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Journal articles on the topic 'Gothic'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Harris, Jaleesa Rena. "The Return of the Repressed: The Subprime Haunted House." Humanities 13, no. 5 (2024): 124. http://dx.doi.org/10.3390/h13050124.

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This article merges evaluations of Black life through the Southern Gothic and the intersection of Black studies to conceptualize the “Black Gothic”. The Black Gothic conceives of a future that requires closely examining the past and the present primarily through a Southern Gothic and Black horror lens. Much of Black Gothic’s analytics depended upon the framework outlined within Afro-pessimism and the subprime; however, it differs in its pursuits of reparations as a way forward. The Black Gothic focuses on intermingling the lived anti-Black experiences of Black existence with supernatural gothi

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Millsap-Spears, Carey. "‘Does he know you like I know you?’: Barbara Kean’s bisexual appeal, the Male Gothic and Gotham’s woman problem." Queer Studies in Media & Popular Culture 6, no. 1 (2021): 19–33. http://dx.doi.org/10.1386/qsmpc_00042_1.

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This article discusses how the FOX television series Gotham (2014–19) fits the overall definition of a traditional Male (Horror) Gothic text and how disruptive female characters, like Barbara Kean, push against these seemingly strict Gothic boundaries. Through the development of the bisexual character Barbara Kean, the conservative, Male Gothic foundation is ultimately questioned in the US television series. Gotham’s portrayal of Barbara not only propagates bisexual stereotypes, but it also speaks to the larger discussion of bisexual aversion and eventual erasure present in many media texts. A

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Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film." Text Matters, no. 6 (November 23, 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.

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Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-eve

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Khairunnisa, Syifa Aulia. "COMPARISON OF GOTHIC SETTING IN TELEVISION SERIES WEDNESDAY (2022) AND THE CHILLING ADVENTURES OF SABRINA (2018)." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 9, no. 2 (2023): 319. http://dx.doi.org/10.30872/calls.v9i2.12405.

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This research’s objective is to find the comparison of two television series, Wednesday (2022) and The Chilling Adventures of Sabrina (2018) of their setting in Gothic element using the theory of Fred Botting. Based on Botting’s theory, the setting in Gothic fiction was divided into two types, natural sublime and synthetic sublime. This research answered the question of what Gothic’s setting in the television series Wednesday (2022) and The Chilling Adventure of Sabrina (2018) and the comparison between the two television series regarding the Gothic’s setting. This research’s objective require

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Doyle, Laura. "At World's Edge: Post/Coloniality, Charles Maturin, and the Gothic Wanderer." Nineteenth-Century Literature 65, no. 4 (2011): 513–47. http://dx.doi.org/10.1525/ncl.2011.65.4.513.

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Laura Doyle, “At World's Edge: Post/Coloniality, Charles Maturin, and the Gothic Wanderer” (pp. 513–547) The Gothic text has been shown to represent colonialism's crimes through its literary tropes of imprisonment, terror, rape, and tyranny. This essay takes a further step to propose that Gothic texts also register the historical resistance to colonialism's crimes. That is, they refer to anti-colonial insurgency—in Ireland, India, the Caribbean, and elsewhere—in the process evincing ambivalent anxieties about global, imperial instability. After reviewing the Gothic‘s entanglement with discours

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Łowczanin, Agnieszka. "Convention, Repetition and Abjection: The Way of the Gothic." Text Matters, no. 4 (November 25, 2014): 184–93. http://dx.doi.org/10.2478/texmat-2014-0013.

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This paper employs Deleuze and Kristeva in an examination of certain Gothic conventions. It argues that repetition of these conventions- which endows Gothicism with formulaic coherence and consistence but might also lead to predictability and stylistic deadlock-is leavened by a novelty that Deleuze would categorize as literary “gift.” This particular kind of “gift” reveals itself in the fiction of successive Gothic writers on the level of plot and is applied to the repetition of the genre’s motifs and conventions. One convention, the supernatural, is affiliated with “the Other” in the early st

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7

Lasseter, Janice Milner, and George E. Haggerty. "Gothic Fiction/Gothic Form." South Atlantic Review 55, no. 4 (1990): 114. http://dx.doi.org/10.2307/3200455.

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8

Richter, David, George E. Haggerty, and Kenneth W. Graham. "Gothic Fiction/Gothic Form." Modern Language Review 86, no. 1 (1991): 174. http://dx.doi.org/10.2307/3732119.

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9

Beidler, Peter G., and George E. Haggerty. "Gothic Fiction/Gothic Form." American Literature 62, no. 1 (1990): 122. http://dx.doi.org/10.2307/2926798.

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10

Falluomini, Carla. "The position of the verb in Gothic." NOWELE / North-Western European Language Evolution 71, no. 2 (2018): 161–75. http://dx.doi.org/10.1075/nowele.00010.fal.

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Abstract The aim of this paper is to offer a descriptive analysis of the position of the verb in the recently discovered Gothic fragment of Bologna (Gothica Bononiensia) – a text that seems to be independent of Greek or Latin models – in order to highlight analogies to and differences from other Gothic texts. The analysis shows that the position of the verb is relatively free, both in main and in subordinate clauses, with some exceptions (negatives, wh-questions and imperatives). The text exhibits the coexistence of competing grammatical constructions, used to satisfy pragmatic and stylistic r

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11

Muravyev, Alexey. "‘Perfidious Goth’, Holy Martyrs Cult and the Memory of Roman Troops in 5th Century Edessa." Amsterdamer Beiträge zur älteren Germanistik 80, no. 1-2 (2020): 134–42. http://dx.doi.org/10.1163/18756719-12340180.

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Abstract The present article deals with the literary image of a Gothic man who happened to be in Edessa in the 5th century AD as a part of Roman auxiliary troops. He is reported to marry there a local girl under pretext of being a celibatarian. Having left Syria for Gothia, it turned out that he was married and had children. The Syrian wife became a slave and suffered a lot before returning miraculously back to Edessa. From the comparative study of the sources it becomes clear that the Gothic auxiliary troops were summoned to Edessa in connection with the advance of the Huns. Notwithstanding t

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Aibabin, Aleksandr Il’ich. "How the Goths and Alans of the Mountainous Crimea Assimilated Greek Language." Античная древность и средние века 49 (2021): 79–96. http://dx.doi.org/10.15826/adsv.2021.49.006.

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The Goths and Alans settled in the Mountainous Crimea about the mid-third century. The Eastern Roman Empire pursued the policy of integrating barbarians on the frontier in order to strengthen its northern borders. In the mountainous Crimea, the Goths and Alans assimilated Greek language in result of political and ideological interaction and trading with Cherson and other cities and towns of the Eastern Roman Empire. The earliest in this area Greek inscriptions were dipinti drawn on the light-clay narrow-neck amphorae of D. B. Shelov’s type F, which were produced in Herakleia Pontike. According

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Mills, Kirstin A. "Haunted by ‘Lenore’: The Fragment as Gothic Form, Creative Practice and Textual Evolution." Gothic Studies 23, no. 2 (2021): 132–47. http://dx.doi.org/10.3366/gothic.2021.0090.

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This article examines the processes of fragmentation and haunting surrounding the explosion of competing translations, in 1796, of Gottfried August Bürger's German ballad ‘Lenore’. While the fragment has become known as a core narrative device of the Gothic, less attention has been paid to the ways that the fragment and fragmentation operate as dynamic, living phenomena within the Gothic's central processes of memory, inspiration, creation, dissemination and evolution. Taking ‘Lenore’ as a case study, this essay aims to redress this critical gap by illuminating the ways that fragmentation haun

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Brown, Marshall. "Gothic Readers versus Gothic Writers." Eighteenth-Century Studies 35, no. 4 (2002): 615–22. http://dx.doi.org/10.1353/ecs.2002.0036.

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Martin, Sara. "Gothic Scholars Don’t Wear Black: Gothic Studies and Gothic Subcultures." Gothic Studies 4, no. 1 (2002): 28–43. http://dx.doi.org/10.7227/gs.4.1.3.

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Sáez López, José Manuel, and José Luis García González. "Estrategias para desarrollar la educación mediática en primaria: propuesta de actuación." EDMETIC 2, no. 2 (2013): 148. http://dx.doi.org/10.21071/edmetic.v2i2.2874.

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<p style="margin: 0cm 0cm 0pt;"><span style="font-family: 'Century Gothic',sans-serif; font-size: 11pt; mso-bidi-font-family: 'Century Gothic';" lang="ES-TRAD">La</span><span style="font-family: 'Century Gothic',sans-serif; font-size: 11pt; mso-bidi-font-family: 'Century Gothic';" lang="ES-TRAD">competencia</span><span style="font-family: 'Century Gothic',sans-serif; font-size: 11pt; mso-bidi-font-family: 'Century Gothic';" lang="ES-TRAD">digital</span><span style="font-family: 'Century Gothic',sans-serif; font-size: 11pt; mso-bidi-font-family: 'Cen

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Snædal, Magnús. "Gothic." Studia Linguistica Universitatis Iagellonicae Cracoviensis 128, no. -1 (2011): 145–54. http://dx.doi.org/10.2478/v10148-011-0019-z.

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Trachtenberg, Marvin. "Gothic/Italian "Gothic": Toward a Redefinition." Journal of the Society of Architectural Historians 50, no. 1 (1991): 22–37. http://dx.doi.org/10.2307/990544.

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Whatley, John. "Introduction: Gothic Cults and Gothic Cultures 1: Modern and Postmodern Gothic." Gothic Studies 4, no. 2 (2002): 91–98. http://dx.doi.org/10.7227/gs.4.2.1.

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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.

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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels ment

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Trofimova, Yulia M. "The Ostrogothic Historian Jordanes from a Linguo-Historical Perspective." Vestnik of Saint Petersburg University. History 67, no. 1 (2022): 190–206. http://dx.doi.org/10.21638/11701/spbu02.2022.113.

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The article deals with the debatable question of the ethnical identity of the Ostrogothic historian of the 6th century Jordanes, whose main work “Getica” is constantly under scrutiny by both contemporary historians and linguists. The article proposes the necessity of the linguo- historical analysis of “Getica” carried out on the interdisciplinatory basis and aimed at obtaining some new information confirming Jordanes’ Gothic origin. The paper concentrates on Jordanes’ unambiguous statement of his Gotic origin whose verbal form has been evoking more than a century-long discussion of his Gothic

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22

ALTUN, Ali Erdem. "İNSAN DOĞASI VE GOTİK: DORIAN GRAY’İN PORTRESİ’Nİ KARAKTERLER BAĞLAMINDA ELE ALMAK." Asya Studies 7, no. 26 (2023): 223–32. http://dx.doi.org/10.31455/asya.1369783.

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This article examines the Gothic aspect of Oscar Wilde’s only novel, The Picture of Dorian Gray. By using Gothic’s theoretical framework by Robert Hume, this article presents a thorough analysis of the Gothic setting and elements in line with the narrative’s main characters. The paper argues that Wilde uses Gothic elements and setting as significant tools to shed light on human nature and criticize Victorian society’s way of life. The article first discusses London’s double-sided and hypocritical nature in the book, followed by an analysis of the portrait’s supernatural aspect and the conflict

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Emerson, Caryl. "The Gothic Muse and Meta-Gothic Moment: Afterword to Russian Gothic Forum." Russian Literature 106 (May 2019): 109–15. http://dx.doi.org/10.1016/j.ruslit.2019.06.006.

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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.

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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 dev

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25

Frank, Frederick S. "Gothic Gold: The Sadleir-Black Gothic Collection." Studies in Eighteenth Century Culture 26, no. 1 (1997): 287–312. http://dx.doi.org/10.1353/sec.2010.0119.

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van der Westhuizen, Nadia. "The Gothic and the Everyday: Living Gothic." Folklore 127, no. 3 (2016): 373–75. http://dx.doi.org/10.1080/0015587x.2016.1220587.

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Napier, Elizabeth R. ": Gothic Fiction / Gothic Form. . George E. Haggerty." Nineteenth-Century Literature 45, no. 1 (1990): 91–94. http://dx.doi.org/10.1525/ncl.1990.45.1.99p0294n.

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Vujin, Bojana S. "HAUNTED WONDERLANDS AND SCARY SURFACES: THE POSTMODERN GOTHIC OF NEIL GAIMAN’S CORALINE." Nasledje, Kragujevac XXII, no. 60 (2025): 103–11. https://doi.org/10.46793/naskg2560.103v.

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Children’s literature and the Gothic share a long history and have a complicated relationship, which is both complementary and antago- nistic. The Turn of the Millennium saw the unprecedented popularity of children’s Gothic texts, with Neil Gaiman’s Coraline (2002) often singled out as exemplary of this new trend. Building upon the work of theorists of children’s Gothic (Buckley) and postmodern Gothic (Spooner), this paper analyses Coraline as a postmodern parodic Gothic text, with the emphasis on intertextuality, Gothic clichés, and the deliberate surface quality of its Gothic motifs. Coralin

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King, Elizabeth. "Anti-Gothic Gothic Animals in Mary Wollstonecraft's Maria (1798)." Eighteenth-Century Life 48, no. 3 (2024): 101–19. http://dx.doi.org/10.1215/00982601-11309342.

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Mary Wollstonecraft's Maria can be considered both gothic and anti-gothic, in that it both evokes and subverts gothic imagery in order to emphasize women's oppression. Throughout the novel, Wollstonecraft employs gothic iconography while simultaneously dismissing gothic sensationalism for its failure to capture women's real-world subjugation; thus, an “anti-gothic gothic” perspective characterizes her depiction of the dark realities of Enlightenment society. The animals that feature in Maria are likewise anti-gothic gothic animals. Important signifiers in gothic texts, animals are commonly use

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Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”." Observatory of Culture 15, no. 5 (2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.

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The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the

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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.

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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 developm

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Skisova, Albina V. "Black and White Horrors: American Gothic. A Review. (Lennhardt, Corinna. Savage Horrors. The Intrinsic Raciality of the American Gothic. Bielefeld: Transcript, 2020. 286 p.)." Literature of the Americas, no. 13 (2022): 409–17. http://dx.doi.org/10.22455/2541-7894-2022-13-409-417.

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The monograph by Corinna Lenhardt (b. 1982) Savage Horrors: The Intrinsic Raciality of the American Gothic (2020) studies the problems of race, ethnicity, gender, genre and history of literature. The research is focused primarily on the American Gothic literature. Corinna Lenhardt argues that racialization is intrinsic and natural for all Gothic literature. The researcher also introduces the concept of gotheme and argues that literary Gothic is based on the unique binary opposition "savage villain / civil hero", proving this thesis on the material of the analyzed Gothic novels. The author high

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Kulikova, Daria Leonidovna. "The vampires of A. V. Ivanov in light of the gothic tradition of Russian Literature." Litera, no. 6 (June 2021): 98–107. http://dx.doi.org/10.25136/2409-8698.2021.6.35873.

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The object of this research is the novel &ldquo;Food Block&rdquo; by A. V. Ivanov and the realization of aesthetics of the horror genre therein. The goal is to establish correlation between the gothic tradition of Russian literature and modern horror literature based on the works of the indicated authors. The article examines the influence of the gothic romantic tradition upon composition and imaginary system of A. K. Tolstoy&rsquo;s novella. The material of A. V. Ivanov&rsquo;s novel indicates resorting to the literary tradition on the level of composition and individual image

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Chepkwony, Dr Julius Kipkorir A., and Prof Nicholas Kamau Goro. "Unearthing the Gothic Features in Kenya’s Selected Oral Narratives." International Journal of English Literature and Social Sciences 10, no. 2 (2025): 202–8. https://doi.org/10.22161/ijels.102.34.

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This study locates Gothic topoi in African oral literature as a way of embodying and evoking social cultural complexities and anxieties inherent in postmodern societies. Elements of giants, monsters, magicality and superstition make oral literature a rich literary mine for excavating Gothic elements and mechanics that animate the oral literary topography. Gothic traditions have been associated with written literature since the inception of Gothic genre in the sixteenth century, and this is regarded as the hegemonic normative ideological perspective which this study challenges and disrupts. Of

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Smith, Andrew. "Saul Bellow’s Gothic Ontology: The Victim and More Die of Heartbreak." Partial Answers: Journal of Literature and the History of Ideas 22, no. 1 (2024): 161–77. http://dx.doi.org/10.1353/pan.2024.a916704.

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Abstract: Saul Bellow’s “Gothic Ontology: The Victim and More Die of Heartbreak ” examines the different types of Gothic employed by Saul Bellow in The Victim (1947) and More Die of Heartbreak (1987). The article argues that in The Victim Gothic doubling becomes erased by an idea of hospitality which challenges the status of the Gothic “other.” This is contrasted with More Die of Heartbreak where the Gothic is used in order to critically read the psychological and emotional damage caused by a materialist culture. The article explores Bellow’s complex engagement with the Gothic and examines how

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Walker, Shauna. "Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North." Gothic Studies 22, no. 3 (2020): 285–99. http://dx.doi.org/10.3366/gothic.2020.0062.

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This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, c

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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.

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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 Burt

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Lindfield, Peter. "Serious Gothic and ‘doing the Ancient Buildings’: Batty Langley's Ancient Architecture and ‘Principal Geometric Elevations’." Architectural History 57 (2014): 141–73. http://dx.doi.org/10.1017/s0066622x00001404.

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Batty Langley (1696-1751) is one of the most familiar and generally infamous figures of Britain's eighteenth-century Gothic Revival (Fig. 1). Following his father, he trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth's ‘line of beauty’. Langley's interest, however, turned to architecture and he produced numerous architectural treatises and pattern books, the majority of which were concerned with Classical architecture. This was a sensible decision since, as Eileen Harris and Nicholas Savage observe, ‘Langley had much to gain by conc

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Kliś, Agnieszka. "The Marginality of the Gothic: A Reconsideration." Text Matters, no. 2 (December 4, 2012): 97–114. http://dx.doi.org/10.2478/v10231-012-0057-4.

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It is commonly accepted that we discuss the Gothic in terms of the margin. These two seem to be inseparable and associating them appears “just natural.” However, in light of the contemporary critical debate on the ubiquity of the Gothic, the mode’s “natural” marginality might appear somewhat out of place. While the Gothic is still increasingly popular in popular culture, it has also become incredibly popular among literary scholars. In fact, it not only permeates the culture we live in, but it also appears to occupy a mainstream position in academia these days. Viewing the Gothic as a notion s

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Nuraini, Aisyah, and Fitri Dwi Indarti. "Transformation of Gothic to Neo-Gothic Architecture in St. Joseph Gedangan Church Building, Semarang." Journal of Architecture and Urban Studies 1, no. 2 (2024): 21–30. https://doi.org/10.26714/jaus.v1i2.684.

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One of the architectural styles that underwent significant evolution was the Gothic style, which later developed into Neo-Gothic or Gothic Revival. These changes are influenced not only by aesthetic factors but also by social, technological, and political advances in various periods. The Neo-Gothic architectural style emerged in the late 18th to early 20th centuries as a revival of Gothic architecture from the medieval era. St. Joseph Gedangan Catholic Church in Semarang is one of the historical buildings registered as a cultural heritage, which carries a Neo-Gothic architectural style with a

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Ratkus, Artūras. "THE GREEK SOURCESOF THE GOTHIC BIBLE TRANSLATION." Vertimo studijos 2, no. 2 (2017): 37. http://dx.doi.org/10.15388/vertstud.2009.2.10602.

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Almost all of what we know about the structure and properties of Gothic comes from the Gothic translation of the New Testament from Greek. No analysis of Gothic syntax is therefore feasible without reference to the Greek original. This is problematic, however, as the autograph that was used in translating the Bible into Gothic does not exist, and the choice of the Greek edition of the New Testament for comparative study is a matter of debate. The article argues that, in spite of the general structural affinity of the Gothic text to the Greek, the numerous observed deviations from the Greek rep

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Yanti, Irma, Jumino Suhadi, and M. Manugeren. "MARY SHELLEY'S FRANKENSTEIN AS A GOTHIC NOVEL." JOURNAL OF LANGUAGE 6, no. 1 (2024): 14–25. http://dx.doi.org/10.30743/jol.v6i1.9076.

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Gothic stories have a distinctive feature of presenting suspense and horror elements that make the reader both scared and curious as they read the gothic novel. The Gothic novel does not shy away from the dark side, a battle between good and evil, but the victory is not always clear-cut. This study examines gothic elements in Mary Shelley's novel Frankenstein. The purpose of this study is to analyse the gothic elements in Mary Shelley's novel Frankenstein. This study applies the theory of gothic novel elements from Robert Harris in identifying the gothic elements in Mary Shelley's novel Franke

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More, J. G. "The Evolution of the Gothic Tradition in Victorian Literature." International Journal of Arts, Social Sciences and Humanities 01, no. 01 (2023): 01–05. https://doi.org/10.5281/zenodo.8210845.

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This research paper explores the evolution of the Gothic tradition in Victorian literature. The paper begins by examining the origins of the Gothic genre in literature and the influence of the Romantic movement on Gothic literature. It then discusses the characteristics, themes, and motifs of Victorian Gothic literature and its popularity in popular culture and media. The paper also examines the impact of social, cultural, and historical changes on Victorian Gothic literature and the role of women writers in shaping the Victorian Gothic tradition. The paper provides examples of Victorian Gothi

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Nikravesh, Negeen N. "Thomas Hardy and the Gothic: Restructuring the Gothic Prison in Far from the Madding Crowd (1874) and Tess of the d’Urbervilles (1891)." Victoriographies 13, no. 1 (2023): 60–78. http://dx.doi.org/10.3366/vic.2023.0479.

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This article explores Thomas Hardy’s engagement with the Gothic tradition, particularly in relation to the female monstrosity and imprisonment central to mid-Victorian Gothic realism. Focusing on Tess of the d’Urbervilles (1891) and Far from the Madding Crowd (1874), I demonstrate that Hardy purges the Gothic from the domestic space and disperses it into the natural world, restructuring the Gothic prison that haunts the tradition. By moving the Gothic into a less socially fraught place – the sublimity of nature rather than the psyche of the woman – Hardy also reconfigures Gothic female monstro

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Haj'jari, Mohammad-Javad. "Gothic entrapment within textuality in Auster’s travels in the scriptorium." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 77 (March 5, 2025): 1–20. https://doi.org/10.5007/2175-8026.2024.e98774.

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“Gothic-postmodernism” builds upon the shared ontological inquiry into the nature of reality inherent in both the Gothic and postmodernism. By adapting most of the thematic and narrative elements of the Gothic to postmodernist fiction, this genre enables new interpretations of self-reflective literature, where the Gothic sublime manifests itself through textual erasure as Gothic-postmodernist horror. This article argues that Travels in the Scriptorium is Auster’s significant contribution to Gothic-postmodernism, given its self-reflexivity as postmodernist metafiction and its Gothic aspirations

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Herrero-Puertas, Manuel. "Gothic Access." Journal of Literary & Cultural Disability Studies 14, no. 3 (2020): 333–51. http://dx.doi.org/10.3828/jlcds.2020.21.

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The article charts gothic fiction’s spatialization of disability by examining two representative entries: Horace Walpole’s foundational novel The Castle of Otranto (1764) and Peter Medak’s film The Changeling (1980). Their different media and historical backgrounds notwithstanding, both texts feature haunted houses where ghosts and nonghosts collaborate in tearing walls, clearing passageways, tracking voices, and lighting up cellars. These accommodations, along with the antiestablishment critiques they advance, remain unanalyzed because gothic studies and disability studies have intersected ma

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Irwin, Brian R. "Tuckerman Gothic." Wilderness & Environmental Medicine 13, no. 2 (2002): 163–64. http://dx.doi.org/10.1580/1080-6032(2002)013[0163:tg]2.0.co;2.

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Luckhurst, Roger. "Corridor Gothic." Gothic Studies 20, no. 1-2 (2018): 295–310. http://dx.doi.org/10.7227/gs.0050.

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Sage, Victor. "Gothic Histories." Gothic Studies 3, no. 1 (2001): 84–89. http://dx.doi.org/10.7227/gs.3.1.9.

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Schwenger, Peter. "Gothic Optics." Gothic Studies 7, no. 1 (2005): 102–9. http://dx.doi.org/10.7227/gs.7.1.10.

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