Gothic Violence

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Rose Miller, Emma (2019). "Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor" (PDF). Archived (PDF) from the original on 21 May 2022 . Retrieved 1 May 2022.

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Popular tabletop card game Magic: The Gathering, known for its parallel universe consisting of "planes," features the plane known as Innistrad. Its general aesthetic is based on northeast European Gothic horror. Innistard's common residents include cultists, ghosts, vampires, werewolves, and zombies. Muireann Maguire, Stalin's Ghosts: Gothic Themes in Early Soviet Literature (Peter Lang Publishing, 2012; ISBN 3-0343-0787-X), p. 14. Generally, violence in epics presents itself as a truth and way of life that a person may follow either for goodness or evil. It is also used as a device to convey the society's cultural value of reverence and respect for their deities; any act of disobedience or offense is punishable by the concerned deity. [10] For instance, in the Odyssey, Zeus destroys the surviving crew, except for Odysseus, when they transgress by slaughtering the sacred cattle of the sun. Another reason for the excessive display of violence, in addition to representing the darkness of human nature and the adversities of social conflicts, is characterization. Since an epic portrays the trials inflicted upon a hero, that these trials include physical and emotional violence serves to demonstrate the strength, control, and resilience expected from him. [10] Religious literature [ edit ] Walpole, Horace (2021). The Castle of Otranto. Duke Classics. ISBN 978-1-62011-221-2. OCLC 1285939332.

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L. Wiley, Jennifer (2015). Shakespeare's Influence on the English Gothic, 1791-1834: The Conflicts of Ideologies (PDF) (PhD dissertation). University of Arizona. hdl: 10150/594386 . Retrieved 4 May 2022. Cairney, Christopher (1995). The Villain Character in the Puritan World (PhD dissertation). Columbia: University of Missouri. ProQuest 2152179598 . Retrieved 20 November 2017. Hale, Terry (2002), Hogle, Jerrold E. (ed.), "French and German Gothic: the beginnings", The Cambridge Companion to Gothic Fiction, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp.63–84, ISBN 978-0-521-79124-3 , retrieved 2 September 2020 The Castle of Otranto (1764) is regarded as the first Gothic novel. The aesthetics of the book have shaped modern-day gothic books, films, art, music and the goth subculture. [1] Terror and Wonder the Gothic Imagination". The British Library. British Library . Retrieved 26 March 2016.

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Violence has been a regular element of children's fiction since time immemorial. In spite of it being originally used as a didactic component of storytelling, it has been toned down or completely removed from the earliest versions of some classic fairy tales, particularly the Grimm Brothers'. [2] In the first versions of the Cinderella story, for instance, the stepsisters make striking attempts at earning the love of the prince by chopping off parts of their feet until they fit in the slipper. Still, they get rejected due to their bloodied appearance. [60] The saturation of Gothic-inspired literature during the 1790s was referred to in a letter by Samuel Taylor Coleridge, writing on 16 March 1797, "indeed I am almost weary of the Terrible, having been a hireling in the Critical Review for the last six or eight months – I have been reviewing the Monk, the Italian, Hubert de Sevrac&c &c &c – in all of which dungeons, and old castles, & solitary Houses by the Sea Side & Caverns & Woods & extraordinary characters & all the tribe of Horror & Mystery, have crowded on me – even to surfeiting." [35] Saraoorian, Vahe (1970). The Way To Otranto: Gothic Elements In Eighteenth-Century English Poetry (PhD dissertation). Bowling Green State University . Retrieved 4 May 2022. Krys Svitlana, " Folklorism in Ukrainian Gotho-Romantic Prose: Oleksa Storozhenko’s Tale About Devil in Love (1861)." Folklorica: Journal of the Slavic and East European Folklore Association, 16 (2011), pp. 117–138. Cairney, Chris (2018). "Intertextuality and Intratextuality; Does Mary Shelley 'Sit Heavily Behind' Conrad's Heart of Darkness?" (PDF). Culture in Focus. 1 (1): 92. Archived from the original (PDF) on 23 July 2018 . Retrieved 30 April 2018.

This debate, nevertheless, is ongoing and has extended to include other forms of storytelling, such as film and video games. Gothic fiction is characterized by an environment of fear, the threat of supernatural events, and the intrusion of the past upon the present or the present being haunted by the past. [2] [3] The setting typically includes physical reminders of the past, especially through ruined buildings which stand as proof of a previously thriving world which is decaying in the present. [4] Especially in the eighteenth and nineteenth centuries, characteristic settings include castles, religious buildings like monasteries and convents, and crypts. The atmosphere is typically claustrophobic, and common plot elements include vengeful persecution, imprisonment, and murder. [2] The depiction of horrible events in Gothic fiction often serves as a metaphorical expression of psychological or social conflicts. [3] The form of a Gothic story is usually discontinuous and convoluted, often incorporating tales within tales, changing narrators, and framing devices such as discovered manuscripts or interpolated histories. [5] Other characteristics, regardless of relevance to the main plot, can include sleeplike and deathlike states, live burials, doubles, unnatural echoes or silences, the discovery of obscured family ties, unintelligible writings, nocturnal landscapes, remote locations, [6] and dreams. [7] Haefele-Thomas, Ardel (2012). Queer Others in Victorian Gothic: Transgressing Monstrosity (1ed.). University of Wales Press. ISBN 978-0-7083-2464-6. JSTOR j.ctt9qhdw4. Early and Pre-Gothic Literary Conventions & Examples". Spooky Scary Skeletons Literary and Horror Society. Spooky Scary Society. 31 October 2016 . Retrieved 26 March 2016. The first Russian author whose work has been described as gothic fiction is considered to be Nikolay Mikhailovich Karamzin. While many of his works feature gothic elements, the first to belong purely under the gothic fiction label is Ostrov Borngolm ( Island of Bornholm) from 1793. [75] Nearly ten years later, Nikolay Ivanovich Gnedich followed suit with his 1803 novel Don Corrado de Gerrera, set in Spain during the reign of Philip II. [76] The term "Gothic" is sometimes also used to describe the ballads of Russian authors such as Vasily Andreyevich Zhukovsky, particularly "Ludmila" (1808) and " Svetlana" (1813), both translations based on Gottfreid August Burger's Gothic German ballad, " Lenore." [77]

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The 1880s saw the revival of the Gothic as a powerful literary form allied to fin de siecle, which fictionalized contemporary fears like ethical degeneration and questioned the social structures of the time. Classic works of this Urban Gothic include Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1891), George du Maurier's Trilby (1894), Richard Marsh's The Beetle (1897), Henry James' The Turn of the Screw (1898), and the stories of Arthur Machen.

Cornwell, Neil (1999), The Gothic-Fantastic in Nineteenth-Century Russian Literature, Amsterdam: Atlanta, GA: Rodopi, Studies in Slavic Literature and Poetics, volume 33

Gothic literature guide for KS3 English students - BBC Bitesize Gothic literature guide for KS3 English students - BBC Bitesize

a b Nichols "Place and Eros in Radcliffe", Lewis and Bronte, The Female Gothic, ed. Fleenor, Eden Press Inc., 1983. On the other hand, a character who transgresses social principles imposes this harm on others. It can come in forms of psychological or physical abuse and, in extreme cases, murder – the target of which ranging from a single character to an entire community. Common large-scale violence in literature takes place in situations of war, colonization, and serial killer sprees. Shootings, stabbings, and poisonings are few examples of how such character versus other violence – rising from an underlying conflict with the self – can manifest. [28] [1]Gothic fiction, sometimes called Gothic horror (primarily in the 20th century), is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels. Percival, Robert (2013). From the Sublime to the Numinous: A Study of Gothic Qualities in the Poetry and Drama of Shelley's Italian Period (PDF) (MA thesis). University of Canterbury. doi: 10.26021/4865. hdl: 10092/11870 . Retrieved 29 April 2022. In Spain, the priest Pascual Pérez Rodríguez was the most diligent novelist in the Gothic way, closely aligned to the supernatural explained by Ann Radcliffe. [49] At the same time, the poet José de Espronceda published The Student of Salamanca (1837-1840), a narrative poem that presents a horrid variation on the Don Juan legend. Mishra, Vijay (2002). Bollywood cinema: temples of desire. Routledge. pp.49–57. ISBN 0-415-93014-6.