific and pessimistic tradition of Poe. Chambers indulged in the decadent style of Wilde and Machen, even including a character named Wilde in his The King in Yellow (1895).[71] Wharton published some notable Gothic ghost stories. Some works of the Canadian writer Gilbert Parker also fall into the genre, including the stories in The Lane that had No Turning (1900).[72]
The serialized novel The Phantom of the Opera (1909–1910) by the French writer Gaston Leroux is another well-known example of Gothic fiction from the early 20th century, when many German authors were writing works influenced by Schauerroman, including Hanns Heinz Ewers.[73]
Russian Gothic
Until the 1990s, Russian Gothic critics did not view Russian Gothic as a genre or label. If used, the word "gothic" was used to describe (mostly early) works of
The first Russian author whose work has been described as gothic fiction is considered to be
During the last years of
Twentienth-century Gothic fiction
Gothic fiction and Modernism influenced each other. This is often evident in detective fiction, horror fiction, and science fiction, but the influence of the Gothic can also be seen in the high literary Modernism of the 20th century. Oscar Wilde's The Picture of Dorian Gray (1890) initiated a re-working of older literary forms and myths that became common in the work of W. B. Yeats, T. S. Eliot, James Joyce, Virginia Woolf, Shirley Jackson, and Angela Carter, among others.[81] In Joyce's Ulysses (1922), the living are transformed into ghosts, which points to an Ireland in stasis at the time and a history of cyclical trauma from the Great Famine in the 1840s through to the current moment in the text.[82] The way Ulysses uses Gothic tropes such as ghosts and hauntings while removing the supernatural elements of 19th-century Gothic fiction indicates a general form of modernist Gothic writing in the first half of the 20th century.
In America, pulp magazines such as Weird Tales reprinted classic Gothic horror tales from the previous century by authors like Poe, Arthur Conan Doyle, and Edward Bulwer-Lytton, and printed new stories by modern authors featuring both traditional and new horrors.[83] The most significant of these was H. P. Lovecraft, who also wrote a conspectus of the Gothic and supernatural horror tradition in his Supernatural Horror in Literature (1936), and developed a Mythos that would influence Gothic and contemporary horror well into the 21st century. Lovecraft's protégé, Robert Bloch, contributed to Weird Tales and penned Psycho (1959), which drew on the classic interests of the genre. From these, the Gothic genre per se gave way to modern horror fiction, regarded by some literary critics as a branch of the Gothic,[84] although others use the term to cover the entire genre.
The Romantic strand of Gothic was taken up in Daphne du Maurier's Rebecca (1938), which is seen by some to have been influenced by Charlotte Brontë's Jane Eyre.[85] Other books by du Maurier, such as Jamaica Inn (1936), also display Gothic tendencies. Du Maurier's work inspired a substantial body of "female Gothics," concerning heroines alternately swooning over or terrified by scowling Byronic men in possession of acres of prime real estate and the appertaining droit du seigneur.
Southern Gothic
The genre also influenced American writing, creating a Southern Gothic genre that combines some Gothic sensibilities, such as the grotesque, with the setting and style of the Southern United States. Examples include Erskine Caldwell, William Faulkner, Carson McCullers, John Kennedy Toole, Manly Wade Wellman, Eudora Welty, V. C. Andrews, Tennessee Williams, Truman Capote, Flannery O'Connor, Davis Grubb, Anne Rice, Harper Lee, and Cormac McCarthy.[86]
New Gothic romances
Mass-produced Gothic romances became popular in the 1950s, 1960s, and 1970s with authors such as
Contemporary Gothic
Gothic fiction continues to be extensively practised by contemporary authors.
Many modern writers of horror or other types of fiction exhibit considerable Gothic sensibilities – examples include
Contemporary American writers in the tradition include
Several Gothic traditions have also developed in New Zealand (with the subgenre referred to as New Zealand Gothic or Maori Gothic)[104] and Australia (known as Australian Gothic). These explore everything from the multicultural natures of the two countries[105] to their natural geography.[106] Novels in the Australian Gothic tradition include Kate Grenville's The Secret River and the works of Kim Scott.[107] 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.[108][109][110][111] Another Australian author, Kate Morton, has penned several homages to classic gothic fiction, among them The Distant Hours and The House at Riverton.[112]
Outside the English-speaking world, Latin American Gothic literature has been gaining momentum since the first decades of the 21st century. Some of the main authors whose style has been described as Gothic are María Fernanda Ampuero, Mariana Enríquez, Fernanda Melchor, Mónica Ojeda, Giovanna Rivero, Michelle Roche-Rodríguez, and Samanta Schweblin.
The many Gothic subgenres include a new "environmental Gothic" or "ecoGothic".[113][114][115] It is an ecologically aware Gothic engaged in "dark nature" and "ecophobia."[116] Writers and critics of the ecoGothic suggest that the Gothic genre is uniquely positioned to speak to anxieties about climate change and the planet's ecological future.[117]
Among the bestselling books of the 21st century, the
Other media
Literary Gothic themes have been translated into other media.
There was a notable revival in 20th-century
In
The 1960s Gothic television series Dark Shadows borrowed liberally from Gothic traditions, with elements like haunted mansions, vampires, witches, doomed romances, werewolves, obsession, and madness.
The early 1970s saw a
Twentieth-century rock music also had its Gothic side. Black Sabbath's 1970 debut album created a dark sound different from other bands at the time and has been called the first-ever "goth-rock" record.[121]
However, the first recorded use of "gothic" to describe a style of music was for
In
Various
Popular tabletop card game Magic: The Gathering, known for its parallel universe consisting of "planes," features the plane known as Innistrad. Its general aesthetic is based on northeast European Gothic horror. Innistard's common residents include cultists, ghosts, vampires, werewolves, and zombies.
Modern Gothic horror films include
The TV series Penny Dreadful (2014–2016) brings many classic Gothic characters together in a psychological thriller set in the dark corners of Victorian London.
The Oscar-winning Korean film Parasite has also been called Gothic – specifically, Revolutionary Gothic.[136]
Recently, the Netflix original The Haunting of Hill House and its successor The Haunting of Bly Manor have integrated classic Gothic conventions into modern psychological horror.[137]
Scholarship
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."[138] 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.[139]
See also
- Aestheticism
- American Gothic fiction
- Decadent Movement
- Dark fantasy
- Eighteenth-century Gothic novel
- French Revolution and the English Gothic Novel
- Gaslamp fantasy
- Gothic film
- Gothic romance film
- Gothic Western
- Irish Gothic literature
- Latin American Gothic
- List of gothic fiction works
- List of Minerva Press authors
- Minerva Press
- Southern Gothic
- Southern Ontario Gothic
- Suburban Gothic
- Symbolism (arts)
- Tasmanian Gothic
- Urban Gothic
- Weird fiction
- Goth music
- Goth subculture
Notes
- ^ "The Castle of Otranto: The creepy tale that launched gothic fiction". BBC News. 13 December 2014. Retrieved 9 July 2017.
- ^ ISBN 9780191735066.
- ^ ISBN 978-0-521-79124-3.
- ^ De Vore, David. "The Gothic Novel". Archived from the original on 13 March 2011.
The setting is greatly influential in Gothic novels. It not only evokes the atmosphere of horror and dread, but also portrays the deterioration of its world. The decaying, ruined scenery implies that at one time there was a thriving world. At one time the abbey, castle, or landscape was something treasured and appreciated. Now, all that lasts is the decaying shell of a once thriving dwelling.
- ^ Kosofsky Sedgwick, Eve (1980). "The Coherence of Gothic Conventions" (PDF). Retrieved 25 July 2022.
- ^ ISBN 978-1-4654-3849-2.
- ^ Kosofsky Sedgwick, Eve (1980). "The Coherence of Gothic Conventions" (PDF). Retrieved 25 July 2022.
- ISBN 978-0-500-25251-2.
- ^ Bayer-Berenbaum, L. 1982. The Gothic Imagination: Expansion in Gothic Literature and Art. Rutherford: Fairleigh Dickinson University Press.
- ^ Walpole, H. 1764 (1968). The Castle of Otranto. Reprinted in Three Gothic Novels. London: Penguin Press.
- ^ "Austen's Northanger Abbey", Second Edition, Broadview, 2002.
- ^ Ronald "Terror Gothic: Nightmare and Dream in Ann Radcliffe and Charlotte Bronte", The Female Gothic, Ed. Fleenor, Eden Press Inc., 1983.
- ^ Smith, Andrew, and Diana Wallace, "The Female Gothic: Then and Now." Gothic Studies, 25 August 2004, pp. 1–7.
- ^ a b Nichols "Place and Eros in Radcliffe", Lewis and Bronte, The Female Gothic, ed. Fleenor, Eden Press Inc., 1983.
- hdl:10150/594386. Retrieved 4 May 2022.
- . Retrieved 29 April 2022.
- hdl:10092/11870. Retrieved 29 April 2022.
- ^ Saraoorian, Vahe (1970). The Way To Otranto: Gothic Elements In Eighteenth-Century English Poetry (PhD dissertation). Bowling Green State University. Retrieved 4 May 2022.
- ^ Virginia Stoops, Marion (1973). Gothic Elements in Pope's Eloisa to Abelard (MA thesis). Ohio State University. Retrieved 4 May 2022.
- ^ "Terror and Wonder the Gothic Imagination". The British Library. British Library. Retrieved 26 March 2016.
- ^ a b c d e "Early and Pre-Gothic Literary Conventions & Examples". Spooky Scary Skeletons Literary and Horror Society. Spooky Scary Society. 31 October 2015. Retrieved 26 March 2016.
- ^ Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p. 2.
- ^ Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p. 8.
- ^ "Early and Pre-Gothic Literary Conventions & Examples". Spooky Scary Skeletons Literary and Horror Society. Spooky Scary Society. 31 October 2016. Retrieved 26 March 2016.
- ISBN 0192823574.
- ISBN 2907335278.
- ProQuest 2152179598. Retrieved 20 November 2017.
- ^ Cairney, Chris (2018). "Intertextuality and Intratextuality; Does Mary Shelley 'Sit Heavily Behind' Conrad's Heart of Darkness?" (PDF). Culture in Focus. 1 (1): 92. Archived from the original (PDF) on 23 July 2018. Retrieved 30 April 2018.
- OCLC 776946868.
- ^ ISSN 1747-678X.
- ^ Scott, Walter (1825). "Lives of the Novelists". Carey & Lea. p. 195.
- ISBN 978-0-521-79124-3, retrieved 2 September 2020
- ProQuest 305161832.
- ISBN 978-0-19-956674-7.
- ^ Norton, Rictor (2000). "Gothic Readings, 1764-1840". Retrieved 11 May 2022.
- ^ Skarda 1986.
- OCLC 58807207.
- OCLC 312477942.
- ^ Wright (2007), pp. 29-32.
- ISBN 978-0-571-16792-0.
- ^ a b Skarda and Jaffe (1981), pp. 33–35 and 132–133.
- ^ Freye, Walter (1902). "The influence of "Gothic" literature on Sir Walter Scott". Retrieved 4 May 2022.
- ^ Rose Miller, Emma (2019). "Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor" (PDF). Archived (PDF) from the original on 21 May 2022. Retrieved 1 May 2022.
- ^ Joe Walker, Grady (1957). "Scott's Refinement of The Gothic In Certain of The Waverley Novels" (PDF). Archived (PDF) from the original on 21 May 2022. Retrieved 4 May 2022.
- ^ Varma 1986
- ^ 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.
- ^ Hogle, p. 105–122.
- ^ Cusack, Barry, p. 91, pp. 118–123.
- ^ Aldana, Xavier, pp. 10–17
- ^ Krys Svitlana, "Folklorism in Ukrainian Gotho-Romantic Prose: Oleksa Storozhenko’s Tale About Devil in Love (1861)." Folklorica: Journal of the Slavic and East European Folklore Association, 16 (2011), pp. 117–138.
- ^ a b Horner (2002). Neil Cornwell: European Gothic and the 19th-century Gothic literature, pp. 59–82.
- ^ Cornwell (1999). Michael Pursglove: Does Russian gothic verse exist, pp. 83–102.
- ^ Simpson, c. p. 21.
- ^ Cornwell (1999). Neil Cornwell, pp. 189–234.
- ^ (Skarda and Jaffe (1981) pp. 181–182.
- ^ "Did Vampires Not Have Fangs in Movies Until the 1950s?". Huffington Post. Retrieved 27 September 2017.
- ^ Baddeley (2002) pp. 143–144.)
- ^ "Bécquer es el escritor más leído después de Cervantes". La Provincia. Diario de las Palmas (in Spanish). 28 July 2011. Retrieved 22 February 2018.
- ISBN 9780385074278.
- ^ Jackson (1981) pp. 123–129.
- JSTOR 2932664.
- S2CID 13970585.
- ^ "The Gothic in Great Expectations". British Library. Retrieved 16 August 2021.
- S2CID 192770214.
- ^ Cusack, Barry, p. 26.
- ^ Cornwell (1999). pp. 211–256.
- ^ a b Butuzov.
- ^ Eagleton, 1995.
- ^ Mighall, 2003.
- JSTOR j.ctt9qhdw4.
- ISBN 9780582489219.
- ISBN 978-0-9881293-7-5.
- ^ Cusack, Barry, p. 23.
- ^ Cornwell (1999). Introduction.
- ^ Cornwell (1999). Derek Offord: Karamzin's Gothic Tale, pp. 37–58.
- ^ Cornwell (1999). Alessandra Tosi: "At the origins of the Russian gothic novel", pp. 59–82.
- ^ Cornwell (1999). Michael Pursglove: "Does Russian gothic verse exist?" pp. 83–102.
- ^ Cornwell (1999). p. 257.
- ^ Peterson, p. 36.
- ISBN 3-0343-0787-X), p. 14.
- .
- ProQuest 201671206.
- ^ Goulart (1986)
- ^ (Wisker (2005) pp232-33)
- ^ Yardley, Jonathan (16 March 2004). "Du Maurier's 'Rebecca,' A Worthy 'Eyre' Apparent". The Washington Post.
- ^ Skarda and Jaffe (1981), pp. 418–456.)
- ^ "Open Library On Internet Archive".
- ^ "What Is Gothic Romance? 13 Books That Will Enchant Your Inner Gothic Fan". Book Riot.
- ^ Skarda and Jaffe (1981) pp. 464–465 and 478.
- ^ Davenport-Hines (1998) pp. 357-358).
- ISBN 0-7864-0742-5, p. 267.
- ^ "This Haunting New Bestseller Is Part du Maurier, Part del Toro". Slate.
- ^ "Carmen Maria Machado Has Invented a New Genre: the Gothic Memoir". Electric Literature.
- ^ Stephanou, Aspasia, Reading Vampire Gothic Through Blood, Palgrave, 2014.
- ^ "The American Gothic – Digital Collections for the Classroom". Retrieved 3 May 2023.
- ^ "The Gothic Terror of Donna Tartt's The Secret History". Horror Obsessive.
- ^ "The Ancestor: Passion Trips Reason in this Gothic Extravaganza". Kirkus.
- ^ "Anna Biller on How the Gothic Gives Voice to Women's Pleasure—and Pain".
- ^ "A Review of The Little Stranger—The Novel".
- ^ "The Thirteenth Tale: Gothic Storytelling at its Best".
- ^ "GOTHIC AMBIGUITY: HELEN OYEYEMI'S WHITE IS FOR WITCHING". Blackgate.
- ^ "The Essex Serpent by Sarah Perry review – a compulsive novel of ideas". The Guardian.
- ^ "Book Review: The Silent Companions by Laura Purcell". The BiblioSanctum.
- ISBN 978-1-137-40664-4.
- ^ "Hello Darkness: New Zealand Gothic". robertleonard.org. Retrieved 26 July 2020.
- ^ "Wide Open Fear: Australian Horror and Gothic Fiction". This Is Horror. 10 January 2013. Retrieved 26 July 2020.
- ^ Doolan, Emma. "Australian Gothic: from Hanging Rock to Nick Cave and Kylie, this genre explores our dark side". The Conversation. Retrieved 26 July 2020.
- ^ Sussex, Lucy (27 June 2019). "Rohan Wilson's audacious experiment with climate-change fiction". The Sydney Morning Herald.
The result is a book that while with one foot in Tasmanian Gothic, does represent a personal innovation.
- 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.
- JSTOR 41957860– via JSTOR.
Richard Flanagan, Gould's Book of Fish, would have to be Gothic. Tasmanian history is pro-foundly dark and dreadful.
- .
Flanagan in Gould's Book of Fish and Wanting also seeks to interrogate assumed complacency through a strangely comic and dark rerendering of reality to draw out many truths, such as Tasmania's treatment of its Indigenous peoples.
- ^ "The Distant Hours".
- ^ says, Max (23 November 2014). "The Ecogothic".
- ^ Hillard, Tom. "'Deep Into That Darkness Peering': An Essay on Gothic Nature". Interdisciplinary Studies in Literature and Environment, 16 (4), 2009.
- ^ Smith, Andrew and William Hughes. "Introduction: Defining the ecoGothic" in EcoGothic. Andrew Smith and William Hughes, eds. Manchester University Press. 2013.
- ^ Simon Estok, "Theorizing in a Space of Ambivalent Openness: Ecocriticism and Ecophobia", Literature and Environment, 16 (2), 2009; Simon Estok, The Ecophobia Hypothesis, Routledge, 2018.
- ^ See "ecoGothic" in William Hughes, Key Concepts in the Gothic. Edinburgh University Press, 2018: 63.
- ISBN 9781136337888.
- ^ Davenport-Hines (1998) pp355-8)
- ISBN 0-415-93014-6.
- ^ Baddeley (2002) p. 264.
- The Williams Record. Archived from the originalon 4 May 2013. Retrieved 11 March 2013.
- ^ Baddeley (2002) p. 265.
- ^ Darlington, Steve (8 September 2003). "Review of My Life with Master". RPGnet. Retrieved 9 July 2019.
- ^ "SLEEPY HOLLOW: A MODERN DAY GOTHIC CLASSIC". Film Obsessive.
- ^ "Interview With The Vampire 1994 Reviewed". Horror Movies Reviewed.
- ^ "Looking Back on the Gothic Action-Horror of the 'Underworld' Franchise". Bloody Disgusting.
- ^ "Does she hath charms to soothe the savage breast?". RogerEbert.com.
- ^ "From Hell (2001): Albert and Allen Hughes Conventional Gothic Thriller, Starring Johnny Depp". Emanuel Levy.
- ^ "[Review] Dorian Gray". The Film Stage.
- ^ "Let the Right One In". The Guardian.
- ^ "A haunted house with its own sound effects". RoberEbert.com.
- ^ "A 'FASCINATING CONUNDRUM OF A MOVIE': GOTHIC, HORROR AND CRIMSON PEAK". Revenant Journal.
- ^ "The Little Stranger". RogerEbert.com.
- ^ "Enamoured with 'The Love Witch'". Generally Gothic.
- theoutline.com. Retrieved 2 March 2020.
- ^ Romain, Lindsey (5 October 2020). "THE HAUNTING OF BLY MANOR Is a Beautiful Gothic Romance". Nerdist. Retrieved 29 December 2020.
- ^ Carol Senf, "Why We Need the Gothic in a Technological World," in: Humanistic Perspectives in a Technological World, ed. Richard Utz, Valerie B. Johnson, and Travis Denton (Atlanta: School of Literature, Media, and Communication, Georgia Institute of Technology, 2014), pp. 31–32.
- ^ Hughes, William (2012). Historical Dictionary of Gothic Literature. Scarecrow Press.
References
- Aldana Reyes, Xavier (2017). Spanish Gothic: National Identity, Collaboration and Cultural Adaptation. Palgrave Macmillan. ISBN 978-1137306005.
- ISBN 978-0-85965-382-4.
- Baldick, Chris (1993), Introduction, in The Oxford Book of Gothic Tales, Oxford: Oxford University Press
- Birkhead, Edith (1921), The Tale of Terror
- Bloom, Clive (2007), Gothic Horror: A Guide for Students and Readers, Basingstoke: Palgrave Macmillan
- Botting, Fred (1996), Gothic, London: Routledge
- Brown, Marshall (2005), The Gothic Text, Stanford, CA: Stanford UP
- Butuzov, A.E. (2008), Russkaya goticheskaya povest XIX Veka
- Charnes, Linda (2010), Shakespeare and the Gothic Strain, Vol. 38, pp. 185
- Clery, E.J. (1995), The Rise of Supernatural Fiction, Cambridge: Cambridge University Press.
- Cornwell, Neil (1999), The Gothic-Fantastic in Nineteenth-Century Russian Literature, Amsterdam: Atlanta, GA: Rodopi, Studies in Slavic Literature and Poetics, volume 33
- Cook, Judith (1980), Women in Shakespeare, London: Harrap & Co. Ltd
- Cusack A., Barry M. (2012), Popular Revenants: The German Gothic and Its International Reception, 1800–2000, Camden House
- Davenport-Hines, Richard (1998), Gothic: 400 Years of Excess, Horror, Evil and Ruin, London: Fourth Estate
- Davison, Carol Margaret (2009), Gothic Literature 1764–1824, Cardiff: University of Wales Press
- Drakakis, John & Dale Townshend (2008), Gothic Shakespeares, New York: Routledge
- Eagleton, Terry (1995), Heathcliff and the Great Hunger, New York: Verso
- Fuchs, Barbara (2004), Romance, London: Routledge
- Gamer, Michael (2006), Romanticism and the Gothic. Genre, Reception and Canon Formation, Cambridge: Cambridge University Press
- Gibbons, Luke (2004), Gaelic Gothic, Galway: Arlen House
- ISBN 0-300-08458-7
- Goulart, Ron (1986), "The Pulps" in Jack Sullivan and Pedro Chamo, ed., The Penguin Encyclopedia of Horror and the Supernatural: 337-40
- Grigorescu, George (2007), Long Journey Inside The Flesh, Bucharest, Romania ISBN 978-0-8059-8468-2
- Hadji, Robert (1986), "Jean Ray" in Jack Sullivan, ed., The Penguin Encyclopedia of Horror and the Supernatural
- Haggerty, George (2006), Queer Gothic, Urbana, IL: Illinois UP
- Halberstam, Jack (1995), Skin Shows, Durham, NC: Duke UP
- Hogle, J.E. (2002), The Cambridge Companion to Gothic Fiction, Cambridge University Press
- Horner, Avril & Sue Zlosnik (2005), Gothic and the Comic Turn, Basingstoke: Palgrave Macmillan
- Horner, Avril (2002), European Gothic: A Spirited Exchange 1760–1960, Manchester & New York: Manchester University Press
- Hughes, William, Historical Dictionary of Gothic Literature, Scarecrow Press, 2012
- Jackson, Rosemary (1981), Fantasy: The Literature of Subversion
- Kilgour, Maggie (1995), The Rise of the Gothic Novel, London: Routledge
- Jürgen Klein (1975), Der Gotische Roman und die Ästhetik des Bösen, Darmstadt: Wissenschaftliche Buchgesellschaft
- Jürgen Klein, Gunda Kuttler (2011), Mathematik des Begehrens, Hamburg: Shoebox House Verlag
- Korovin, Valentin I. (1988), Fantasticheskii mir russkoi romanticheskoi povesti
- Medina, Antoinette (2007), A Vampires Vedas
- Mighall, Robert (2003), A Geography of Victorian Gothic Fiction: Mapping History's Nightmares, Oxford: Oxford University Press
- Mighall, Robert (2007), "Gothic Cities", in C. Spooner and E. McEvoy, eds, The Routledge Companion to Gothic, London: Routledge, pp. 54–72
- O'Connell, Lisa (2010), The Theo-political Origins of the English Marriage Plot, Novel: A Forum on Fiction, Vol. 43, Issue 1, pp. 31–37
- Peterson, Dale (1987), The Slavic and East European Journal, Vol. 31, No. 1 (Spring, 1987), pp. 36–49
- Punter, David (1996), The Literature of Terror, London: Longman (2 volumes)
- Punter, David (2004), The Gothic, London: Wiley-Blackwell
- Sabor, Peter & Paul Yachnin (2008), Shakespeare and the Eighteenth Century, Ashgate Publishing Ltd
- Salter, David (2009), This demon in the garb of a monk: Shakespeare, the Gothic and the discourse of anti-Catholicism, Vol. 5, Issue 1, pp. 52–67
- Sedgwick, Eve Kosofsky (1986), The Coherence of Gothic Conventions, NY: Methuen
- Shakespeare, William (1997), The Riverside Shakespeare: Second Edition, Boston, NY: Houghton Mifflin Co.
- Simpson, Mark S. (1986), The Russian Gothic Novel and its British Antecedents, Slavica Publishers
- Skarda, Patricia L., and Jaffe, Norma Crow (1981), Evil Image: Two Centuries of Gothic Short Fiction and Poetry. New York: Meridian
- Skarda, Patricia (1986), "Gothic Parodies" in Jack Sullivan ed. (1986), The Penguin Encyclopedia of Horror and the Supernatural: 178-9
- Skarda, Patricia (1986b), "Oates, Joyce Carol" in Jack Sullivan ed. (1986), The Penguin Encyclopedia of Horror and the Supernatural: 303-4
- Stevens, David (2000), The Gothic Tradition, ISBN 0-521-77732-1
- Sullivan, Jack, ed. (1986), The Penguin Encyclopedia of Horror and the Supernatural
- Summers, Montague (1938), The Gothic Quest
- Townshend, Dale (2007), The Orders of Gothic
- Varma, Devendra (1957), The Gothic Flame
- Varma, Devendra (1986), "Maturin, Charles Robert" in Jack Sullivan, ed., The Penguin Encyclopedia of Horror and the Supernatural: 285-286
- Wisker, Gina (2005), Horror Fiction: An Introduction, Continuum: New York
- Wright, Angela (2007), Gothic Fiction, Basingstoke: Palgrave
External links
- Works related to Gothic fiction at Wikisource
- Gothic Fiction at the British Library
- Key motifs in Gothic Fiction – a British Library film
- Gothic Fiction Bookshelf at Project Gutenberg
- Irish Journal of Gothic and Horror Studies
- Gothic author biographies
- The Gothic Imagination Archived 18 December 2017 at the Wayback Machine
- "Gothic", In Our Time, BBC Radio 4 discussion with Chris Baldick, A.N. Wilson and Emma Clery (Jan. 4, 2001)