Gothic Violence

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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. 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. 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. Skarda, Patricia L., and Jaffe, Norma Crow (1981), Evil Image: Two Centuries of Gothic Short Fiction and Poetry. New York: Meridian 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 ]

Gothic: Violence, Trauma, and the Ethical — University of Bristol Gothic: Violence, Trauma, and the Ethical — University of Bristol

a b c d e Moustakis, Christina (1982). "A Plea for Heads: Illustrating Violence in Fairy Tales". Children's Literature Association Quarterly. 7 (2): 26–30. doi: 10.1353/chq.0.0547. ISSN 1553-1201. Saraoorian, Vahe (1970). The Way To Otranto: Gothic Elements In Eighteenth-Century English Poetry (PhD dissertation). Bowling Green State University . Retrieved 4 May 2022. Romain, Lindsey (5 October 2020). "THE HAUNTING OF BLY MANOR Is a Beautiful Gothic Romance". Nerdist . Retrieved 29 December 2020. There was a notable revival in 20th-century Gothic horror cinema, such as the classic Universal monsters films of the 1930s, Hammer Horror films, and Roger Corman's Poe cycle. [107]a b c d e f Foster, Thomas C. (2003). How to Read Literature Like a Professor. New York: Harper. pp.51–55. ISBN 0-06-000942-X. Edwards, Justin; Monnet, Agnieszka (15 February 2013). The Gothic in Contemporary Literature and Popular Culture: Pop Goth. Taylor and Francis. ISBN 9781136337888. In Hindi cinema, the Gothic tradition was combined with aspects of Indian culture, particularly reincarnation, for an "Indian Gothic" genre, beginning with Mahal (1949) and Madhumati (1958). [108] Today's fiction typically normalizes, if not glorifies, the punishing and killing of an antagonist. A common concern among parents is that their kids may fail to differentiate fantasy from reality and that, realizing that the hero is praised for violently defeating the enemy, would believe this type of conduct to be acceptable or even recommended. [63]

Gothic Violence Book Review Mike Ma - Anthony G. Adams Gothic Violence Book Review Mike Ma - Anthony G. Adams

Bécquer es el escritor más leído después de Cervantes". La Provincia. Diario de las Palmas (in Spanish). 28 July 2011 . Retrieved 22 February 2018.

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Writers and critics of the ecoGothic suggest that the Gothic genre is uniquely positioned to speak to anxieties about climate change and the planet's ecological future. [105] Introduction", George Chapman: Homer's Iliad, Modern Humanities Research Association, pp.1–18, doi: 10.2307/j.ctt1vjqnfp.5 , retrieved 2022-04-18 a b Greene, Thomas (1961). "The Norms of Epic". Comparative Literature. 13 (3): 193–207. doi: 10.2307/1768997. JSTOR 1768997– via Duke University Press.

Violence in literature - Wikipedia Violence in literature - Wikipedia

Many modern writers of horror or other types of fiction exhibit considerable Gothic sensibilities – examples include Anne Rice, Stella Coulson, Susan Hill, Billy Martin, and Neil Gaiman, and in some works by Stephen King. [88] [89] Thomas M. Disch's novel The Priest (1994) was subtitled A Gothic Romance and partly modeled on Matthew Lewis' The Monk. [90] Many writers such as Billy Martin, Stephen King, and particularly Clive Barker have focused on the body's surface and blood's visuality. [91] England's Rhiannon Ward is among the recent writers of Gothic fiction. Catriona Ward won a British Fantasy Award for Best Horror Novel for her gothic novel Rawblood in 2016. Contemporary literature (c. 1950 – present day) has branched into several specific subgenres. Speculative fiction (horror, science fiction, and fantasy), for example, can be particularly or a mixture of occult, paranormal, post-apocalyptic, gothic, dystopian, cyberpunk, steampunk, urban fantasy, magic realism – among other types. [25] Notable contributors include Neil Gaiman, Stephen King, Kurt Vonnegut, and Ray Bradbury – and most of their writing maintains, if not magnifies, the types of physical and emotional violence encountered in past fiction. Mighall, Robert (2007), "Gothic Cities", in C. Spooner and E. McEvoy, eds, The Routledge Companion to Gothic, London: Routledge, pp.54–72

Various video games feature Gothic horror themes and plots. The Castlevania series typically involves a hero of the Belmont lineage exploring a dark, old castle, fighting vampires, werewolves, Frankenstein's Creature, and other Gothic monster staples, culminating in a battle against Dracula himself. Others, such as Ghosts 'n Goblins, feature a camper parody of Gothic fiction. 2017's Resident Evil 7: Biohazard, a Southern Gothic reboot to the survival horror video game involves an everyman and his wife trapped in a derelict plantation and mansion owned by a family with sinister and hideous secrets and must face terrifying visions of a ghostly mutant in the shape of a little girl. This was followed by 2021's Resident Evil Village, a Gothic horror sequel focusing on an action hero searching for his kidnapped daughter in a mysterious Eastern European village under the control of a bizarre religious cult inhabited by werewolves, vampires, ghosts, shapeshifters, and other monsters. The Devil May Cry series stands as an equally parodic and self-serious franchise, following the escapades, stunts and mishaps of series protagonist Dante as he explores dingy demonic castles, ancient occult monuments and ruined urban landscapes on his quest to avenge his mother and brother. Gothic literary themes appear all throughout the story, such as how the past physically creeps into the ambiguously modern setting, recurrent imagery of doubles (notably regarding Dante and his twin brother), and the persisting melodramas associated with Dante's father's fame, absence, and demonic heritage. Beginning with Devil May Cry 3: Dante's Awakening, Female Gothic elements enter the series as deuteragonist Lady works through her own revenge plot against her murderous father, with the oppressive and consistent emotional and physical abuse instigated by a patriarchal figure serving as a heavy, understated counterweight to the extravagance of the rest of the story. Finally, Bloodborne takes place in the decaying Gothic city of Yharnam, where the player must face werewolves, shambling mutants, vampires, witches, and numerous other Gothic staple creatures. However, the game takes a marked turn midway shifting from gothic to Lovecraftian horror. This understanding of internal conflict is commonly used in storytelling for character building. Every narrative starts with a problem; an obstacle inhibiting the protagonist's plans and motivations. Such impediment is often embodied by a second character – the antagonist – and presents itself as the stressor that needs to be eliminated. The enmity established between these characters thus becomes the protagonist's main concern, and the way it is resolved (whether peacefully or violently) reflects these characters' inherent qualities. In several tales, the rivalry is settled with violence; a battle or duel between the two sides that claims the life of, typically, the villain. This resolution gives it a happy ending characterized by the protagonist's fulfillment of the initial motivation through the elimination of its inhibitor. [29] [28] Throughout the Harry Potter series, for instance, Harry's main desire is to avenge his parents and keep his loved ones safe. When this desire is constantly challenged by his arch enemy's growing power and the killing of his friends, anger builds up inside him until he extinguishes it by defeating Voldemort in a violent wizarding war. At the end of the narrative, Harry earns the satisfaction of having accomplished his deepest wish by not only having avenged his parents but also building a loving family. [38] Following the definitions of id, ego, and superego mentioned above, critical readings have supposed that Harry's id was unsuccessfully suppressed; his decision to fight and use violence despite the great losses he suffered in the war represents the id's transgression of both the ego and superego. Nevertheless, his uncontrolled desire for revenge revealed, through the course of the series, his qualities of undeterred determination, cunning, compassion, and bravery. [39] Violence therefore is a choice that, if made by a character, can serve to disclose several aspects of their personality. The 1960s Gothic television series Dark Shadows borrowed liberally from Gothic traditions, with elements like haunted mansions, vampires, witches, doomed romances, werewolves, obsession, and madness. The following poems are also now considered to belong to the Gothic genre: Meshchevskiy's "Lila", Katenin's "Olga", Pushkin's "The Bridegroom", Pletnev's "The Gravedigger" and Lermontov's " Demon" (1829–1839). [52]

Gothic Violence by Mike Ma | Goodreads Gothic Violence by Mike Ma | Goodreads

The plays of William Shakespeare, in particular, were a crucial reference point for early Gothic writers, in both an effort to bring credibility to their works, and legitimize the emerging genre as serious literature to the public. [15] Tragedies such as Hamlet, Macbeth, King Lear, Romeo and Juliet, and Richard III, with plots revolving around the supernatural, revenge, murder, ghosts, witchcraft, and omens, written in dramatic pathos, and set in medieval castles, were a huge influence upon early Gothic authors, who frequently quote, and make allusions to Shakespeare's works. [16] Clarke, Micael M. (2011). "Charlotte Brontë's "Villette", Mid-Victorian Anti-Catholicism, and the Turn to Secularism". ELH. 78 (4): 967–989. doi: 10.1353/elh.2011.0030. ISSN 0013-8304. JSTOR 41337561. S2CID 13970585.Hillard, Tom. "'Deep Into That Darkness Peering': An Essay on Gothic Nature". Interdisciplinary Studies in Literature and Environment, 16 (4), 2009. 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]