Relevant bibliographies by topics / Gothic elements

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gothic elements'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Gothic elements.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Gothic elements"

1

Hermawati ; C. Sudianto Aly ; Jonathan Hans Y. S, Sisilia. "THE APPLICATION OF GOTHIC ARCHITECTURE ON SANTO LAURENSIUS CHIRCH ALAM SUTRA, SERPONG." Riset Arsitektur (RISA) 2, no. 04 (2018): 360–75. http://dx.doi.org/10.26593/risa.v2i04.3047.360-375.

Full text
Abstract:
Abstract- At a glance, the Church of Saint which Laurensius located in Serpong is like a church built in the past. However, when traced, it turns out this church is a new church that was built in 2007 by applying the Style of Gothic Architecture on the building. The application of elements of gothic architecture is not only visible from the outside of the church, but also on the inside of the church. For that, it will be further investigated about the application of any gothic elements contained in the study object.Gothic architectural elements are divided into several periods based on its development, ranging from Early Gothic, High Gothic, Late Gothic to Gothic Revival or Neo-Gothic. Gothic architectural elements have different characteristics and characters in each period of development. In this research, discussed theories about elements in gothic architecture based on its development. There are 17 elements analyzed in this research. These seventeen elements are summarized into three major sections covering the structural elements, non-structural elements, and spatial arrangements. Analysis of the application of gothic architectural elements to the Church of St. Laurensius begins by describing the elements present in the study object and then compared with the gothic architectural elements of the gothic period described in the second chapter. Based on the results of the analysis, it can be seen that from 17 elements observed, 12 elements of which are adapted from the building elements contained in the period of neo-gothic architecture. Key Words: Gothic, Period, Element, Architecture, Neo-Gothic
APA, Harvard, Vancouver, ISO, and other styles
2

Hermawati ; C. Sudianto Aly ; Jonathan Hans Y. S, Sisilia. "THE APPLICATION OF GOTHIC ARCHITECTURE ON SANTO LAURENSIUS CHIRCH ALAM SUTRA, SERPONG." Riset Arsitektur (RISA) 2, no. 04 (2018): 358–71. http://dx.doi.org/10.26593/risa.v2i04.3047.358-371.

Full text
Abstract:
Abstract- At a glance, the Church of Saint which Laurensius located in Serpong is like a church built in thepast. However, when traced, it turns out this church is a new church that was built in 2007 by applying the Styleof Gothic Architecture on the building. The application of elements of gothic architecture is not only visiblefrom the outside of the church, but also on the inside of the church. For that, it will be further investigated aboutthe application of any gothic elements contained in the study object.Gothic architectural elements are dividedinto several periods based on its development, ranging from Early Gothic, High Gothic, Late Gothic to GothicRevival or Neo-Gothic. Gothic architectural elements have different characteristics and characters in eachperiod of development. In this research, discussed theories about elements in gothic architecture based on itsdevelopment. There are 17 elements analyzed in this research. These seventeen elements are summarized intothree major sections covering the structural elements, non-structural elements, and spatial arrangements.Analysis of the application of gothic architectural elements to the Church of St. Laurensius begins by describingthe elements present in the study object and then compared with the gothic architectural elements of the gothicperiod described in the second chapter. Based on the results of the analysis, it can be seen that from 17 elementsobserved, 12 elements of which are adapted from the building elements contained in the period of neo-gothicarchitecture.Key Words: Gothic, Period, Element, Architecture, Neo-Gothic
APA, Harvard, Vancouver, ISO, and other styles
3

Pypłacz, Joanna. "“Gothic” Elements in Seneca’s Tragedies." Symbolae Philologorum Posnaniensium Graecae et Latinae 27, no. 3 (2017): 35. http://dx.doi.org/10.14746/sppgl.2017.xxvii.3.4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Abedi Valoojerdi, Mohammad Hossein. "Postcolonial Gothic Elements in Joaquin’s The Woman Who Had Two Navels." IAFOR Journal of Literature & Librarianship 10, no. 2 (2021): 22–33. http://dx.doi.org/10.22492/ijl.10.2.01.

Full text
Abstract:
Nick Joaquin (Nicomedes Márquez Joaquín, (1917-2004) is known for his unique style of writing, tropical Gothic, and applying gothic elements in his stories and novels. This paper examines his first novel The Woman Who Had Two Navels through the lens of postcolonial theory. The paper also investigates gothic narratives in his novel by applying David Punter’s literary-historical approach. Punter (2000), in his book Postcolonial Imaginings: Fictions of a New World Order, examines the metamorphoses of the Gothic as a genre in some selected novels and poems. The book depicts new manifestations of the Gothic during 20th century literature. This paper attempts to investigate how the elements of postcolonial Gothic as discussed by Punter are manifested in Joaquin’s novel. In doing so, the contrapuntal method of reading, introduced by Edward Said (1993), is also applied to explore the hidden parts of history in the novel.
APA, Harvard, Vancouver, ISO, and other styles
5

Marinko, Vesna. "Gothic elements in contemporary detective story : Matthew Gregory Lewis and Minette Walters compared." Acta Neophilologica 42, no. 1-2 (2009): 35–43. http://dx.doi.org/10.4312/an.42.1-2.35-43.

Full text
Abstract:
One of the most shocking Gothic novels was written by Matthew Gregory Lewis in 1796. His Gothic novel The Monk contains all the typical Gothic elements such as a ruined castle, aggressive villain, women in distress, the atmosphere of terror and horror and a lot more. This article analyses and compares to what extent the Gothic elements of the late 18th century survived in the contemporary detective story The Ice House (1993) written by Minette Walters and how these elements have changed.
APA, Harvard, Vancouver, ISO, and other styles
6

Васильєва, О. С., М. С. Винничук, І. В. Васильєва та І. В. Олійник. "АРХІТЕКТУРА ЯК ДЖЕРЕЛО НАТХНЕННЯ ДЛЯ РОЗРОБКИ АВТОРСЬКИХ КОЛЕКЦІЙ ОДЯГУ". Art and Design, № 1 (3 червня 2020): 70–81. http://dx.doi.org/10.30857/2617-0272.2020.1.5.

Full text
Abstract:
Identify the features of the artistic and plastic properties of gothic and neo-gothic architecture. Find their characteristic forms and artistic and compositional features, explore and highlight the characteristic stylistic interpretations of gothic architecture in modern clothing collections. The study used the basic principles of a systematic approach to the art design of modern author's clothing collections: literary and analytical studies and figuratively associative stylization of the source of creativity. The analysis carried out and the most characteristic artistic and compositional solutions of the gothic architectural style solutions. The basic techniques and stylization of the elements of the gothic architectural style in modern collections of fashionable clothes are determined. The principles of design modern collections of fashion designers are defined, where a gothic architectural style was used as a creative source. The research results used in the development of the author's collection of women's clothing. The paper sets out the basic artistic and compositional features of the gothic and neo-gothic architectural styles (forms, decorative elements and color combinations) and their application in the design of collections of modern fashionable clothes. The analysis of the artistic and compositional features of the collections of the world's leading designers in the gothic and neo-gothic styles carried out and information about the features of their interpretation systematized. Practical recommendations on the choice artistic and compositional solutions, design and decorative elements, selection of materials, color, accessories, hats, for the design of modern women's clothing with stylization elements of gothic and neo-gothic architectural styles are presented. The research results used to develop a collection of women's clothing.
APA, Harvard, Vancouver, ISO, and other styles
7

Chlebus, Ewa. "Elementy przybyszowe w oprawach późnogotyckich — formy, funkcje, terminologia." Roczniki Biblioteczne 61 (June 4, 2018): 67–84. http://dx.doi.org/10.19195/0080-3626.61.4.

Full text
Abstract:
ELEMENTY PRZYBYSZOWE W OPRAWACH PÓŹNOGOTYCKICH — FORMY, FUNKCJE, TERMINOLOGIAZnaczenie kart przybyszowych. Zmiany układu kart przybyszowych. Różnorodność rozwiązań technicznych w oprawach późnogotyckich. Karty przybyszowe i elementy przybyszowe. Wyklejka. Karty ochronne. Zszywki. Scyzura. Wyklejenie grzbietu. ELEMENTS ADDED TO LATE GOTHIC BINDINGS — FORMS, FUNCTIONS, TERMINOLOGYUsing late Gothic bindings as examples, the author of the article examines terminological problems associated with leaves or fragments of leaves added to books during binding. She defines the various elements, i.e. pastedowns, flyleaves, sewing guards, guards or spine linings. The aim of the article is to demonstrate the variety of solutions used by bookbinders as well as various functions of the binding elements. Particular emphasis is put on cases that question or at least encourage reconsideration of the definitions of these elements.
APA, Harvard, Vancouver, ISO, and other styles
8

Stričević Gladić, Mila N. "SCREENING THE GOTHIC: PARODY OF THE GOTHIC GENRE IN TIM BURTON’S DARK SHADOWS." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 8, no. 8 (2019): 131–43. http://dx.doi.org/10.19090/zjik.2018.8.131-143.

Full text
Abstract:
Since the first Gothic work, Horace Walpole’s The Castle of Otranto, was published in 1764, the Gothic genre has constantly been changing and evolving. One of its main purposes has always been social criticism, and therefore Gothic literature had to change together with the society. In the 20th and especially in the 21st century with the arrival of new technologies, Gothic moved from the paper to the screen. Film and television offered a whole new range of possibilities for the postmodern authors of Gothic works to express themselves. One such artist is certainly the American director Tim Burton who is famous for his dark comedies that are almost exclusively crammed with Gothic elements. In this paper, the author shows how, in his movie Dark Shadows from 2012, Tim Burton used parody as a tool to make an on-screen pastiche of Gothic elements packed in a dark comedy for the true lovers of the Gothic genre, creating a genuine example of the postmodern Gothic.
APA, Harvard, Vancouver, ISO, and other styles
9

Darmawan, Adam, Aquarini Priyatna, and Acep Iwan Saidi. "UNSUR-UNSUR GOTIK DALAM NOVEL PENUNGGU JENAZAH KARYA ABDULLAH HARAHAP (Gothic Elements in the Novel Penunggu Jenazah by Abdullah Harahap)." METASASTRA: Jurnal Penelitian Sastra 8, no. 2 (2016): 161. http://dx.doi.org/10.26610/metasastra.2015.v8i2.161-178.

Full text
Abstract:
Tulisan ini mengkaji unsur-unsur gotik yang terdapat dalam novel Penunggu Jenazah karya Abdullah Harahap. Novel yang dikaji menunjukkan keterkaitan unsur-unsur gotik sebagai pembangun cerita, yaitu hal-hal supernatural, bentuk-bentuk transgresi, latar yang menyeramkan, bentuk-bentuk monstrositas, excess dan fetis. Kajian ini dilandasi dengan menggunakan teori gotik. Hasil analisis menunjukkan bahwa unsur gotik dalam novel Penunggu Jenazah saling tumpang tindih. Hal-hal supernatural digunakan sebagai sumber konflik dan bentuk transgresi. Transgresi sebagai unsur gotik menggunakan pelanggaran terhadap tabu yang melibatkan transgresi terhadap seksualitas, tubuh, dan kematian. Latar yang menyeramkan, bentuk-bentuk monstrositas dan excess dihadirkan sebagai unsur gotik yang menggangu tatanan norma dan normalitas. Fetis yang muncul dalam Penunggu Jenazah adalah fetis terhadap tubuh perempuan dengan kecenderungan sadomasokis. Novel disajikan dengan mencampurkan semua unsur gotik dengan unsur supernatural, transgresi dan monstrositas sebagai unsur gotik yang dominan. Oleh sebab itu, penelitian ini saya fokuskan untuk mengungkap cara gotik ditampilkan dalam karya Harahap.Abstract: This paper examines the gothic elements in the novel entitled Penunggu Jenazah written by Abdullah Harahap. The novel shows that the gothic elements are supernatural, forms of transgression, scary setting, forms of monstrosity, excess and fetish. This study uses gothic theories. Furthermore, the results of the analysis also show that the gothic elements are overlapping. Transgression as the gothic element is using violation of taboo of sexuality, body and death. The scary setting, the forms of monstrosity and excess are representing to disturb norms and normality. The fetish in the Penunggu Jenazah novel is the fetish of a woman body with a tendency to sadomasochism. Gothic is represented by blending all gothic elements with the supernatural, transgression and monstrosity as the majority elements. Moreover, this study is focused on the way gothic represented.
APA, Harvard, Vancouver, ISO, and other styles
10

Roselezam Wan Yahya, Wan, Kamelia Talebian Sedehi, and Tay Lai Kit. "Gothic and Grotesque in James Hogg’s The Mysterious Bride." International Journal of Comparative Literature and Translation Studies 5, no. 1 (2017): 27. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.27.

Full text
Abstract:
The word Gothic refers back to the Dark ages in England. The Roman civilization was ruined by the Goths who were the barbarians at that time. As a result of the destruction of Roman Empire, the whole civilization underwent ignorance and darkness. Nowadays, the word Gothic has a variety of meaning and applications. Gothic novels portray exaggerated scenes, haunted castles, monsters and vampires. Scottish Gothic literature started after 1800. This paper will focus on one of the Scottish short stories by James Hogg, “The Mysterious Bride”. Some elements of Gothic and grotesque such as transgression of boundaries, suspense, uncanny and supernatural being are discussed within this short story in order to indicate Hogg’s main intention to use Gothic and grotesque elements in “The Mysterious Bride”. Among all the elemnts in Gothic and grotesque, this paper will mainly apply the presence of the opposites, uncanny, abnormal beings and supernatural events to James Hogg’s “The Mysterious Bride”.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Gothic elements"

1

Cartwright, Amy. "The future is Gothic : elements of Gothic in dystopian novels." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/1346/.

Full text
Abstract:
This thesis explores the relationship between the Gothic tradition and Dystopian novels in order to illuminate new perspective on the body in Charlotte Perkins Gilman’s Herland (1915), Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), Anthony Burgess’ A Clockwork Orange (1962), Margaret Atwood’s The Handmaid’s Tale (1985) and Michel Houellebecq’s Atomised (1999). The key concerns are those of the Labyrinth, Dark Places, Connectedness and the Loss of the Individual, Live Burials, Monsters and Fragmented Flesh. A thematic approach allows for the novels to be brought together under common Gothic themes in order to show not only that they have such tendencies, but that they share common ground as Gothic Dystopias. While the focus is on bodily concerns in these novels, it is also pertinent to offer a discussion of past critical perspectives on the Dystopia and this is undertaken in Chapter One. Chapter Two looks at the narrative structure of the novels and finds similarities in presentation to Gothic novels, which leads to exploration of the position of the body in such a narrative of the unseen. The third chapter looks to the spaces inhabited by characters in the novels to examine their impact on the threat faced by these individuals. The Gothic convention of doubling is the focus of Chapter Four, which finds not only doubling operating in Dystopian novels, but the more complex relationship of triangles of doubling holding characters, fixing them in relation to those around at the expense of selfhood. Chapter Five takes Eve Kosofsky Sedgwick’s musings on the Gothic as its point of departure and finds that Dystopian bodies occupy a very similarly trapped position. Chapter Six identifies two types of monsters that inhabit the Gothic Dystopian space: those people who transform between the human and the monstrous, and those individuals who form a larger monster based on power that lives parasitically on transgressive bodies. The final chapter displays the impact of the Gothic Dystopia on individual bodies: ‘Fragmented Flesh’. The destruction of a coherent whole, a body with defined and sustainable boundaries, is the outcome of the novels where fear, repression, and the hidden combine to leave little space for cohesion and identification in the Gothic Dystopia.
APA, Harvard, Vancouver, ISO, and other styles
2

Alsulami, Mabrouk. "Science Fiction Elements in Gothic Novels." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2016. http://digitalcommons.auctr.edu/cauetds/47.

Full text
Abstract:
This thesis explores elements of science fiction in three gothic novels, Mary Shelley’s Frankenstein, Robert Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. It begins by explicating the important tropes of science fiction and progresses with a discussion that establishes a connection between three gothic novels and the science fiction genre. This thesis argues that the aforementioned novels express characters’ fear of technology and offer an analysis of human nature that is literarily futuristic. In this view, each of the aforementioned writers uses extreme events in their works to demonstrate that science can contribute to humanity’s understanding of itself. In these works, readers encounter characters who offer commentary on the darker side of the human experience.
APA, Harvard, Vancouver, ISO, and other styles
3

Cagliyan, Murat. "Gothic Elements In Sir Arthur Conan Doyle&#039." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612835/index.pdf.

Full text
Abstract:
The aim of this thesis is to analyse the use of Gothic elements in Sir Arthur Conan Doyle&rsquo<br>s Sherlock Holmes stories. It begins with an overview of Gothic and detective fiction, pointing out the Gothic novels published in the late Victorian period, and referring to the Gothic influence on Poe, Dickens, and Collins who are important writers in the development of detective fiction. In this way, it is revealed that the presence of Gothic elements in the Sherlock Holmes stories is part of the writing fashion of the era. The thesis then analyses the Holmes stories which present significant Gothic elements in terms of terror, horror and the supernatural. In addition, it examines the whole Holmes canon in an endeavour to find out the Sherlock Holmes character&rsquo<br>s similarity to the Byronic hero who often appears in Gothic fiction. As a result, this study shows that Gothic elements contribute to the Sherlock Holmes stories in two ways. Firstly, they add to the depiction of minor characters, the setting, and the atmosphere of these stories. Secondly, they manifest themselves in the portrayal of the character of Holmes himself. Thus, the use of Gothic elements enables Doyle to create suspenseful and surprising stories with a strikingly memorable detective figure.
APA, Harvard, Vancouver, ISO, and other styles
4

Francis, Kurt T. "Gothic Elements in Selected Fictional Works by Nathaniel Hawthorne." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503867/.

Full text
Abstract:
Gothicism is the primary feature of Nathaniel Hawthorne's fiction, and it is his skill in elevating Gothicism to the level of high art which makes him a great artist. Gothic elements are divided into six categories: Objects, Beings, Mental States, Practices and Actions, Architecture and Places, and Nature. Some devices from these six categories are documented in three of Hawthorne's stories ("Young Goodman Brown," "The Minister's Black Veil," and "Ethan Brown") and three of his romances (The Scarlet Letter, The House of the Seven Gables, and The Marble Faun). The identification of 142 instances of Hawthorne's use of Gothic elements in the above works demonstrates that Hawthorne is fundamentally a Gothic writer.
APA, Harvard, Vancouver, ISO, and other styles
5

Sears, Samantha. "The holy Hermaphrodite| Gender construction, gothic elements, and the Christ figure." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523321.

Full text
Abstract:
<p> This thesis explores Julia Ward Howe's unfinished manuscript, <i> The Hermaphrodite</i> (2004). In order to establish a foundation, this thesis begins by approaching <i>The Hermaphrodite</i> through lenses that connect to Howe's life and times. The biographical, feminist, and gothic approaches analyze the effects of personal conflicts, gender concerns, and setting nuances on the manuscript. The analysis of previous treatment of hermaphrodites provides background on ambiguous protagonists. Ultimately, this thesis expands upon and diverges from preceding scholarship, and it establishes a new perspective through which to view the hermaphroditic protagonist, Laurence. This thesis argues that Howe's Laurence can be read as are-visioned Christ figure. His/her physical description is strikingly reminiscent of the accounts of Jesus's appearance. Both Jesus and Laurence are entwined with pious symbols. Laurence is intrinsically connected to the purity of the cross. Most importantly, Laurence and Jesus both gallantly endure burdens and selflessly sacrifice themselves for others while transiently inhabiting earth before returning to heaven. Laurence is an unexpected and reinvented savior.</p>
APA, Harvard, Vancouver, ISO, and other styles
6

Robertson, Fiona. "The function of Gothic elements in relation to Walter Scott's narrative technique." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253780.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Wagenaar, Peter Simon. "The shadowed corners of sunlit ruins: Gothic elements in twentieth century children's adventure fiction." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002293.

Full text
Abstract:
This thesis examines the way in which children's adventure fiction makes use of Gothic features, how these features have been modified for a younger audience and how these modifications have been influenced by other developments in children's and popular fiction: Chapter One sets out to define the nature of Gothic and isolate those aspects of it relevant to the proposed study. It puts forward a theory to account for the movement of Gothic trends into later children's fiction. Chapter Two examines the use of landscape, setting and atmospheric effects in Gothic and the way in which children's fiction has used similar trappings to create similar effects. Children's fiction, emphasising pleasurable excitement rather than fear has, however, muted these effects somewhat and played down the role of the supernatural, so intrinsic to Gothic. Chapter Three emphasises the Gothic's use of stereotypes, focusing on the portrayal of heroes and heroines. Those of children's fiction are portrayed very similarly to those of Gothic and the chapter compares and, on occasion, contrasts them noting, inter alia, their adherence to rigid moral codes and narrowly defined norms of masculine and feminine behaviour. Chapter Four looks at the portrayal of villains and the way in which their appearance defines them as such (as, indeed, does that of heroes and heroines). It examines in some detail their relationship to and interaction with the heroes and heroines, noting, for example, the 'pseudo-parental' role of villains who are characteristically older and in socially approved positions to exert power over heroes and heroines. The Conclusion addresses the fantasy aspect of these novels,referred to several times in passing in the course of earlier chapters, and comments on how the features detailed in Chapters Two, Three and Four all operate within the conventions of a fantasy.
APA, Harvard, Vancouver, ISO, and other styles
8

Magie, Lynne Adele. "The daemon Eros : Gothic elements in the novels of Emily and Charlotte Brontë, Doris Lessing, and Iris Murdoch /." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/9448.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ratte, Kelly. "Representations of gothic children in contemporary irish literature: a search for identity in Patrick McCabe's The Butcher Boy, Seamus Deane's Reading in the Dark, and Anna Burns' No Bones." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/937.

Full text
Abstract:
Ireland is not a country unfamiliar with trauma. It is an island widely known for its history with Vikings, famine, and as a colony of the English empire. Inevitably, then, these traumas surface in the literature from the nation. Much of the literature that was produced, especially after the decline in the Irish language after the Great Famine of the 1840s, focused on national identity. In the nineteenth century, there was a growing movement for Irish cultural identity, illustrated by authors John Millington Synge and William Butler Yeats; this movement was identified as the Gaelic Revival. Another movement in literature began in the nineteenth century and it reflected the social and political anxieties of the Anglo-Irish middle class in Ireland. This movement is the beginning of the Gothic genre in Irish literature. Dominated by authors such as Sheridan Le Fanu and Bram Stoker, Gothic novels used aspects of the sublime and the uncanny to express the fears and apprehensions that existed in Anglo-Irish identity in the nineteenth century. My goal in writing this thesis is to examine Gothic aspects of contemporary Irish fiction in order to address the anxieties of Irish identity after the Irish War of Independence that began in 1919 and the resulting division of Ireland into two countries. I will be examining Patrick McCabe's The Butcher Boy, Seamus Deane's Reading in the Dark, and Anna Burns' No Bones in order to evaluate their use of children amidst the trouble surrounding the formation of identity, both personal and national, in Northern Ireland. All three novels use gothic elements in order to produce an atmosphere of the uncanny (Freud); this effect is used to enlighten the theme of arrested development in national identity through the children protagonists, who are inescapably haunted by Ireland's repressed traumatic history.; Specifically, I will be focusing on the use of ghosts, violence, and hauntings to illuminate the social anxieties felt by Northern Ireland after the Irish War of Independence.<br>B.A.<br>Bachelors<br>Arts and Humanities<br>English
APA, Harvard, Vancouver, ISO, and other styles
10

Loots, Maria Johanna. "Gotiese elemente in François Bloemhof se debuutroman, Die nag het net een oog /." Link to the online version, 2007. http://hdl.handle.net/10019/436.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Gothic elements"

1

Graham, Wendy C. Gothic elements and religion in Nathaniel Hawthorne's fiction. Tectum Verlag, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Schommartz, Kirstin. Die Wirkung von Gothic elements in Solstice von Joyce Carol Oates. University of Salford EuropeanStudies Research Institute, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Brown, David Edward. The croaking raven doth bellow for revenge: Gothic elements in Shakespeare's playsby D.E. Brown. University of Birmingham, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Chishty-Mujahid, Nadya Q. Esoteric-orientalist elements in Jane Austen's Northanger Abbey: The nexus of gothic and cultural studies. The Edwin Mellen Press, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kazakova, Gandalif. The problem of formation of romantic historicism and rehabilitation of medieval culture in the creative heritage of F. R. de Chateaubriand. INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1044190.

Full text
Abstract:
The monograph is devoted to the literary and scientific heritage of the famous French writer, historian, philosopher, thinker, diplomat and statesman F. R. de Chateaubriand, whose scientific works were practically unknown to the Russian reader for many decades. Being the founder of French romanticism and laying the main elements of this direction of culture, F. R. de Chateaubriand nevertheless causes numerous disputes and questions. The monograph shows the process of formation of the writer's romantic worldview on the example of his early works, which still retain traces of the literature of the XVIII century and already carry new romantic trends of the XIX century. The author also presents the facts of the writer's biography and analyzes a number of his historical works devoted to medieval France. From the Renaissance until the end of the XVIII century, one of the elements of medieval architecture and Christian religion-Gothic architecture — was perceived as something negative, barbaric, rude, completely inconsistent with the aesthetics of the XVI — XVIII centuries. F. R. de Chateaubriand was one of the first researchers who discovered the beauty of Gothic churches and the color of national history to the mass reader at the turn of the XVIII—XIX centuries. The rehabilitation of Gothic architecture was accomplished by F. R. de Chateaubriand in his Treatise "the genius of Christianity". The famous "forest theory" of the origin of Gothic helped to "remove" negative assessments of the middle Ages and influenced the formation and development of romanticism both in France and in other European countries. It was F. R. de Chateaubriand's idea of the relationship between medieval architecture and Christian consciousness that influenced all the subsequent development and formation of the history of medieval art. For a wide range of readers interested in the history of literature.
APA, Harvard, Vancouver, ISO, and other styles
6

Mortillaro, Alba. Elementi storici: Mitologici e retorici nel De bello Gothico di Claudiano. Stabilimento tipografico "La Vittoria", 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Blaser, Werner. Fantasie in Holz: Elemente des Baustils um 1900. Birkhäuser Verlag, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Turcotte, Gerry. Postcolonial Gothic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0016.

Full text
Abstract:
This chapter examines postcolonial Gothic in Australia, Canada, New Zealand, and the South Pacific and how its conventions as an imported British genre have been transformed in specific local contexts. Since the 1950s, Gothic in Australia has changed in a variety of ways: Christina Stead and Patrick White chart the suburban terror of the everyday, Joan Lindsay's Picnic at Hanging Rock (1967) and Kenneth Cook's Wake in Fright (1961) expand the possibilities for a modern uncanny that invokes an historic past and a frightening outback present, while women writers since the 1970s have employed Gothic to investigate the repressions of patriarchy. In the case of Canadian fiction, the Gothic voice has been present since the early nineteenth century, but realized its potential only from the 1970s onwards. The chapter discusses Gothic elements in Australian, Canadian, New Zealand, and Indigenous and South Pacific novels.
APA, Harvard, Vancouver, ISO, and other styles
9

Blaser, Werner. Fantasy in Wood: Elements of Architectural Style C. 1900/Fantasie in Holz : Elemente Des Baustils Um 1900. Birkhauser, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Rossi, Mary K. Spatial perception, memory, and meaning: Utilizing cognitive maps to understand the gothic elements of All Saints' Chapel in Sewanee, Tennessee. 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Gothic elements"

1

Althans, Katrin. "Aboriginal Gothic." In Twenty-First-Century Gothic. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0020.

Full text
Abstract:
This chapter shows how, by combining European Gothic traditions and elements of Indigenous belief systems, Australian Aboriginal artists reclaim their own cultural heritage and reject the coloniser’s construction of Aboriginal people as the demonised Other. Aboriginal Gothic texts such as Her Sister’s Eye (2002) and ‘The Little Red Man’ (2011) defy their European predecessors’ traditional and stereotypical cast as well as their commodification of Indigenous culture, thus creating a counter-discourse to the master-discourse of European Gothic. This challenge, however, takes place within the plots and in the mode of transmission itself. Therefore, Aboriginal Gothic in the twenty-first century is not limited to the written word, but includes other forms like films, such as Karroyul (2015), and interactive media, such as Warwick Thorton’sThe Otherside Project (2014). In this way, the Gothic’s shape as a literary mode, as opposed to Indigenous oral traditions, is questioned just as much as its history of Othering.
APA, Harvard, Vancouver, ISO, and other styles
2

Čoupková, Eva. "Gothic Elements in the Novel Valérie a týden divů by the Czech Writer Vítězslav Nezval." In Gothic Peregrinations. Routledge, 2018. http://dx.doi.org/10.4324/9780429459108-15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Carruthers, Gerard. "The ‘nouveau frisson’: Muriel Spark’s Gothic Fiction." In Scottish Gothic. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0013.

Full text
Abstract:
If Muriel Spark has strong elements of Gothic apparatus in her work, then this is generally of the kind that works through urban rather than ‘wilder’ or more ‘sublime’ settings. Gothic, supernatural, uncanny elements are used in Spark’s fiction, most especially, to undermine and satirise the modern, material, town-based life of twentieth-century humanity and to signal an alternative immaterial, moral, spiritual reality in which, as a Christian, she believes. Alongside her crucial Catholicism, Spark’s Scottishness provides a particular Gothic accent to her work through a set of texts on which she frequently riffs. These include the Scottish Border Ballads, James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) and Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886). This set of texts does not make for any ‘essential’ Scottish Gothic canon, but rather relies on Hogg’s steepage in the Ballads, Stevenson’s knowledge of Hogg and Spark’s interest in all of these things.
APA, Harvard, Vancouver, ISO, and other styles
4

Hancock, Michael. "Doppelgamers: Video Games and Gothic Choice." In American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0010.

Full text
Abstract:
This chapter explores gothic elements encoded into the narrative and the very act of choice that govern video games. These elements both reinforce and expose the lie of rational choice that undergirds the neoliberal economy that saw games rise to media dominance. Videogames may be simulacra, but not just virtual realities: they are the uncanny symptom of how the neoliberal subject recognizes its own lack of identity. Games are thus the gothic double of the Enlightenment self, the prime image of the hollow American neoliberal consumer mass-marketed as self-fashioning individual.
APA, Harvard, Vancouver, ISO, and other styles
5

Lander, Eric. "Gothic sai and the Proto-Germanic verb-based discourse particle *se." In Elements of Comparative Syntax, edited by Enoch Aboh, Eric Haeberli, Genoveva Puskás, and Manuela Schönenberger. De Gruyter, 2017. http://dx.doi.org/10.1515/9781501504037-017.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Baker, Timothy C. "New Frankensteins; or, the Body Politic." In Scottish Gothic. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0015.

Full text
Abstract:
In the introduction to his 2001 anthology of ‘New Scottish Gothic Fiction’, Alan Bissett argues that Gothic ‘has always acted as a way of re-examining the past, and the past is the place where Scotland, a country obsessed with re-examining itself, can view itself whole, vibrant, mythic’ (2001: 6). While virtually every contemporary Scottish author has made use of Gothic elements or tropes in some part of their work, many of the most important recent texts to be labelled ‘Scottish Gothic’ are centrally concerned with such a re-examination of the past. For many authors, however, the past is not to be found in historical events or cultural contexts, but specifically in the interrelation between established Scottish and Gothic literary traditions. Beginning with Emma Tennant’s The Bad Sister (1978), one of numerous twentieth-century reworkings of James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824), many contemporary Gothic novels have explicitly relied on earlier texts; adapting the work of Hogg, Stevenson or even Shelley becomes a way of challenging preconceived notions of stable national and individual identities.
APA, Harvard, Vancouver, ISO, and other styles
7

Round, Julia. "Gothic for Girls." In Gothic for Girls. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824455.003.0013.

Full text
Abstract:
This chapter uses the previous analyses to construct the conventions of the ‘Gothic for Girls’ subgenre and reflect on its development and position within children’s literature. It surveys existing work on childhood and Gothic, with a particular focus on the fairy tale and the cautionary tale as subgenres of children’s literature. It argues that Misty combines Female Gothic tropes with fairy tale markers to create stories that bring together adult and child concerns. The chapter concludes by relating Misty to some contemporary dark fairy tales and offering a working definition of Gothic for Girls. Elements include an isolated or trapped female protagonist in an abstracted world that juxtaposes the mundane and supernatural, a narrative awakening to magical potential that is often driven by fear and particularly terror, the use of feminine symbols and fairy tale sins as catalysts, and the weight placed on personal responsibility and self-control or self-acceptance.
APA, Harvard, Vancouver, ISO, and other styles
8

Dixon, Wheeler Winston. "The Gothic Impulse – Vampirism." In The Films of Terence Fisher. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.003.0006.

Full text
Abstract:
This chapter analyses how Terrence Fisher's and Hammer Studios's use of a mechanistic medium to distribute film mirrors the use of the printing press to first publish the “Penny Dreadfuls” in Victorian England. It mentions James B. Twitchell, who notes in his study Dreadful Pleasures that the key to the central elements of the Gothic mythos for the public is “repeatable image-making”. It also notes Fisher as the first Gothicist to have precisely the right censorial climate and the sensibility to be able to translate the term “implicit” to the screen. The chapter discusses how Fisher adamantly stated in a 1975 interview that he had not originated either Dracula or The Curse of Frankenstein as a project. It looks at Fisher's insistence to have very little input on casting in Dracula, which was subordinate to his interests in the narrative.
APA, Harvard, Vancouver, ISO, and other styles
9

Franck, Kaja, and Sam George. "Contemporary Werewolves." In Twenty-First-Century Gothic. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0011.

Full text
Abstract:
Twenty-first-century werewolves (following vampires) have become humanised, as identity politics have become mainstream and the Other assimilated. Young Adult fiction and paranormal romance have proved to be where the most radical transformations of the theme have occurred. Two other, related, strands are to be found: ecology has shaped our understanding of creatures which oscillate between nature and culture, and the Ecogothic has generated more positive representations of hybridity and animality. There are now werewolf hauntings and sightings, and a revival of folkloric elements which posit the new werewolf as the spectre wolf. This chapter charts these recent shifts and manifestations. The focus throughout is on literature and contemporary urban myths involving werewolves in the media but similar incarnations of the new werewolf in film, TV, videogames and comics are also acknowledged.
APA, Harvard, Vancouver, ISO, and other styles
10

Bronfen, Elisabeth. "The Gothic at the Heart of Film and Film Theory." In The Gothic and Theory. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427777.003.0009.

Full text
Abstract:
The main elements of the Freudian uncanny - re-animation of the dead, doubles, repetition compulsion, omnipotence of thought - can also be seen as a catalogue of the key techniques of cinema, the magical thinking on which the affective effect of cinema is predicated. So as explore the Gothic at the heart of cinema's theorization of its own epistemological, psychological and aesthetic concerns, this chapter begins with the flashback scenes in the TV series Mad Men. Montage (and especially superimpositions) perform the spectral haunting at issue, notably how the past overshadows and encroaches upon the present and how the distinction between material and psychic reality, body and mind comes to blur. Given that, like much current cinema, Mathew Weiner's show is a genre mix, the chapter finally moves back into cinema history to explore the Gothic at the heart of film in Alfred Hitchcock's unique splice between film noir and melodrama.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Gothic elements"

1

Zhang, Xiaoli. "Exploration of Gothic Elements in Allen Poe’s The Fall of the House of Usher." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.047.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography