Gothic Violence

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Derkenne, Jamie (2017). "Richard Flanagan's and Alexis Wright's Magic Nihilism". Antipodes. 31 (2): 276–290. doi: 10.13110/antipodes.31.2.0276. ISSN 0893-5580. JSTOR 10.13110/antipodes.31.2.0276. 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.

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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.Saraoorian, Vahe (1970). The Way To Otranto: Gothic Elements In Eighteenth-Century English Poetry (PhD dissertation). Bowling Green State University . Retrieved 4 May 2022. Ronald "Terror Gothic: Nightmare and Dream in Ann Radcliffe and Charlotte Bronte", The Female Gothic, Ed. Fleenor, Eden Press Inc., 1983. 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

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] 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 Fyodor Dostoyevsky from the 1880s. Most critics used tags such as "Romanticism" and " fantastique," such as in the 1984 story collection translated into English as Russian 19th-Century Gothic Tales but originally titled Фантастический мир русской романтической повести, literally, "The Fantastic World of Russian Romanticism Short Story/Novella." [74] However, since the mid-1980s, Russian gothic fiction as a genre began to be discussed in books such as The Gothic-Fantastic in Nineteenth-Century Russian Literature, European Gothic: A Spirited Exchange 1760–1960, The Russian Gothic Novel and its British Antecedents and Goticheskiy roman v Rossii (The Gothic Novel in Russia).

Seeger, Andrew Philip (2004). Crosscurrents between the English Gothic novel and the German Schauerroman (PhD dissertation). University of Nebraska–Lincoln. pp.1–208. ProQuest 305161832. In Hindi cinema, the Gothic tradition was combined with aspects of Indian culture, particularly reincarnation, for an "Indian Gothic" genre, beginning with Mahal (1949) and Madhumati (1958). [108] Cornwell, Neil (1999), The Gothic-Fantastic in Nineteenth-Century Russian Literature, Amsterdam: Atlanta, GA: Rodopi, Studies in Slavic Literature and Poetics, volume 33 Walpole, Horace (2021). The Castle of Otranto. Duke Classics. ISBN 978-1-62011-221-2. OCLC 1285939332. 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]

Violence in literature - Wikipedia Violence in literature - Wikipedia

Perry, D.; Sederholm, Carl H. (2009-04-27). Poe, "The House of Usher," and the American Gothic. Springer. ISBN 978-0-230-62082-7. Aldana Reyes, Xavier (2017). Spanish Gothic: National Identity, Collaboration and Cultural Adaptation. Palgrave Macmillan. ISBN 978-1137306005. See also: Penny dreadful and American Gothic fiction Cover of a Varney the Vampire publication, 1845 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. 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.Virginia Stoops, Marion (1973). Gothic Elements in Pope's Eloisa to Abelard (MA thesis). Ohio State University . Retrieved 4 May 2022. Southern Ontario Gothic applies a similar sensibility to a Canadian cultural context. Robertson Davies, Alice Munro, Barbara Gowdy, Timothy Findley, and Margaret Atwood have all produced notable exemplars of this form. Another writer in the tradition was Henry Farrell, best known for his 1960 Hollywood horror novel What Ever Happened To Baby Jane? Farrell's novels spawned a subgenre of "Grande Dame Guignol" in the cinema, represented by such films as the 1962 film based on Farrell's novel, which starred Bette Davis versus Joan Crawford; this subgenre of films was dubbed the " psycho-biddy" genre. Moreover, they argue that violence should be not only acceptable, but necessary in children's literature because it offers an accurate depiction of the world they live in. Since violence is a fact encountered in nearly every aspect of life, it is argued that to delay kids' exposure to evil is unrealistic and potentially harmful. This is due to the likelihood that they will come to face violent situations in their futures; telling them stories of this nature can therefore provide them with ways to successfully overcome these situations. And these ways need not be violent, they state, because by teaching them about the harmful consequences violence has on both the good and evil characters (the first through suffering and the second through receiving violent punishments) they might develop a preference for peaceful conflict resolutions instead. Thus, if adequately justified in the stories, literary violence can not only be educational but also ethical. [67] [2] [63] 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. 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.