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Topic: Gothic Fiction

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  Gothic fiction - Wikipedia, the free encyclopedia
Gothic fiction began in the United Kingdom with The Castle of Otranto (1764) by Horace Walpole.
The opprobrious term "gothick" was embraced by the 18th century proponents of the gothic revival, a forerunner of the Romantic genres.
Gothic revival architecture, which became popular in the nineteenth century, was a reaction to the classical architecture that was a hallmark of the Age of Reason.
en.wikipedia.org /wiki/Gothic_novel   (2372 words)

 The best and largest dating site for gothic, goth , punk, vampire, metal, industrial, fetish, goth rock, occult, ...
Gothic fiction consists of a set of analyzable displacements about what it means to be a human being and comprises a well-defined canon, produced within a narrow space of time.
Gothic fiction is mainly concerned with the outsider, whether the stationary figure who represses his difference, or the wandering figure who seeks for some kind of salvation, or else the individual who for whatever reason- moves entirely outside the norm.
Gothic writing emerges at a particular and definable stage in the development of class relations: we may define this as the stage when the bourgeoisie began to try to understand the conditions and history of their own ascent.
www.gothicmatch.com /w/literature   (458 words)

 Botting - "Reading Machines" - Gothic Technologies: Visuality in the Romantic Era - Praxis Series - Romantic ...
The machinery of fiction is tied to invocations of supernatural agency: the sighing of Alphonso's portrait allows Isabella to escape her immediate peril—the rapacious clutches of Manfred; supernatural intervention triggers another Gothic device, flight and pursuit.
Gothic machinery, in rationalising and mechanising supernatural occurrences and readerly superstition, establishes a cycle of repetition, boredom, stimulation and disappointment that threatens enlightenment ideals of the rational and discriminating individual: its mechanisms evacuate morality, judgement, and even sense, by stimulating a seemingly insatiable appetite for excitement and sensation.
Gothic fictions cannot be simply put down as merely mechanistic, formulaic and low cultural aberrations, despite the critical reiteration of mechanical metaphors to describe the effects of romances on undiscriminating readers whose minds work mechanically.
www.rc.umd.edu /praxis/gothic/botting/botting.html   (4646 words)

 Zittaw Press: Purveyors of the Trade Gothic
Gothic literature as a movement was a disappointment to the idealistic romantic poets for the sentimental character idealized by Ann Radcliffe could not transcend into reality.
The influence of the Gothic novel is felt today in the portrayal of the alluring antagonist, whose evil characteristics appeal to ones sense of awe, or the melodramatic aspects of romance, or more specifically in the Gothic motif of a persecuted maiden forced apart from a true love.
The development of the Gothic Novel from the melancholy overtures of sentimental literature to the rise of the sublime in the graveyard poets had a profound impact on the budding Romantic movement from Wordsworth to Shelley.
www.zittaw.com /canon.htm   (518 words)

 Southern Gothic - Wikipedia, the free encyclopedia
Instead, the writer takes classic Gothic archetypes, such as the damsel in distress or the heroic knight, and portrays them in a more modern and realistic manner — transforming them into, for example, a spiteful and reclusive spinster, or a white-suited, fan-brandishing lawyer with ulterior motives.
One of the most notable features of the Southern Gothic is "The Grotesque" — this includes situations, places, or stock characters that often possess some cringe-inducing qualities, typically racial bigotry and egotistical self-righteousness — but enough good traits that readers finds themselves interested nevertheless.
While often disturbing, Southern Gothic authors commonly use deeply flawed, grotesque characters for greater narrative range and more opportunities to highlight unpleasant aspects of Southern culture, without being too literal or appearing to be overly moralistic.
en.wikipedia.org /wiki/Southern_Gothic   (305 words)

As a result, that which the middle-class, the social group characters of gothic fiction often represent, loathed and feared was ironically part of their identity; however, this anomaly in fiction took the form of the seemingly unreal—the alien, the ghost, Frankenstein’s monster, Dracula, etc.—which allowed characters to confront yet remain removed from their psychological fears.
The doppelganger in gothic fiction and film refers to the second self or mirror image of the character who disregards societal limitations and is free to act on his own free will—often, as in the case of Dr.
Gothic fiction often shows it readers, however, that the female “other” is actually a part of the male psyche through the male’s unconscious memory that he has been inside and outside his mother whom he now fears and desires.
www.westga.edu /~scarter/Elements_of_Gothic_Literature.htm   (1002 words)

 Introduction to Gothic Fiction
Medieval or "Gothic" architecture, for example, did not follow the classical ideals of simplicity, unity, and symmetry—instead, soaring towers, pointed vaults or arches, flying buttresses, gargoyles and other intricate or "wild" elements prevailed in churches, castles, and monasteries.
Gothic novels presented a protagonist’s immersion into a dark, horrific realm of some kind and reintroduced supernatural elements into fiction.
The Gothic novel's "golden age" is generally cited as lasting from 1764-1840; however, the Gothic influence remains visible not only in literature, but also in film, television, music, and even dance.
www.davidcwood.com /adnd/campaign/gothfiction.html   (544 words)

 Diane Hoeveler, On James Watt's _Contesting the Gothic_ - Romantic Circles Reviews, Romantic Circles
a valuable new study of the gothic, Watt claims that he wants to "take issue with received accounts of the genre as a stable and continuous tradition." His stated intention is to depict the gothic as a "heterogeneous body of fiction, characterised at times by antagonistic relations between various writers or works" (i).
In his Introduction, Watt summarizes the critical positions put forward by gothic theorists such as David Punter, Chris Baldick, and Ian Duncan, all of whom, according to Watt, tend to privilege a monolithic approach to the gothic, and to present the genre as less problematic than it actually was (and is).
He moves then to the first statement of his thesis: "Gothic fiction was far less a tradition with a generic identity and significance than a domain which was open to contest from the first, constituted or structured by the often antagonistic relations between different writers and works" (6).
www.rc.umd.edu /reviews/back/watt.html   (1086 words)

 The Gothic novel   (Site not responding. Last check: 2007-10-28)
The rise of fantastic fiction in France parallels the rise of the gothic novel in England.
The Gothic novel is a literary genre, which can be said to have been born with The Castle of Otranto (1764) by Horace Walpole.
The gothic novel, of the early nineteenth century, was responsible above all else for the term gothic being associated with a mood of horror, darkness and the supernatural.
www.jahsonic.com /GothicNovel.html   (861 words)

 English 2000: Topics in English Studies (Gothic Fiction)   (Site not responding. Last check: 2007-10-28)
Gothic fiction first developed in eighteenth-century England as a little-respected literary form.
In some ways, the gothic novel can be seen as a product of social and historical factors that redefined literature and greatly expanded the reading public and, therefore, the range of literary taste.
In other ways, the gothic novel can be seen as reactionary; that is, as a response to the literary conventions of the times.
cdis.missouri.edu /previews/2118/lesson01.htm   (2535 words)

 Paulson, "Gothic Fiction and the French Revolution"   (Site not responding. Last check: 2007-10-28)
Certain elements of Ann Radcliffe's Gothic are here, including the passivity of the sensitive heroine, the labyrinthine passages and chambers through which she wanders, the violent storm, and the perusal of written documents that record experiences with which she never herself makes contact.
In the real world, the Gothic casts up (or is bettered by) the reality of a General Tilney or a French Revolution in which, in Burke's terms, penniless parvenues infiltrate the aristocratic family -- or the royal family itself; ultimately breaking through its doors into the bedroom of the queen -- and ravish the wife-mother-daughter.
If Radcliffe produces a fiction about a spectator of revolutionary activity who can be confused by her experience, whose response though virtuous is both ambivalent and liable to the temptation to misperceive, then Lewis' Monk reproduces the exhilarating but ultimately depressing experience of the revolutionary himself.
www.english.upenn.edu /Projects/knarf/Articles/paulson.html   (7761 words)

 A Brief Historical Overview
Most critics, literary historians, and readers see Gothic fiction as continuing to the present time; though it has undergone great changes, the themes and conventions of the earliest Gothic novels are alive and well, appearing in novels, movies, TV dramas and cartoons, and computer games.
Because the Gothic stream became so broad and took so many branches and turnings, I will cover only a few highlights and discuss, during the course of the semester, the historical significance of the authors we will be reading.
Most of the "pure" Gothics tend to have a handsome, magnetic suitor or husband who may or may not be a lunatic and/or murderer...it remained for U.S. women to discover they were frightened of their husbands.
academic.brooklyn.cuny.edu /english/melani/gothic/history.html   (1430 words)

 Franz J. Potter The Monster made by Man Reviewed by Mario Guslandi
The so-called canonical Gothic fiction is represented by a group of famous novels including Horace Walpole's 'The Castle of Otranto' (1764), MG Lewis' 'The Monk' (1796), Ann Radcliff's 'The Italian' (1797), Mary Shelley's "Frankenstein' (1818) and Charles Maturin's 'Melmoth the Wanderer' (1820).
To be frank, Gothic novels, even in their most accomplished expressions, can be cumbersome to read, even for an educated audience.
The traditional Gothic subject of the dead directing the living to identify and punish the author of a wicked deed is retold in the sinister tale 'The Skeleton Witness -- A Spanish Romance', whose sources of inspiration are too many to be mentioned here.
trashotron.com /agony/reviews/2005/potter-gothic-the_monster.htm   (916 words)

 Varieties of Female Gothic published by Pickering & Chatto   (Site not responding. Last check: 2007-10-28)
The prototypical Female Gothic romance generally includes a female protagonist who is pursued and persecuted by a villainous patriarchal figure, in settings of unfamiliar and confusing landscape or architecture.
Varieties of Female Gothic presents different types of Gothic fiction of the Romantic era, by women authors with different kinds of careers, from the commercial hack, such as Sarah Wilkinson, to the culturally ambitious and self-consciously professional author, such as Clara Reeve or Jane Porter.
This volume presents a range of cheap Gothic novelettes written by women or adapted from full-length Gothic novels by women; these chapbooks were designed and marketed for lower-class and lower middle-class readers, often sold in the street by hawkers, and also kept in public houses for the entertainment of drinkers.
www.pickeringchatto.com /femalegothic.htm   (902 words)

 UVa Special Collections Library: Collections
Sadleir's view of Gothicism, its rise, its nationwide reign of terror, and its collapse and disappearance in the late 1820s became the critical basis for the renaissance in Gothic studies which began in the 1950s.
Thus, Sadleir became one of the first defenders and proponents of Gothic studies and the collection that was to bear his name is a confirmation that the Gothic could no longer be ignored or dismissed by cultural, intellectual, and literary historians.
The prototypical Gothic cover picture depicting the maiden in flight down a staircase or dark path as she glances hysterically over her left shoulder is a pictorial cliche of the Gothic illustrators.
www.lib.virginia.edu /small/collections/sadleir-black/gold.html   (3972 words)

 The Gothic Mystery - Michele Slung
The gothic romance — a phenomenon of popular culture for the last couple of centuries - is like a cake recipe that's been passed around a large circle of acquaintance.
She was to take what Walpole had started, in his desire "to blend the two kinds of romance, the ancient and the modern" (as he stated in his preface to the second edition) and give it what they call in the movie business "legs", or staying power.
The Bluebeardish and Pandora's box aspects of the gothic romance have become increasingly pronounced while a great many best-selling romances (in paperback) are no longer "gothic" at all, slighting mysterious elements almost entirely in favour of the heroine's entanglements with seemingly unsuitable, initially indifferent men.
www.classiccrimefiction.com /gothic-mystery.htm   (2069 words)

 The Cambridge Companion to Gothic Fiction - Cambridge University Press
Here fourteen world-class experts on the Gothic provide thorough and revealing accounts of this haunting-to-horrifying type of fiction from the 1760s (the decade of The Castle of Otranto, the first so-called 'Gothic story') to the end of the twentieth century (an era haunted by filmed and computerized Gothic simulations).
Gothic fiction at the turn of the century, 1885-1930 Kelly Hurley; 11.
The colonial and post-colonial Gothic Lizabeth Paravinisi-Gebert; 13.
www.cambridge.org /catalogue/catalogue.asp?isbn=0521791243   (344 words)

 English: Gothic Fiction
Place the gothic in its cultural context by focussing upon its attitudes to science, politics and nature.
Discuss the gothic as an evolving form that is still in use today.
The course is assessed by a term paper of 2,500 words (50%), and the second half of the 3-hour Spring Term examination in British Romantics and Gothic Fiction (50%).
www.buckingham.ac.uk /english/courses/gothic.html   (197 words)

‑‑gothic fiction consists of a set of analyzable displacements about what it means to be a human being and gendered;
‑‑the gothic exposes the essential instability of the domination and submission patterns in the fantasy; creation of doubled characters; self‑other relationships revealed when we realize that the hero never shares the stage with a heroine; if the text focuses on a heroine, then the male has to be a split figure: villian or weak "hero"
"That women read romance fiction is a measure of their deep dissatisfaction with heterosexual options as of any desire to be fully identified with the submissive versions of femininity the texts endorse.
www.marquette.edu /english/faculty/female.gothic1.htm   (5425 words)

 Victorian Gothic Reserve List   (Site not responding. Last check: 2007-10-28)
Carter, Margaret L. Specter or delusion?: the supernatural in Gothic fiction.
Gothic feminism : the professionalization of gender from Charlotte Smith to the Brontes.
Chiara Briganti, 'Gothic Maidens and Sensation Women: Lady Audley's Journey from the Ruined Mansion to the Madhouse,' Victorian Literature and Culture 19 (1991): 189-211.
www.ship.edu /~ctkung/VictGothReserves.html   (738 words)

 Essay: Discuss the Influence of Gothic Fiction upon pre 20th century and 20th century texts and say how Gothic features ...
Essay: Discuss the Influence of Gothic Fiction upon pre 20th century and 20th century texts and say how Gothic features are used.
Discuss the Influence of Gothic Fiction upon pre 20th century and 20th century texts and say how Gothic features are used.
Walpole himself revived the movement in gothic architecture renovating his house 'Strawberry Hill' in Twickenham to a gothic castle.
www.coursework.info /ii/2912.html   (326 words)

 AMERICAN GOTHIC FAN FICTION   (Site not responding. Last check: 2007-10-28)
Gothic Leap - Parts 1 thru 3 (Concluded) by Philippa Chapman 70k -- An American Gothic/Quantum Leap crossover in which Sam's next leap takes him to the town of Trinity.
American Gothic: The Next Generation - Chapters 1-2 by Psylocke 12k -- Caleb Temple is about to start college at St. Mary's Academy and learns how truly difficult it is to escape the influence of his father.
American Gothic, its characters, and pictures are the property of CBS,MCA/Universal, Renaissance Pictures, and possibly others.
members.aol.com /roxannep/agfanfic.html   (2024 words)

gothic fiction introduces a prolonged contemplation of the objects in the individual's internal world at the same time there is a repeated vindication of the individual's ability to survive despite threat
--the gothic exposes the essential instability of the domination and submission patterns in the fantasy; creation of doubled characters; self-other relationships revealed when we realize that the hero never shares the stage with a heroine; if the text focuses on a heroine, then the male has to be a split figure: villian or weak "hero"
the pairing of the hero and villian in 18th century gothic each embody a sort of authority that the heroine has to choose between; a violent taboo is usually attached to the villian (again, recourse to Foucault's explanation about the machinery of alliance and kinship in operation)
www.marquette.edu /english/faculty/GOTHIC.SYLLABI_000.htm   (1811 words)

 Amazon.com: The History of Gothic Fiction: Books: Markman Ellis   (Site not responding. Last check: 2007-10-28)
Gothic and Gender: An Introduction by Donna Heiland
The Cambridge Companion to Gothic Fiction (Cambridge Companions to Literature) by Jerrold E. Hogle
The History of Gothic Fiction debates the rise of the genre from its origins in the late eighteenth-century novel through nineteenth-century fictions of tyrants, monsters, conspirators, and vampires to the twentieth-century zombie film.
www.amazon.com /History-Gothic-Fiction-Markman-Ellis/dp/0748611959   (691 words)

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