Journal articles: 'The gothic novel'

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Bernauer, Markus. ">Gothic< und >Gothic Novel<." Zeitschrift für Literaturwissenschaft und Linguistik 38, no. 3 (September 2008): 64–80. http://dx.doi.org/10.1007/bf03379795.

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Simpkins, Scott. "Tricksterism in the Gothic Novel." American Journal of Semiotics 14, no. 1 (1997): 11–23. http://dx.doi.org/10.5840/ajs1998141/43.

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Priydarshi, Ashok Kumar. "Satire and Humour in Jane Austen’s ‘Northanger Abbey’." Journal of Advanced Research in English and Education 04, no. 04 (January 14, 2020): 9–11. http://dx.doi.org/10.24321/2456.4370.201909.

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Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.

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Marinko, Vesna. "Gothic elements in contemporary detective story : Matthew Gregory Lewis and Minette Walters compared." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 35–43. http://dx.doi.org/10.4312/an.42.1-2.35-43.

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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.

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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 (June 6, 2016): 161. http://dx.doi.org/10.26610/metasastra.2015.v8i2.161-178.

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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.

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Vasil’yeva, El’mira V. "ON THE PECULIARITIES OF CHRONOTOPE IN NEW ENGLAND GOTHIC: THE HOUSE OF THE SEVEN GABLES BY NATHANIEL HAWTHORNE AND THE HAUNTING OF HILL HOUSE BY SHIRLEY HARDIE JACKSON." Vestnik of Kostroma State University, no. 1 (2020): 87–92. http://dx.doi.org/10.34216/1998-0817-2020-26-1-87-92.

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The article deals with Mikhail Bakhtin’s term «the chronotope of the castle» analysed on the material of two New England Gothic novels – «The House of the Seven Gables» by Nathaniel Hawthorne and «The Haunting of Hill House» by Shirley Hardie Jackson. The author assumes that chronotope is not just a spacetime characteristic, but a set of motifs – the motive of dark past, the motif of spatial and temporal isolation, and the motif of «sentient» house. All of these motifs were used by classic Gothic novel writers of the 1760s to 1830s, and were as well employed in later quasi-Gothic texts. At the turn of the 19th century, Gothic novel commenced its parallel development in American literature, where it subsequently became one of the national genres. American writers aspired to adapt Gothic poetics to the cultural context of the country. For instance, in New England Gothic fi ction, the chronotope of the castle was transformed into the chronotope of the «bad» house. However, the set of motifs has remained the same: both Hawthorne and Jackson consistently used the motifs, provided by British Gothic fi ction, yet they further explored them and came up with their own interpretations.

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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 “Food Block” 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’s novella. The material of A. V. Ivanov’s novel indicates resorting to the literary tradition on the level of composition and individual images; while overall, the historical experience accumulated by the genre over the decades and significant impact of cinematography manifested on the level of cinematographic techniques. The conclusion is made that in the novel by A. V. Ivanov, the mystical attributes of vampirism, which coincide with the pioneer symbolism, have political implications, which contradicts the horror traditions in gothics. Novellas “The Vampire” and" The Family of the Vourdalak” are the result of accumulation of gothic motifs, such as family curse, mystical house, dream, and portrait that came alive. Comparison of the techniques of creating horror literature allows tracing the paths of literary evolution, and formulating conclusions on modernization of the genre at the present stage. The novelty of this research is define by insufficient research of the topic of typological and genetic links between gothic and modern horror, namely in the works of A. V. Ivanov.

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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (January 29, 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 mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.

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Aldewan, Mushtaq Ahmed Kadhim. "(Wuthering Heights as a Gothic Novel)." IOSR Journal of Humanities and Social Science 22, no. 07 (July 2017): 01–05. http://dx.doi.org/10.9790/0837-2207010105.

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Maroshi, V. V. "Gothic beetle: a comment on one of Pushkin’s allusions." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 66–79. http://dx.doi.org/10.17223/18137083/72/5.

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The paper deals with the beetle as a minor character of the seventh chapter of the novel “Eugene Onegin” and a literary allusion. It is syntactically and rhythmically highlighted in the text of the stanza. V. V. Nabokov was the first to try to set the origin of the character from English literature. The closest meaning of the allusion was a reference to V. A. Zhukovsky, with his surname associated with the beetle by its etymology and the appearance of a “buzzing beetle” in his translation of T. Gray’s “Elegy Written in a Country Churchyard.” The landscape of the 15th stanza of the novel is represented within the genres of elegy, pastoral, and ballad. We expand the field of Pushkin’s allusion to the Gothic novels of A. Radcliffe and Gothic fiction in general. Mentioning the beetle launches a chain of reminiscences from Gothic novels during Tatiana’s walk and her visit to Onegin’s empty “castle.” The quotations from Shakespeare and Collins in Radcliffe’s novels are of great significance. Shakespeare’s beetle, a Hecate’s messenger, is involved in creating an atmosphere of night fears and mystery surrounding the scene in Onegin’s castle. A collection of Radcliffe’s novels in Pushkin’s library suggests the poet was somewhat familiar with the paratext of the novel “The Romance of the Forest”. Moreover, the beetle as a parody character for a ballad and a Gothic novel appeared in the unfinished poem “Vasily Khrabrov” by the poet’s uncle, V. L. Pushkin.

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Moussaoui, Roumaissa. "Gothic Reality: A Study of Emily Bronte’s Wuthering Heights." Arab World English Journal For Translation and Literary Studies 5, no. 3 (August 15, 2021): 40–54. http://dx.doi.org/10.24093/awejtls/vol5no3.4.

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Emily Bronte’s novel, Wuthering Heights, is a gothic novel with an innovative stance. Gothic elements permeate the story, but it is not a gothic novel in the traditional sense of the word. The fantastic tales so popular in the eighteenth century alienated the reader by creating phantasmagorical worlds. Emily Bronte, however, grounded her gothic world firmly in reality. Through an analytical approach, the author aims to show, in this article, how Emily Bronte reversed gothic conventions to create a gothic reality whose message is still relevant today. The author will show that her use of the gothic mode was an attempt to capture the real essence of life, anticipating the metaphysical theories of D. H. Lawrence, who wrote at the end of the nineteenth century. By highlighting her innate understanding of human nature , this article will focus on her affinity with Lawrence and the celebration of man’s powerful primal instincts. This article hinges on the premise that she deplored the mechanical restrictions of the society in which she lived. The author aims to show that her Gothicism is, paradoxically, synonymous with a search for life.

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Kokot, Joanna. "John Dickson Carr’s Early Detective Novels and the Gothic Convention." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 61. http://dx.doi.org/10.17951/lsmll.2019.43.2.61-74.

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Even if the Gothic romance may be considered as one of the predecessors of detective fiction, the world model proposed by the latter seems to exclude what was the essence of the former: the irrational underlying the proposed world model. However, some of detective novel writers deploy Gothic conventions in their texts, thus questioning the rational order of the reality presented there. Such a genological syncretism is typical - among others - of the novels by John Dickson Carr. The paper is an analysis of Gothic conventions and their functions in four earliest novels by Carr, featuring a French detective-protagonist, Henri Bencolin. It concentrates on elements of Gothic horror, on the atmosphere of terror as well as the motif of the past intruding the present.

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Herrero-Puertas, Manuel. "Gothic Access." Journal of Literary & Cultural Disability Studies 14, no. 3 (August 1, 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 mainly around paradigms of monstrosity, abjection, and repression. What do we gain, then, by de-psychologizing the gothic, assaying ghosts’ material entanglements instead? This critical gesture reveals crip ghosts Joseph (Changeling) and Alfonso (Otranto) engaged in what the article conceptualizes as “gothic access”: a series of hauntings that help us collapse and reimagine everyday life’s unhaunted—yet inaccessible—built environments.

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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 (November 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, considering the various ways in which the uncanny and gothic doubling are paradigmatic of the postcolonial experience. Tayeb Salih's novel is a departure from hegemonic conceptualisations of modernity and modernism, using the Gothic to critique Western metanarratives of historical linearity, progress and modernisation.

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Titarenko, S. D., and M. M. Rusanova. "GOTHIC TRADITION IN LITERATURE FROM THE PERSPECTIVE OF INTERMEDIAL ANALYSIS." Culture and Text, no. 44 (2021): 43–55. http://dx.doi.org/10.37386/2305-4077-2021-1-43-55.

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The article is devoted to the insufficiently studied problem of using intermedial analysis for studying the Gothic tradition in the literature of Russian symbolism (on the example of V. Brusov’s and F. Sologub’s works). We focus our attention on transition a visual image or a medieval art motive from one sign system to another. We analyze how medieval cultural categories correspond to the chronotope and figurative system in the Gothic novels of the 18th - early 19th century. It is concluded that the Symbolists refer to the visual images of the Gothic novel not only as elements of tradition, but also as categories of the culture of the Middle Ages.

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Пожарицька, О. О., and А. Г. Єжкова. "GOTHIC NOVEL AS A TIMELESS GENRE CATEGORY." Мова, no. 29 (July 23, 2018): 56–60. http://dx.doi.org/10.18524/2307-4558.2018.29.139376.

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Qiao, Weirong. "How is Wuthering Heights a Gothic Novel?" International Journal of English Literature and Social Sciences 4, no. 5 (2019): 1578–83. http://dx.doi.org/10.22161/ijels.45.48.

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Brown, Marshall. "A Philosophical View of the Gothic Novel." Studies in Romanticism 26, no. 2 (1987): 275. http://dx.doi.org/10.2307/25600652.

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Goldgel Carballo, Victor. "Spectral Realism: Cecilia Valdés as Gothic Novel." Journal of Latin American Cultural Studies 27, no. 3 (July 3, 2018): 313–29. http://dx.doi.org/10.1080/13569325.2018.1485560.

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Haggerty, George E. "Fact and Fancy in the Gothic Novel." Nineteenth-Century Fiction 39, no. 4 (March 1, 1985): 379–91. http://dx.doi.org/10.2307/3044711.

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Wiehahn, Rialette. "Comparative reception studies of the Gothic Novel." Journal of Literary Studies 11, no. 3-4 (December 1995): 112–15. http://dx.doi.org/10.1080/02564719508530121.

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Haggerty, George E. "Fact and Fancy in the Gothic Novel." Nineteenth-Century Fiction 39, no. 4 (March 1985): 379–91. http://dx.doi.org/10.1525/ncl.1985.39.4.99p0450q.

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DeVirgilis, Megan. "Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction." Gothic Studies 23, no. 2 (July 2021): 201–16. http://dx.doi.org/10.3366/gothic.2021.0094.

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The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.

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Braček, Tadej. "Reaction to Crisis in Gothic Romance: Radcliffe’s The Castles of Athlin and Dunbayne." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 35–49. http://dx.doi.org/10.4312/elope.13.2.35-49.

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Gothic romances were primarily women’s domain. This is proven by the fact that from the end of the eighteenth century to the beginning of the nineteenth century more than fifty female authors wrote Gothic romances. In the first part the paper depicts the emergence of romances, clarifies the notion of the Gothic and explains the theory of Gothic romances. The second part focuses on Ann Radcliffe’s first novel, The Castles of Athlin and Dunbayne. This section analyses in what way men and women react to crises. It concludes that reactions are primarily based not on sex but on the benevolence and malevolence of literary characters. The former react with higher intensity on the physical level (passing out, becoming ill) and the latter react vehemently in emotional sense towards their rivals. The originality of the article lies in the systematic analysis of characters’ responses to crisis and in the study of atypical features of this Gothic novel.

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Varma, Devendra P. "The First Gothics: A Critical Guide to the English Gothic Novel (review)." Eighteenth-Century Fiction 1, no. 2 (1989): 165–68. http://dx.doi.org/10.1353/ecf.1989.0012.

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Rowcroft, Andrew. "The Return of the Spectre: Gothic Marxism in The City & The City." Gothic Studies 21, no. 2 (November 2019): 191–208. http://dx.doi.org/10.3366/gothic.2019.0022.

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This article argues for China Miéville's The City & The City (2009) as a gothic Marxist fiction that articulates new modalities of communist expression which productively ‘haunt’ the work of the ‘Idea of Communism’ conferences. Firstly, the essay establishes a relationship between Marx and the gothic tradition, showing how Marx has long been concerned with the gothic mode as a vital explanatory framework for representing capital. Secondly, the essay enacts a comparative presentation between Miéville's novel and the recent contributions of communist intellectual Alain Badiou. Through this process, Miéville's novel becomes a powerful symbolic engagement with selected aspects of twenty-first century communism, unearthing new and productive relations with radical left thought while refusing to fully banish, conquer, or forget the history of the twentieth-century effort.

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Gencheva, Andrea. "The governess as a Gothic heroine in Henry James' The turn of the screw." English Studies at NBU 1, no. 1 (February 1, 2015): 72–79. http://dx.doi.org/10.33919/esnbu.15.1.6.

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One of the questions perpetually plaguing the critics of Henry James’ The Turn of the Screw is whether the ghosts are real or the governess had lost her mind. This paper offers an interpretation of James’ novella from the viewpoint of the Gothic novel, and the author draws parallels between the actions and behavior of the young and impressionable governess and those of a heroine from the Gothic genre, taking into account the governess’ narrative style, her repressed self, the evil she faces and finally, the overall position of governesses in Victorian society. The result is an aligning of James’ protagonist with the generally accepted image of a Gothic heroine, thus working towards the conclusion that, seen from the perspective of the Gothic novel, the ghosts are real and the governess is caught in a battle between good and evil, fighting for the children’s souls.

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Kowalcze, Małgorzata. "Gothic Healing under the Mediterranean Sun: “The Magus” by John Fowles as a Gothic Novel." Tematy i Konteksty 13, no. 8 (2018): 507–21. http://dx.doi.org/10.15584/tik.2018.34.

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Izdebska, Agnieszka. "Gotycyzm/gotycyzmy – rekwizyty i metamorfozy." Poznańskie Studia Polonistyczne. Seria Literacka, no. 30 (September 28, 2017): 325–38. http://dx.doi.org/10.14746/pspsl.2017.30.16.

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The article deals with phenomena of the Gothic the most often described as a set of often-linked elements rather than a fixed genre. The text presents a variety of cultural incarnations of the convention: from the eighteenth century novel by horror movies to subcultural style of Goths. This essay also examines the basic Gothic concepts, like the uncanny and the abject, which determine the worlds depicted in Gothic narratives, especially characters who remain in close connection with the space formed as a labyrinth. Finally, the article is an attempt to answer the question about the source of the expansion of the aesthetics of the Gothic in the contemporary culture.

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Peterson, Dale E., and Mark S. Simpson. "The Russian Gothic Novel and Its British Antecedents." Slavic and East European Journal 31, no. 4 (1987): 618. http://dx.doi.org/10.2307/307059.

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Miller, Robin Feuer, and Mark S. Simpson. "The Russian Gothic Novel and its British Antecedents." Russian Review 47, no. 2 (April 1988): 223. http://dx.doi.org/10.2307/129996.

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RAWIS, REBECCA L. "Gothic novel of love, betrayal, and quantum physics." Chemical & Engineering News 78, no. 45 (November 6, 2000): 46–47. http://dx.doi.org/10.1021/cen-v078n045.p046.

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Prosser, Ashleigh. "Resurrecting Frankenstein: Peter Ackroyd’s The Casebook of Victor Frankenstein and the metafictional monster within." Australasian Journal of Popular Culture 8, no. 2 (September 1, 2019): 179–96. http://dx.doi.org/10.1386/ajpc_00004_1.

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This article examines Peter Ackroyd’s popular Gothic novel The Casebook of Victor Frankenstein (2008), which is a reimagining of Mary Shelley’s famous Gothic novel Frankenstein, or, The Modern Prometheus ([1818] 2003). The basic premise of Ackroyd’s narrative seemingly resembles Shelley’s own, as Victor Frankenstein woefully reflects on the events that have brought about his mysterious downfall, and like the original text the voice of the Monster interrupts his creator to recount passages from his own afterlife. However, Ackroyd’s adaption is instead set within the historical context of the original story’s creation in the early nineteenth century. Ackroyd’s Frankenstein studies at Oxford, befriends radical Romantic poet Percy Bysshe Shelley, moves to London to conduct his reanimation experiments and even accompanies the Shelleys, Byron and Polidori on that fateful holiday when the original novel was conceived. This article explores how Ackroyd’s novel, as a form of the contemporary ‘popular’ Gothic, functions as an uncanny doppelgänger of Shelley’s Frankenstein. By blurring the boundaries between history and fiction, the original text and the context of its creation haunt Ackroyd’s adaptation in uncannily doubled and self-reflexive ways that speak to Frankenstein’s legacy for the Gothic in popular culture. The dénouement of Ackroyd’s narrative reveals that the Monster is Frankenstein’s psychological doppelgänger, a projection of insanity, and thus Frankenstein himself is the Monster. This article proposes that this final twist is an uncanny reflection of the narrative’s own ‘Frankenstein-ian’ monstrous metafictional construction, for it argues that Ackroyd’s story is a ‘strange case(book)’ haunted by the ghosts of its Gothic literary predecessors.

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Maggi, Simona. "The Strange Case of Teaching English Through the Gothic Novel." Grove - Working Papers on English Studies 26 (October 24, 2019): 103–16. http://dx.doi.org/10.17561/grove.v26.a6.

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In this article I endeavour to encourage teachers of Secondary Education to use English literature in their English language lessons. Indeed, literature provides a huge amount of authentic reading materials, making the students practise extensive as well as intensive reading, which is crucial for the foreign language acquisition. Moreover, it is an enormous source of motivation, allowing students to give free rein to their imagination and enjoy their English lessons. The election of gothic fiction is linked to this latter purpose: the 19th gothic genre is generally well accepted by adolescents as it represents a way to reflect on themselves through a journey to “self-revelation”. The double personality/identity-theme of R. L. Stevenson’s novel The Strange Case of Dr Jekyll and Mr Hyde fits well into their interests and their quest for self-knowledge. It offers them the chance to process what they are going through in this often unstable stage of their journey into adulthood by trying to figure out their place in the world. Keywords: Reading skill, Literature in ELT, Gothic fiction, R. L. Stevenson, The Strange Case of Dr Jekyll and Mr Hyde, Double identity

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Morin, Christina. "The Adventures of Miss Sophia Berkley: Piracy, Print Culture, and Irish Gothic Fiction." Irish University Review 49, no. 2 (November 2019): 229–44. http://dx.doi.org/10.3366/iur.2019.0403.

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Published in Dublin by the prominent Catholic printing firm of James Hoey, The Adventures of Miss Sophia Berkley (1760) has been identified in recent years as an earlier Irish gothic fiction than Horace Walpole's putatively pioneering gothic novel, The Castle of Otranto (1764). The discovery that Sophia Berkley is, in fact, a re-print of an earlier London publication, The History of Amanda (1758), casts significant doubt on the novel's contribution to the development of Irish gothic literature. This article argues that attention to the particulars of the novel's publication history as well as its later misidentification paints a revealing picture of popular publishing in Dublin in the latter half of the eighteenth century. It further contends that Sophia Berkley's identification as early Irish gothic – although mistaken – has proven instrumental in scholarly re-evaluations of late-eighteenth century Irish gothic literary production.

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Marsden, Simon. "‘One look and you recognize evil’: Lycan Terrorism, Monstrous Otherness, and the Banality of Evil in Benjamin Percy's Red Moon." Gothic Studies 21, no. 1 (May 2019): 40–53. http://dx.doi.org/10.3366/gothic.2019.0006.

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Benjamin Percy's novel Red Moon (2013) navigates the problem of the ‘monster’ in the context of post-9/11 representations of Islamist terrorism. Structured around a series of terrorist atrocities carried out by lycan extremists, Percy's novel employs the werewolf as a figure of monstrous otherness in order to deconstruct the very processes of othering by which the monster is produced culturally and politically. Focusing on the distorted ethical justifications of the terrorists and on the roles of political opportunism and media manipulation in shaping US responses, the narrative allows both lycan terrorists and their political antagonists to emerge as more clown than monster. This article draws upon Hannah Arendt's account of the banality of evil, and its development by more recent privation theorists, to situate Red Moon within contemporary popular and theoretical discourses of evil and to read the novel as an interrogation of the processes by which our modern political ‘monsters’ are created.

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Buttes, Stephen. "The Failure of Consuelo’s Designs: Carlos Fuentes and Trompe l’Oeil Modernity." Revista Canadiense de Estudios Hispánicos 41, no. 2 (January 10, 2017): 297–324. http://dx.doi.org/10.18192/rceh.v41i2.2148.

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Este artículo estudia las tensiones entre los elementos barrocos y los elementos góticos en Aura (1962) de Carlos Fuentes. Estableciendo conexiones entre esta novela y La región más transparente (1958), el ensayo argumenta que en Aura Fuentes radicaliza la teatralidad de las formas barrocas y las góticas para señalar sus límites. Con el uso de la segunda persona singular, la novela desarrolla un concepto de modernidad que no se subordina a los modelos políticos existentes, un modelo parecido al arte anti-teatral en su variante pastoral estudiado por Michael Fried. Palabras clave: Carlos Fuentes, lo barroco, lo gótico, la antiteatralidad, la autonomía literaria The present study examines the tensions between Baroque and Gothic elements in Carlos Fuentes’ Aura (1962). Analyzing unstudied connections between La región más transparente (1958) and Aura, the essay argues that Fuentes radicalizes the theatricality of Baroque and Gothic forms in his novel in order to signal their limits. With his use of the second person singular to narrate the novel, he seeks to develop a new concept of modernity, one that would not be subordinated to already existing political models. This concept of literary form parallels the pastoral conception of antitheatrical art studied by Michael Fried. Keywords: Carlos Fuentes, Baroque, Gothic, antitheatricality, literary autonomy

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Chow, Jeremy. "Snaking into the Gothic: Serpentine Sensuousness in Lewis and Coleridge." Humanities 10, no. 1 (March 15, 2021): 52. http://dx.doi.org/10.3390/h10010052.

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This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects.

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Chekalov, Kirill A. "ALEXANDRE DUMAS AND A GOTHIC NOVEL (DEDICATED TO 150TH ANNIVERSARY OF THE WRITER’S DEATH)." Vestnik of Kostroma State University, no. 3 (2020): 134–40. http://dx.doi.org/10.34216/1998-0817-2020-26-3-134-140.

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The article considers the characteristics of interpretation by Alexandre Dumas père of a genre of gothic fiction based on the writer’s less popular works: Le Château d’Eppstein, 1843 and Le Pasteur d’Ashbourn,1853. Alexandre Dumas père deviates from the genre’s traditional surrounding, i.e. the southern France, Italy, Spain. Le Château d’Eppstein is set in Germany; by connecting the legendary past with the historical time, Dumas enhances one of the genre’s inherent features, at the same time enriching the narrative with a dense intertextual component. The events of Le pasteur d’Ashbourn happen in England. The first part of the book is a rescript of a sentimental novel Leben Eines Armen Landpredigers by August Heinrich Julius Lafontaine (1801; translated in French by Isabelle de Montolieu as Nouveaux Tableaux De Famille Ou La Vie D’un Pauvre Ministre De Village Allemand Et De Ses Enfants – 1802; translated in English as The Village Pastor and His Children – 1803), which beautifully contrasts with a traditional gothic plot of the second part and an extensive ironic epilogue. Both novels demonstrate that Dumas did not intend to imitate the gothic fiction, but rather to transform it by means of witty genre and stylistic experiments.

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Qing, Zhao. "Style and Sense in William Faulkner's A Rose for Emily." IRA International Journal of Education and Multidisciplinary Studies 17, no. 3 (September 11, 2021): 157. http://dx.doi.org/10.21013/jems.v17.n3.p6.

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A Rose for Emily is a typical Gothic-style novel, intimately associated with the characteristics of Gothic literature: 1. Ghostly and horrible environment; 2. The tone of death; 3. Uncanny character images. Generally speaking, Gothic literature reveals the gloomy, dark, sad and mysterious literary styles, but what fascinates us most is the creation of atmosphere—being horrific, thrilling and intensive, which give people different kinds of sensory touches—Visually, physically and even spiritually. This Gothic style places emphasis on both emotion and a pleasurable kind of terror, thus embodying the senses of a quest for a horrible atmosphere, and an appreciation of the joys of extreme emotion as well as the thrills of fearfulness to readers.

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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.

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Yeager, Stephen. "Gothic Paleography and the Preface to the First Edition of The Castle of Otranto." Gothic Studies 21, no. 2 (November 2019): 145–58. http://dx.doi.org/10.3366/gothic.2019.0019.

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The first-edition preface to Walpole's novel The Castle of Otranto contains a description of an imagined incunabulum, ostensibly witnessing the novel's text, which is attributed to an imagined translator, William Marshall. The incunabulum is said by Marshall to be printed in a ‘black letter’ typeface, a term which was already in this period a synonym for ‘gothic’ letterforms. This essay briefly summarizes the history of this classificatory term ‘gothic’ as it is applied to script, in order to provide further context for Walpole's parody of antiquarianism in the first edition preface and its relation to his use of the term ‘gothic’ in the subtitle to the novel's second edition.

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Al-Hilo, Mujtaba, and Hayder Gebreen. "The Starving Sex: Psychoanalysis of Gendered Identity Crisis in the Gothic Novel." Sumerianz Journal of Education, Linguistics and Literature, no. 312 (December 30, 2020): 277–81. http://dx.doi.org/10.47752/sjell.312.277.281.

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This paper investigates the socio-historical context in which the Gothic novel appeared. It seeks to shed light on the psychological side of this debut. One of the problems of recent studies in this regard is that they tend to detach the appearance of the Gothic novel from the historical context that gave birth to this genre. This leads to inaccurate findings and conclusions because this genre rose out of necessity. It was a method of fighting back the suppressive social conditions from which females suffered. This study is necessary to reveal the oppressive context females endured, and how that patriarchal ideology was universally and rationally justified and eluded any possible questioning. This suppressive condition was deeply rooted in the unconscious of subjects. Gothic novel was a revolution against that prevailing ideology, socially, religiously, and intellectually. It was considered a form of atheism. In this regard, this paper seeks to question the validity of the appearance of this genre and the way it is justified. It also presents a host of findings that displays the necessity out of which this genre rose, with references to Emily Bronte’s Wuthering Heights and Mathew Lewis’ The Monk.

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Al-Hilo, Mujtaba, and Hayder Gebreen. "The Starving Sex: Psychoanalysis of Gendered Identity Crisis in the Gothic Novel." Sumerianz Journal of Education, Linguistics and Literature, no. 312 (December 30, 2020): 277–81. http://dx.doi.org/10.47752/sjell.312.277.281.

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This paper investigates the socio-historical context in which the Gothic novel appeared. It seeks to shed light on the psychological side of this debut. One of the problems of recent studies in this regard is that they tend to detach the appearance of the Gothic novel from the historical context that gave birth to this genre. This leads to inaccurate findings and conclusions because this genre rose out of necessity. It was a method of fighting back the suppressive social conditions from which females suffered. This study is necessary to reveal the oppressive context females endured, and how that patriarchal ideology was universally and rationally justified and eluded any possible questioning. This suppressive condition was deeply rooted in the unconscious of subjects. Gothic novel was a revolution against that prevailing ideology, socially, religiously, and intellectually. It was considered a form of atheism. In this regard, this paper seeks to question the validity of the appearance of this genre and the way it is justified. It also presents a host of findings that displays the necessity out of which this genre rose, with references to Emily Bronte’s Wuthering Heights and Mathew Lewis’ The Monk.

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Leppänen, Ville. "Gothic evidence for the pronunciation of Greek in the fourth century AD." Journal of Historical Linguistics 6, no. 1 (September 12, 2016): 93–113. http://dx.doi.org/10.1075/jhl.6.1.04lep.

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Abstract The Gothic Bible offers valuable secondary evidence for the pronunciation of Greek in the fourth century AD. However, inferences based on such data may result in a vicious circle, as the interpretation of Gothic is, to a great extent, dependent on the historical details of contemporary Greek. I show that a circular argument can be avoided by using a novel method, which is based on the comparison of transcription correspondences of Greek loan words and biblical names occurring in the Greek original and the Gothic version. I test the method by applying it to three example cases. The first concerns the aspirated stops φ, θ, χ: Gothic evidence confirms the fricativization of these stops. The second case concerns the potential fricativization of voiced stops β, δ, γ: the results are inconclusive, which is an important finding, since this shows that Gothic cannot be used as evidence for the fricativization of these stops. The third case concerns front vowels: Gothic evidence confirms the coalescence of αι and ε on the one hand, and ει and ῑ on the other, while it also indicates that η was not (yet) pronounced as [iː] in the fourth century AD.

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Gould, Connor. "‘The Creature We All Are’: Deleuze and Guattari's Geophilosophy in Mark Z. Danielewski's House of Leaves." Gothic Studies 22, no. 3 (November 2020): 231–45. http://dx.doi.org/10.3366/gothic.2020.0059.

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Mark Z. Danielewski's 2000 debut novel House of Leaves has rapidly become a gothic cult classic, detested by some and acclaimed by others with identical passion. This article explores the new approaches that contemporary ecocriticism appears to be taking, embracing the geophilosophical theories of Gilles Deleuze and Félix Guattari to uncover the presence of the ‘monstrous vegetal’ throughout the novel. It argues that the vegetal images of the rhizome and the tree, illustrated within Deleuze and Guattari's A Thousand Plateaus reveal the way in which the titular house becomes horrifying through its similarities to a growing, organic creature. Indeed, it is its horrifying sense of uncontrollable and incomprehensible growth that overwhelms the characters’ bodies and minds before eventually infringing upon the reading experience as we are forced to acknowledge the house's, and by extension the vegetal's, complete alterity to human existence.

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Mercer, Erin. "‘This horrible patrimony’: Masculinity, War and the Upper Classes in Jessie Douglas Kerruish's The Undying Monster." Gothic Studies 22, no. 3 (November 2020): 300–312. http://dx.doi.org/10.3366/gothic.2020.0063.

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The recent reissue of Jessie Douglas Kerruish's critically neglected Gothic novel The Undying Monster: A Tale of the Fifth Dimension (1922) describes it as ‘dated’ but its more conservative elements nevertheless exist alongside a subversive thrust. Published just four years after the end of the First World War, the novel extols the nobility of the landed gentry, positioning protagonist Oliver Hammand as representative of a positive tradition that guarantees social order in a time of chaos, while simultaneously discrediting the upper class by depicting Oliver as an untamed beast that threatens social order. The Undying Monster has something to add to understandings of Gothic narratives that use the figure of the werewolf to explore the sinister side of masculinity, in particular the possibility that depravity might belong to the upper classes, rather than the lower class as was popularly imagined.

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DINES, MARTIN. "Suburban Gothic and the Ethnic Uncanny in Jeffrey Eugenides's The Virgin Suicides." Journal of American Studies 46, no. 4 (July 4, 2012): 959–75. http://dx.doi.org/10.1017/s0021875812000722.

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If uncertainty and anxiety are the troubling but potentially radical qualities of gothic narrative, suburban gothic has typically been understood in terms of a banal unhomeliness which merely confirms reassuring commonplaces about the postwar American suburbs. In such readings, the suburbs are supposed to embody a desire to stand outside history: either they are places in which people seek refuge from their own pasts, or they represent an idealized past removed from the challenges of the present. This article argues that Jeffrey Eugenides's 1993 novel The Virgin Suicides undermines easy assumptions about the suburbs' atemporality. The novel's various gothic motifs suggest the difficulty of abandoning European pasts in order to adopt the white American identities required for a life in the suburbs; repressed ethnic difference haunts the suburban landscape. Yet Eugenides's suburban gothic also complicates the process of remembering such acts of forgetting: the difficulty of explicating suburban pasts, the novel insists, is precisely a measure of their having become historical. The drive to present comforting, codified narratives of the suburbs is shown to be part of a move – which always fails – to disassociate the present from these sites of conflict and trauma.

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May, Whitney S. "‘Powers of Their Own Which Mere “Modernity” Cannot Kill’: The Doppelgänger and Temporal Modernist Terror in Dracula." Gothic Studies 23, no. 1 (March 2021): 60–76. http://dx.doi.org/10.3366/gothic.2021.0078.

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Of the many haunting figures that Gothic fiction invokes, none so perfectly encapsulates the mode itself, in all its fantastic incursions of opposing forces and clashing sensibilities, as the doppelgänger. Indeed, this figure in Gothic literature helps to push the bounds of subjective tension so central to the genre. This article examines Bram Stoker's Dracula (1897) as an entry into the canon of doppelgänger fiction by complicating traditional readings of the central relationship between Count Dracula and Jonathan Harker. By revisiting the novel within the framework of a doppelgänger narrative, this article suggests that part of the real terror for Stoker's fin-de-siècle audience lies in the novel's timing. Located in the gap between the retreating Romantic and advancing high modern epochs, the novel dramatizes the apprehensions of a culture experiencing enormous technological and social upheaval. Specifically, it offers in its doubled pair a means to navigate those anxieties.

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Terentowicz-Fotyga, Urszula. "The Dialogic Mode in Jane Austen’s ”Northanger Abbey”: The Manorial Gothic Meets a Subversive Novel of Manners." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 19. http://dx.doi.org/10.17951/lsmll.2019.43.2.19-30.

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The paper proposes to read the dialogue of two generic traditions: the novel of manners and gothic fiction in Jane Austen’s Northanger Abbey. The generic dialogue in Northanger Abbeyconstitutes a particularly interesting case, as it appears at the very inception of the manorial tradition in fiction and thus bears a strong modelling function. The paper argues that Northanger Abbeyrepresents a subversive version of the novel of manners, which contextualizes and substantiates the transgressive character of the gothic.

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Journal articles on the topic 'The gothic novel'

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