How does Northanger Abbey satirise gothic literature?

The novel, ‘Northanger Abbey’, is a satire of gothic literature written by Jane Austen between 1798 and 1799 during the era when gothic literature and romanticism were very popular. The novel is a direct parody of Ann Radcliffe’s ‘Mysteries of Udolpho’ and several other popular authors at the time as a means for Austen to criticise the lack of sensibility displayed in gothic novels. It is through her use of typical gothic elements and archetypes, the anti-climactic climaxes, and the false looming danger and mystery that Austen parodies both Radcliffe’s characters and tone as a means of satirising the gothic genre.

Austin displays several gothic elements in ‘Northanger Abbey’, however these elements are really only a figure of Catherine’s delusions. The setting of an old abbey and the innocent heroine pursued by the aristocratic villain with a dark secret are satirised for their typical use to build suspense and tension in gothic novels. Although Catherine perceives Northanger Abbey to be haunted and mysterious, it is far from so; “Its long, damp passages, its narrow cells and ruined chapel, were to be within her daily reach[…]To an imagination which had hoped for the smallest divisions, and the heaviest stone-work, for painted glass, dirt and cobwebs, the difference was very distressing.”(Austen, 1817).

Similarly, she places General Tilney in the archetype of the stereotypical gothic villain believing him to be “an unkind husband”(Austen, 1817) who “did not love her (his wife’s) walk”(Austen, 1817), and therefore could not have loved her. However, she is then proven to be wrong when confronted by Henry Tilney who states that, “You have erred in supposing him not attached to her. He loved her, I am persuaded, as well as it was possible for him to.” (Austen, 1817).

Instead of the looming disaster expected in a gothic novel, Austen uses these elements to satirise the genre. She personifies the public through Catherine Morland when she says, “It had been all a voluntary, self-created delusion, each trifling circumstance receiving importance from an imagination resolved on alarm, and everything forced to bend to one purpose by a mind which, before she entered the Abbey, had been craving to be frightened.” (Austen, 1817). Austin uses Catherine to mock how the public will dissolution themselves to be frightened even when there is no present danger.

It is through Catherine’s errors and foolishness that Austen mocks the traditional heroine of a gothic text. Although she is the heroine, Catherine is always referred to as having “nothing heroic about her” (Austen, 1817) and is often seen as being immature and naïve. Austen denies her the traits associated with the female archetype demonstrated in ‘Mysteries of Udolpho’ and other gothic texts as a way of mocking the gothic heroine stereotype of the intelligent, rich, beautiful female protagonist. Catherine is often compared to Emily St Aubert throughout ‘Northanger Abbey’ as a means of further satirising Catherine’s lack of heroistic qualities.

Emily St Aubert is described as “a beautiful young lady” but also having a “lovely personality as well” (Eva De Ridder, 2014). She had a “sensibility [that] gave a pensive tone to her spirts, and a softness to her manner, which added grace to beauty” (Ann Radcliffe as cited in De Ridder, 2014) contrasting Catherine to be exceptionally plain, “occasionally stupid” (Austen, 1817) and having an ability in drawing, music or a foreign language that is “not remarkable” (Austin, 1817).

In addition, Austen parodies both the father and mother figures in gothic texts, saying how Mr. Morland wasn’t “in the least addicted to locking up his daughters” (Austen, 1817), and how his wife “instead of dying in child birth as anybody might expect, she still lived on to see them (her children) grow up around her and to enjoy excellent health herself” (Austen, 1817). This is Austen’s way of satirising the fact that Catherine cannot be a heroine because she hasn’t experienced any death or sorrow like other gothic female protagonists, such as Emily St Aubert.

Austen additionally satirises the suspense and adventure of a gothic novel by creating anti-climactic climaxes throughout her writing. Catherine, in searching for something mysterious at Northanger Abbey, fails to reveal; “her resolute effort threw back the lid and gave to her astonished eyes the view of a white cotton counterpane, properly folded, reposing at one end of the chest in undisputed possession!” (Austen, 1817); “Her fingers grasped the handle of a drawer and drew it forth. It was entirely empty. With less alarm and greater eagerness, she seized a second, a third, a fourth; each was equally empty” (Austen, 1817). In not creating a gothic style climax, Austen mocks not only Catherine and the gothic genre but also the audience that is reading the book. The audience knows that Catherine won’t find anything because there is nothing to find, yet they still await the looming mystery and danger found in gothic novels.

It is through the imagery of the looming danger that Austen increases the tension and anxiety, even though there is none, satirising the gothic perception of danger; “The very curtains of her bed seemed at one moment in motion, and at another the lock of her door was agitated, as if by the attempt of somebody to enter. Hollow murmurs seemed to creep along the gallery, and more than once her blood was chilled by the sound of distant moans.

Hour after hour passed away, […] she unknowingly fell asleep.” (Austen, 1817). The danger is only perceived by Catherine to be so because she wants to feel like the gothic heroines that she reads about. Her imagination is more frightful than the situation and often leads to her looking naïve and foolish such as in the situation when Eleanor Tilney catches her snooping in an old chest; “[…] the rising shame of having harboured for some minutes and absurd expectation, was then added then shame of being caught in so idle a search.” (Austen, 1817). Austen satirises Catherine’s disillusions to convey how people can succumb to foolish fantasies instead of using common sense.

By satirising the parody of gothic literature, Austen shows the need for balance between feelings and reason through the use of Catherine’s disillusions. Catherine is influenced by the books that she reads and, consequently, desires the world around her to be as if she was in a gothic novel. The danger that she perceives is only a figment created by her imagination. However, it causes her to make assumptions that are false, depicting her to be naïve and foolish. Through this, Austen strives to portray the damaging effects of the gothic genre on young minds and how it might influence them to think irrationally. She demonstrates to the audience how, when reading such a book, one must recognise the fiction for what it is, without replicating it in their real lives.

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Women in Gothic Literature

“In Gothic Literature women are often portrayed as characters that actively resist their gender stereotypes” In the light of this comment, discuss the different ways in which Angela Carter in The Bloody Chamber and Charlotte Brontë in Jane Eyre present women in Gothic Literature.

In both Angela Carter’s Gothic collection of short stories, ‘The Bloody Chamber’ and Charlotte Bronte’s Gothic bildungsroman novel, ‘Jane Eyre’, women protagonists are portrayed to defy both physical and psychological stereotypes in society and literature. ‘The Bloody Chamber’ was written during the late 20th century and at the height of the feminist movement; in essence, Carter’s rewriting of classic fairy tales reflected the evolving women’s movement at the time, which called for social and political equality.

‘Jane Eyre’ was written in the Victorian Era, during a time in which women were oppressed and adhered to strict gender stereotypes. Throughout history, women in literature have been portrayed as weak and inferior to men. However, both authors challenge this portraying their female protagonists to gain power in relationships and remain independent, challenging both physical and psychological stereotypes.

Both authors present their female protagonists to be independent, challenging the stereotype view that women are dependent on men to survive. Literature pre-18th Century and the first wave of gothic literature presented women more like damsels in distress rather than heroines. This mirrored society whom often perceived women in need of men for support. Modern gothic literature, however, began to challenge this. Carter’s eponymous story, ‘The Bloody Chamber’ is a rewriting of the French folktale ‘Bluebeard’; This story is of a nobleman who murders his wives in a small room of his archetypal gothic castle.

The narrator and the protagonist is a young girl “tricked into betrayal”, however, ironically the young girl is saved by her mother, in contrast to the original in which the protagonist is heroically saved by her brother. Like a typical gothic story, the heroine is introduced as the trapped princess, imprisoned between the cold walls of the old castle, forbidden to access one room, the bloody chamber. Ultimately this proves to be a test of her obedience and the young girl’s curiosity is punished and the result is near death. Hover, she is saved by her mother. The mother, “without hesitation, raised [the] father’s gun, took aim and put a bullet through [the] husband’s head”.

Rachel Fletcher questions that the weapon “belonging to her father, suggests that she is still in need of her father’s protection, [reaffirming] the tradition of the father as head of the family” . However, when the girl’s father “never returned from the wars”, her mother had no choice to but to fulfil the role of her father. The melodramatic description of the mother on horseback is unquestionably masculine.

She is portrayed as a “wild thing”, “legs exposed”, holding the gun in hand. The mother states that she knew her daughter was at risk as a result of “maternal telepathy”. This gives women an almost supernatural strength in something that would usually be used to suppress them. Subsequently, Carter presents mothers to have an advantage over fathers and therefore in some way superior. Carter’s subversive reworking of the typical ‘man saves woman’ story, portrays that women are just as capable of “[raising the gun]”, and not the vulnerable character their stereotype suggests.

This is also seen in Carter’s ‘The Courtship of Mr. Lyon’, a reworking of the traditional tale of ‘Beauty and the Beast’. However, in contrast to the original, it is the female which rescues the male; thus, the reversal of roles shows females to not only be independent but for men even to be reliant on women. After having found wealth in London, the female protagonist, Beauty, returns to the Beast – Mr. Lyon; who without beauty, “could not eat” or “go hunting” and feebly waited for death.

The metamorphic portrayal of the man, as an animal and something to be feared, satirises male chauvinism, which is undermined as he becomes less beast-like in his ability to hunt and kill. Carter’s pathetic portrayal of the beast seems to mock the depiction of the man reliant on a woman. As Beauty saves the Beast she tamed his bestial nature and he is transformed into a human male. Therefore, proving that the female protagonist’s in Carters tales are not reliant on men to protect them and are even capable of saving the men.

Like Carter, Bronte also presents Jane Eyre to be independent, in a sense that she is not reliant on a male to survive. However, Eyre is presented as financially independent. During the 19th Century, Victorian women had to endure inequality within marriage and society, whilst men had more stability and financial status. Subsequently, the Victorian woman was often heavily financially reliant on the husband.

In the novel, after the revelation of Rochester’s legal wife, Jane decides to leave, choosing independence over richness. Weeks passed, and yet despite Jane being “much exhausted, and suffering greatly” she refuses to return to the “bed [she] had left”. Instead, Jane sleeps “on the cold, drenched ground” as the “rain descends”. Bronte uses pathetic fallacy to portray the penetrating wind and rain reflect her discomfort and emphasise Jane’s sombre state of mind. This further highlights Jane’s independence, despite great discomfort Eyre refuses to rely on a man to make it better. As a bildungsroman novel, the changes of emotions and maturity of identities as Jane Eyre struggles through her hardship is evident. As the novel progresses Jane works her way up to a governess – one of the few jobs women could have in the Victorian Era – and earns her own money. Eventually, Jane returns to Mr. Rochester. Patrick Kelleher argues that “[Jane’s] acceptance of Rochester sends out a very clear, and very sad message to all readers of this novel; Jane could not overcome her circumstances. She could not thrive independently, because a nineteenth-century woman of her social stature could not be in a position to do so”. However, it is obvious she is not returning out of desperation as Kelleher suggests. After circumstances change, and Janes fortunes change, Jane is able to return to Rochester as an equal. The return is not because she could not thrive on her own or lack of control, but the complete opposite. Jane returns, as his “second self, and best earthly companion”, because she loves Rochester rather than because she depends on him. In both, the female is independent and not reliant on a male to solve the problem, like their gender stereotypes, suggest they should.

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Elements of Gothic Literature

The novel was invented almost single-handedly by Horace Walpole, whose The Castle of Otranto (1764) contains essentially all the elements that constitute the genre. Walpole’s novel was imitated not only in the eighteenth century and not only in the novel form, but it has influenced writing, poetry, and even film making up to the present day. It introduced the term “gothic romance” to the literary world. Due to its inherently supernatural, surreal and sublime elements, it has maintained a dark and mysterious appeal. However, the roots of the Gothic? precede the Gothic? works of Horace Walpole.

Horace Walpole, creator of the Gothic genre, initiated this style by writing his book ‘The Castle of Otranto’.

The focus on the grotesque in the medieval period (visible especially in the paintings and architecture of the period) provides a key backdrop against which Gothic must be read, as do the violent and often grotesque tragedies written for the Elizabethan and Jacobean theatre, with their detailed, almost surgical exploration of the supernatural, vice, corruption, imprisonment, brutality and sexuality, all of which were to provide the very substance of the Gothic authors. (Note particularly ‘Macbeth? and ‘Dr Faustus?) Gothic literature is devoted primarily to stories of horror, the fantastic, and the “darker” supernatural forces.

These forces often represent the “dark side” of human nature— irrational or destructive desires. Gothic literature derives its name from its similarities to the Gothic medieval cathedrals, which feature a majestic, unrestrained architectural style with often savage or grotesque ornamentation (the word “Gothic” derives from “Goth,” the name of one of the barbaric Germanic tribes that invaded the Roman Empire). The Gothic genre (in both literature and architecture) is therefore associated with savagery and barbarism.

Generally speaking, gothic literature delves into the macabre nature of humanity in its quest to satisfy mankind’s intrinsic desire to plumb the depths of terror.

The key features of a gothic novel are:

  1. the appearance of the supernatural,
  2. the psychology of horror and/or terror,
  3. the poetics of the sublime,
  4. a sense of mystery and dread
  5. the appealing hero/villain,
  6. the distressed heroine, and
  7. strong moral closure (usually at least).

Gothic novels combine elements of horror and romanticism. Here is a list of some common elements of gothic literature:

Elements of the Gothic in Texts

1. Setting in a castle or haunted house. The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied.

The castle often contains secret passages, trap doors, secret rooms, dark or hidden staircases, and possibly ruined sections. The castle may be near or connected to caves, which lend their own haunting flavour with their branchings, claustrophobia, and mystery. (Translated into modern filmmaking, the setting might be in an old house or mansion–or even a new house–where unusual camera angles, sustained close ups during movement, and darkness or shadows create the same sense of claustrophobia and entrapment. ) It is usually a dwelling that is inhabited by or visited regularly by a ghost or other supposedly supernatural being.

Example: Horace Walpole’s The Castle of Otranto. Walpole’s novel first introduced to gothic literature its single most influential convention, the haunted castle. The castle is the main setting of the story and the centre of activity. Cemetery /Graveyard. A cemetery defines a place which is used for the burial of the dead. Cemeteries are widely used in Gothic Literature as oftentimes frightening places where revenance can occur. Catacombs are especially evocative Gothic spaces because they enable the living to enter below ground a dark labyrinth resonating with the presences and mysteries of the dead.

2. The Weather is used in a number of ways and forms, some of these being:

  • Mist – This convention in Gothic Literature is often used to obscure objects (this can be related to the sublime) by reducing visibility or to prelude the insertion of a terrifying person or thing;
  • Storms – These frequently accompany important events. Flashes of lightning accompany revelation;
  • thunder and downpours prefigure the appearance of a character or the beginning of a significant event (eg thunder precedes the entrance of the witches in ‘Macbeth?;
  • Sunlight – represents goodness and pleasure; it also has the power to bestow these upon characters.

3. An atmosphere of mystery and suspense. (or a sense of dread)

The work is pervaded by a threatening feeling, a fear enhanced by the unknown. Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event eg. Ghosts walking or a painting coming to life. There may be an ancient prophecy connected with the castle or its inhabitants. It is usually obscure, partial or confusing.

This serves to captivate the reader and encourage further reading. The atmosphere may also be seen acting upon the protagonists in texts, influencing them by exciting their curiosity or fear.

4. Claustrophobia / Entrapment & Imprisonment: A favourite horror device of the Gothic finds a person confined or trapped, such as being shackled to a floor or hidden away in some dark cell or cloister. This sense of there being no way out contributes to the claustrophobic psychology of Gothic space. It consists of an abnormal dread of being confined in a close or narrow space.

Often ttributed to actual physical imprisonment or entrapment, claustrophobia can also figure more generally as an indicator of the victim’s sense of helplessness or horrified mental awareness of being enmeshed in some dark, inscrutable destiny

5. The supernatural may be intrinsic to the plot.

This is generally in the form of some kind of supernatural being or object, such as a vampire, witch, devil or ghost, which is frightening due to its refusal to adhere to the laws of nature, God or man. In ‘Macbeth? there are three witches. Dr Faustus communicates with a demon and indirectly with Lucifer. All of ‘Paradise Lost? involves the supernatural.

6. Dreams, omens, portents, visions.

Dreaming is characterised as a form of mental activity that takes place during the act of sleep. Dreams invoke strong emotions within the dreamer, such as ecstasy, joy and terror. Dreams dredge up these deep emotions and premonitions that reflect tellingly upon the dreamer, what one might conceal during waking hours but what emerges in sleep to haunt and arouse the dreamer. It is most likely due to this heightened emotional state that dreams are used so often within Gothic Literature.

By invoking dream states within their characters, authors are able to illustrate emotions on a more unmediated and, oftentimes, terrifying level. Dreams reveal to the reader what the character is often too afraid to realise about himself or herself. Dreaming also has an ancient relation with the act of foretelling wherein the future is glimpsed in the dream state. Perhaps the most famous Gothic example of significant dreams occurs in Shelley’s ‘Frankenstein? after Frankenstein ‘awakes’ his creature: he falls into a dream state that begins with his kissing of Elizabeth, his love.

However, this kiss changes her in the most drastic way as she transforms into the rotting corpse of Caroline, Victor’s dead mother. Upon awakening from this horrifying dream, Victor finds himself staring into the face of the monster he has created. Interpretations of this dream lead to explorations of Frankenstein’s psyche, relational ability and sexuality. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death.

In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an “imitation vision. ” Banquo in ‘Macbeth? dreams of the ‘weird sisters?. Lady Macbeth?s suppressed guilt emerges when she is seen sleepwalking.

7. The stock characters of Gothic fiction include tyrants, villains, bandits, maniacs, Byronic heroes, persecuted maidens, femmes fatales, madwomen, magicians, vampires, werewolves, monsters, demons, angel, fallen angel, the beauty and the beast, revenants, ghosts, perambulating skeletons, the Wandering Jew, and the Devil himself.

8. Villain-Hero (Satanic, Promethean, Byronic Hero)

The villain of a story who either:

  1. poses as a hero at the beginning of the story or
  2. simply possesses enough heroic characteristics (charisma, sympathetic past, etc) so that either the reader or the other characters see the villain-hero as more than a simple charlatan or bad guy.

Three closely related types exist: Satanic Hero: a Villain-Hero whose nefarious deeds and justifications of them make him a more interesting character than the rather bland good hero.

Example: The origin of this prototype comes from Romantic misreading of Milton’s Paradise Lost, whose Satan poets like Blake and Shelley regarded as a far more compelling figure than the moralistic God of Book III of the epic. Gothic examples: Beckford’s Vathek, Radcliffe’s Montoni, and just about any vampire. Promethean: a Villain-Hero who has done good but only by performing an over-reaching or rebellious act. Prometheus from ancient Greek mythology saved mankind but only after stealing fire and ignoring Zeus’ order that mankind should be kept in a state of subjugation.

Mary Shelley’s Frankenstein is tellingly subtitled the “Modern Prometheus. ” Consider whether Dr Faustus is a Promethean hero. (The vaulting arches and spires of Gothic cathedrals reach wildly to the sky as if the builders were trying to grasp the heavens , an ambition for the eternal that is likewise expressed in many works of Gothic literature (consider Manfred’s quest for supernatural power in Byron’s poem, or Frankenstein’s quest to become godlike by creating life or Dr. Faustus pact – offering his soul for 24 years of power).

Byronic Hero: a later variation of the “antithetically mixed” Villain-Hero. Aristocratic, suave, moody, handsome, solitary, secretive, brilliant, cynical, sexually intriguing, and nursing a secret wound, he is renowned because of his fatal attraction for female characters and readers and continues to occasion debate about gender issues. Example: Byron’s Childe Harold and, more gothically, Manfred are the best examples, but this darkly attractive and very conflicted male figure surfaces everywhere in the 19th and 20th century gothic eg Heathcliff or Wilde?s Dorian Gray.

Byron himself was described as “mad, bad and dangerous to know. ” The Byronic hero in literature and life: A. Robin Hood B. Richard III C. Iago D. Faust/ Dr. Faustus E. Milton’s Satan F. Victor Frankenstein G. Frankenstein’s Creature H. Dracula I. Byron?s Manfred J. Cain K. Lara L. Conrad M. Childe Harold N. Byron, Shelley O. Ambrosio P. Peter Quint Q. Miss Jessel R. Stalin S. Hitler T. The Unabomber U. Prometheus

9. The Pursued Protagonist

This refers to the idea of a pursuing force that relentlessly acts in a severely negative manner on a character.

This persecution often implies the notion of some sort of a curse or other form of terminal and utterly unavoidable damnation, a notion that usually suggests a return or “hangover” of traditional religious ideology to chastise the character for some real or imagined wrong against the moral order. The Wandering Jew is perhaps the archetypically pursued/pursuing protagonist. –Drew McCray

10. Pursuit of the Heroine

This is the pursuit of a virtuous and idealistic (and usually poetically inclined) young woman by a villain, normally portrayed as a wicked, older but still potent aristocrat.

While in many early Gothic novels such a chase occurs across a Mediterranean forest and/or through a subterranean labyrinth, the pursuit of the heroine is by no means limited to these settings. This pursuit represents a threat to the young lady’s ideals and morals (usually meaning her virginity), to which the heroine responds in the early works with a passive courage in the face of danger; later gothic heroines progressively become more active and occasionally effective in their attempts to escape this pursuit and indict patriarchy. eg. Angela Carter?s ‘The Bloody Chamber. ?

Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times.

Women threatened by a powerful, impulsive, tyrannical male. One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime.

11. The Outsider: The one theme that cuts through virtually all Gothic is that of the “outsider,” embodied in wanderers like Frankenstein’s creature.

Gothic fiction is concerned with the outsider, whether the stationary figure who represses his difference, or the wandering figure who seeks for some kind of salvation, or else the individual who for whatever reason- moves entirely outside the norm. In any event, he is beyond the moderating impulses in society, and he must be punished for his transgression. He is gloomy and melancholy, full of self-pity and self-hatred. Like Cain, he is the perpetual outsider, marked by his appearance, doomed to wander the four corners of the earth, alone and reviled.

It may be argued that Frankenstein himself becomes an outsider as he grows more and more like his creation. . While the society at large always appears bourgeois in its culture and morality, the Gothic outsider is a counterforce driven by strange longings and destructive needs. While everyone else appears sane, he is insane; while everyone else appears bound by legalities, he is trying to snap the pitiless constrictions of the law; while everyone else seems to lack any peculiarities of taste or behaviour, he feels only estrangement, sick longings, terrible surges of power and devastation.

Take for example, Heathcliff in ‘Wuthering Heights?

12. Possession

The popularity of belief in demonic possession seems to have originated within Christian Theology during the Middle Ages. During this time, Christians lived in fear concerning the war being waged between God and the Devil over every mortal soul. Hence, this fear of possession seemed to culminate into an act that could be viewed by the mortal eye. This act is defined as the forced possession of a mortal body by the Devil or one of his demons.

There are two types of possession and either can be voluntary or involuntary. Voluntary possession seems to involve a willing exchange in the form of some compact between evil spirit and mortal, often involving wealth, power or goods (eg. The pact Faustus makes); involuntary possession occurs when the devil randomly selects an unwitting host. The two types of possession consist of the transference of the Devil or demon directly into the mortal body or the sending of the Devil or demon into the body by a third party, usually a mortal dabbler in the dark arts.

Following the act, the possessed is said to show many symptoms including abnormal strength, personality changes, fits, convulsions, bodily odours resembling sulphur, lewd and lascivious actions, the ability to levitate, the ability to speak in tongues or the ability to foretell future events. Many religions acknowledge the act of possession still today, most notably the Catholic Church. There seem to be three ways in which to end a possession.

13. Revenance

This is the return of the dead to terrorise or to settle some score with the living.

14. Revenge

Revenge is characterized as the act of repaying someone for a harm that the person has caused; the idea also points back generically to one of the key influences upon Gothic literature: the revenge tragedies of Elizabethan and Jacobean drama. Revenge may be enacted upon a loved one, a family member, a friend, an object or even an area. Within Gothic Literature, revenge is notably prominent and can be enacted by or upon mortals as well as spirits.

Revenge can take many forms, such as harm to body, harm to loved ones, and harm to family. The most Gothic version of revenge in Gothic Literature is the idea that it can be a guiding force in the revenance of the dead. 15. Unreliable Narrator A narrator tells a story and determines the story?s point of view. An unreliable narrator, however, does not understand the importance of a particular situation or makes an incorrect conclusion or assumption about an event that he/she witnesses.

An important issue in determining the The Turn of the Screw.

16. Multiple Narrative/Spiral Narrative Method

The story is frequently told through a series of secret manuscripts or multiple tales, each revealing a deeper secret, so the narrative gradually spirals inward toward the hidden truth. The narrator is often a firstperson narrator compelled to tell the story to a fascinated or captive listener (representing the captivating power of forbidden knowledge). (Note ‘Wuthering Heights?)

17. High, even overwrought emotion.

The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. In the filmed gothic, screaming is common.

18. The Sublime: The definition of this key term has long been a contested term, but the idea of the sublime is essential to an understanding of Gothic poetics and, especially, the attempt to defend or justify the literature of terror.

Put basically (and this really is basic – a fuller understanding of the Sublime would be useful to students of Wordsworth or any Gothic Literature), the Sublime is an overpowering sense of the greatness and power of nature, which can be uplifting, aweinspiring and terrifying, caused by experience of beauty, vastness or grandeur. Sublime moments lead us to consider the place of humanity in the universe, and the power exhibited in the world.

19. Darkness as intrinsic to humanity: Generally speaking, gothic literature delves into the macabre nature of humanity in its quest to satiate mankind’s intrinsic desire to plumb the depths of terror.

20. Necromancy

This is the black art of communicating with the dead. This is usually done to obtain information about the future, but can also be used for other purposes, such as getting the dead to perform deeds of which humans are not capable. The conjurer often stood in a circle, such as a pentagram, in order to protect himself from the dead spirit, yet he was often overpowered by the spirit. Examples: The most famous examples of necromancy can be found in literary renditions of the Faust legend, from Marlowe to Johann Wolfgang von Goethe to Byron with his Manfred.

In these works, Faust not only speaks with the devil in order to strike a deal but necromantically invokes various dead, famous figures from the past for his amusement and edification.

21. Blood – This is a prominent symbol in Gothic works often intimating the paradox of the human condition; blood can represent both life and death, or both guilt (e. g. , murder) and innocence (e. g. , redemptive blood). Consider references to blood in ‘Macbeth?, Byron’s Manfred and Mary Shelley’s Frankenstein.

22. Marriage as Resolution: The importance of marriage in this scheme cannot be overstated. Not only does movement toward matrimony in the Gothic’s present trigger the appearance of the buried past, but that buried past itself always contains information tied to the institutions of matrimony or family interest. 23. Sadism : The word “sadism” was coined to describe the writings of Donatien-AlphonseFrancois, the Marquis de Sade. Sadism is a sexual perversion where one person gains gratification by inflicting physical or mental pain on others.

It can also mean a delight in torment or excessive cruelty. (Heathcliff in ‘Wuthering Heights? / or the husband in ‘The Bloody Chamber?. 24. Strong Moral Closure: If de Sade is to be believed, the Gothic genre arose as a response to the brutality and bloodiness of Romantic society, and it as part of this response that Gothic fiction usually contains a strong moral. 25. The metonymy of gloom and horror. Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow).

For example, the film industry likes to use metonymy as a quick shorthand, so we often notice that it is raining in funeral scenes. Note that the following metonymies for “doom and gloom” all suggest some element of mystery, danger, or the supernatural. wind, especially howling doors grating on rusty hinges footsteps approaching lights in abandoned rooms characters trapped in a room ruins of buildings thunder and lightning rain, especially blowing sighs, moans, howls, eerie sounds clanking chains gusts of wind blowing out lights doors suddenly slamming shut aying of distant dogs (or wolves? ) crazed laughter

26. The vocabulary of the gothic.

The constant use of the appropriate vocabulary set creates the atmosphere of the gothic.

Here as an example are some of the words (in several categories) that help make up the vocabulary of the gothic in The Castle of Otranto: Mystery diabolical, enchantment, ghost, goblins, haunted, infernal, magic, magician, miracle, necromancer, omens, ominous, portent, preternatural, prodigy, prophecy, secret, sorcerer, spectre, spirits, strangeness, talisman, vision Fear, Terror, or Sorrow fflicted, affliction, agony, anguish, apprehensions, apprehensive, commiseration, concern, despair, dismal, dismay, dread, dreaded, dreading, fearing, frantic, fright, frightened, grief, hopeless, horrid, horror, lamentable, melancholy, miserable, mournfully, panic, sadly, scared, shrieks, sorrow, sympathy, tears, terrible, terrified, terror, unhappy, wretched Surprise alarm, amazement, astonished, astonishment, shocking, staring, surprise, surprised, thunderstruck, wonder Haste anxious, breathless, flight, frantic, hastened, hastily, impatience, impatient, impatiently, impetuosity, precipitately, running, sudden, suddenly

Anger anger, angrily, choler, enraged, furious, fury, incense, incensed, provoked, rage, raving, resentment, temper, wrath, wrathful, wrathfully Largeness enormous, gigantic, giant, large, tremendous, vast.

27. Elements of Romance

In addition to the standard gothic aspects, many gothic novels contain elements of romance as well.

Elements of romance include these:

  • Powerful love

Heart stirring, often sudden, emotions create a life or death commitment. Many times this love is the first the character has felt with this overwhelming power. Uncertainty of reciprocation. What is the beloved thinking?

Is the lover’s love returned or not?

  • Unreturned love

Someone loves in vain (at least temporarily). Later, the love may be returned. Tension between true love and father’s control, disapproval, or choice. Most often, the father of the woman disapproves of the man she loves.

  • Lovers parted

Some obstacle arises and separates the lovers, geographically or in some other way. One of the lovers is banished, arrested, forced to flee, locked in a dungeon, or sometimes, disappears without explanation. Or, an explanation may be given (by the person opposing the lovers’ being together) that later turns out to be false.

  • Gothicism

In literary criticism, this refers to works characterised by a taste for the medieval or morbidly attractive. A gothic novel prominently features elements of horror, the supernatural, gloom, and violence: clanking chains, terror, charnel houses, ghosts, medieval castles, and mysteriously slamming doors. The term “gothic novel” is also applied to novels that lack elements of the traditional Gothic setting but that create a similar atmosphere of terror or dread. Mary Shelley’s Frankenstein is perhaps the best-known English work of this kind.

  • Grotesque
  1. This term originated from oddly shaped ornaments found within Roman dwellings, or grottoes, during the first century. From a literary standpoint, this term implies a mutation of the characters, plants and/or animals. This mutation transforms the normal features and/or behaviours into veritable extremes that are meant to be frightening and/or disturbingly comic (Cornwell 273).
  2. The term grotesque also defines a work in which two separate modes, comedy and tragedy, are mixed. The result is a disturbing fiction wherein comic circumstances prelude horrific tragedy and vice versa.

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To what extent can Lady Macbeth be seen as a female gothic protagonist at the start of the play?

At first meeting, Lady Macbeth appears to us as a ruthless predator, an emancipated woman driven by an all-consuming passion and displaying perfectly, the antithesis of womanhood. She has, it seems, acquired all the necessary requirements to fill the role of a female gothic protagonist. Whether or not she utilises these factors to the full extent and can really be called the protagonist will be discussed in further detail.

Her character is not unveiled until Act I Scene V where, with the use of three speeches, she exposes the workings of her mind and lay it out for the audience. Her second speech displays perfectly the idea of Lady Macbeth as a ruthless predator. She calls on the supernatural to ‘unsex me here, And fill me from the crown to the toe top-full Of direst cruelty!’ She asks them to ‘Stop up the access and passage to remorse’ and to ‘make thick’ her blood. Here she displays a woman incapable of any feelings of love or amity, but it is important to think of her before she makes this request. If it is necessary for her to ask for the remittal of her remorse, then she must have had the ability to feel such feelings beforehand. We are given no background information on this woman and it is therefore difficult to say if she was always like this or whether it was Macbeth’s letter that changed her; this appeal she makes is one of few insights into her possible mind-set as Lady Macbeth before the play.

Her status as a woman who displays the antithesis of womanhood can hardly be doubted, but Lady Macbeth would not have publicised these feelings. We know this from her relation with Duncan who refers to her as ‘our honoured hostess.’ The King of Scotland would hardly encourage a woman to act the way Lady Macbeth does on the audience’s initial meeting with her. Indeed, Lady Macbeth is a woman changed entirely when in the presence of people of such high status. She appears to be a domesticated woman, one happy to be at home while her husband goes out to war to serve as a loyal citizen. And yet, we know otherwise. In her second speech, she refers to her home as ‘my battlements.’ This presumption of hers, this idea that she should own her home and not her husband would have been a farcical one.

The most menacing speeches uttered by Lady Macbeth occur not just when she summons iniquity, but when she does so with a language that refutes and distorts her maternal nature. In her second speech, she speaks to these ‘spirits’ and asks that they ‘come to my woman’s breasts, And take my milk for gall…’ This line turns this universally natural feature of womanhood into something dark and troubling. Adding to this, the suggestion of changing a mother’s milk, what she feeds her children on, to poison, is a disgusting one. Further on in the play, Shakespeare manipulates this perversion of motherhood again when Lady Macbeth conveys a fantasy of infanticide:

‘I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out…’

This horrific image is so against the searing love a mother feels for her child, that it is impossible for the reader to accept that Lady Macbeth fully comprehends firstly, what she is saying and secondly, that maternal love despite her previous statement of ‘I know how tender ‘tis to love the babe that milks me…’

However, Shakespeare has allowed the reader room for doubt. While we are certain that Lady Macbeth is a woman depraved of all the typical qualities of a homemaker, we do see a potential insight into the Macbeth’s sexual relations and Lady Macbeth’s ‘duty’ as a wife. Here, it appears she abides but it does become apparent that it is her who leads the way. Our insight into this idea is in her first speech where she talks of ‘pour[ing] my spirits in thine ear; And chastis[ing] with the valour of my tongue.’ The suggestion here that Lady Macbeth can impress things on her husband through the use of sex, would have been a shocking one. So while these sexual insinuations suggest the ‘wife’ side of Lady Macbeth, the knowledge that she can manipulate him as such, is once again the perfect display of the antithesis of womanhood.

The gothic impact of Lady Macbeth’s indiscretion has less to do with her demonic entreaties, but rather more so with the reversals of her female nature, which show how willing she is to contemplate and fulfil her ambition for power. While certain aspects of her speech allow the reader to imagine her, for a second, as a woman happy to live and serve as a reclaimed wife, her ability to twist and distort words and ideas disallow the audience to hold these thoughts for long. This amalgamation of supernatural desires and her willingness to abandon her sex create, for the reader, a potent force of evil and the perfect female, gothic protagonist.

disparagingly of her husband’s ‘human kindness’ but she summons demonic powers with her invocation: ‘Come, you spirits, / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty’ (1.5.38-41). She continues in similar vein: ‘Come to my woman’s breasts, / And take my milk for gall’ (1.5.45-46). Her communing with the forces of darkness is expressed in terms that seek to remove the ‘compunctious visitings’ of her female nature. Later, in one of the play’s most disturbing images, Lady Macbeth expresses a fantasy of infanticide:

I have given suck, and know

How tender ‘tis to love the babe that milks me.

I would, while it was smiling in my face,

Have pluck’d my nipple from his boneless gums

And dashed the brains out

However, when it comes to her manipulation of Macbeth, she adopts the powerful weapon of sexual taunting:

Art thou afeard

To be the same in thine own act and valour

As thou art in desire?

When you durst do it, then you were a man.

Lady Macbeth’s evil allows her at one and the same time to deny her maternal nature and to control her husband by invoking her sexuality. It is this capacity to

distort her female identity to gain her political ends that makes Lady Macbeth at once a potent force for evil and a transgressive figure of the female gothic.

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Romanesque and Gothic Architecture

Romanesque architecture between 800 and 1150AD was popular in Western Europe which so rose to the Gothic manner. Pre-Romanesque manner developed by utilizing elements of Roman design in the Christian churches in the provinces of Western Europe. By the terminal of the pre-Romanesque period Roman elements had fused with Byzantium elements from the Middle East, these influences became known as the Romanesque, intending “in the mode of Rome ” .

The visual aspect of the Romanesque manner was multi storey entryway frontages of geometric visual aspect edifices. Rock was a really popular stuff used in the edifices. Huge vaults and arches was one of the chief features of the clip. Masonry overleaping since the beginning of Christian architecture had merely been used in edifices of comparatively little graduated table. Romanesque churches, on the other manus, sustained monolithic barrel vaults, doing it mandatory to reenforce the supporting walls in order to transport the sidelong outward push. The frequent presence of galleries above the aisles, sometimes with half-barrel vaults, is in all chance rooted in structural considerations connected with the job of abutment. The usage of wall gaps to a lower limit, due to the same concern, contributed to the sober yet gravely impressive character of the visible radiation. Each person edifice has a clearly definite signifier which frequently consists of really regular and symmetrical programs so the overall visual aspect is known as a signifier of simpleness. Romanesque architecture chiefly depends on its walls which are known as wharfs. Piers are subdivisions of the wall that appear largely at the intersection of two big arches, which are those traversing under the nave and the transept which is ever in a round form, each arch is supported on its ain supporting rectangular wharf which is found at each right angle. Most of the edifices are largely made from wooden roofs, largely of a simple truss, tie beam or king station signifier. When the instance of tied balk roofs occurs they will so be lined with wooden ceilings. The most of import characteristic of Romanesque churches was the towers. Romanesque church frontages were ever built to confront the west terminal of the edifice and are normally symmetrical and has a big cardinal room access made largely by its castings or porch and a agreement of arched-topped Windowss which can be seen above the room access. In Italy there is a individual cardinal eyepiece window which is most likely known as the most common cosmetic characteristic, every bit good as the arcading.

One of the most of import structural developments of the Romanesque epoch was the vault. Originally intended as an option to fire prone wooden roofs, vaults became a major invention in architectural characteristics. The cross vault was used throughout Europe even though it was heavy and hard to build so therefore it was replaced with the rib and panel vault.

The Church I chose the Sant’Ambrogio was originally built during the 4th Century but was excavated beneath the bing edifice. With the West confronting fa & A ; ccedil ; ade, the usage of vaulting is clearly seen throughout the church, down either side of the isle and taking to the nave. Although rock is non the chief stuff used it can be seen in certain facets of the church. The big cardinal portal includes carvings.

Gothic architecture, known at the clip as the Gallic manner, started in the first half of the 12th century and continued good into the 16Thursdaycentury. Gothic architecture was made up from the old architectural genre, Romanesque. For the most of import portion, there was no difference between the two, as there was later to be in Renaissance  Florencewith the sudden Restoration of the Classical manner by Brunelleschi which came from the early 15th century. Finally Gothic architecture was brought south to Italy by the Gallic.

The Style characteristics include those of thepointed arch, theribbed vaultand thewinging buttresstraceried Windowss. The thin walls, slender columns, and the really big countries of glass in Gothic edifices gave an feeling of elation. It consisted of a cardinal nave flanked by aisles, with or without transept, and was finished by a choir surrounded by an ambulatory with chapels. The ribs which held up the vaults were aligned to do a form of a diamond on the ceilings. These elements were nevertheless no longer treated as individual units but were decently integrated within a united spacial strategy. The exterior position was largely dominated by the twin towers. The frontage was pierced by room accesss frequently decorated with varies sculptures and at a higher degree appeared a cardinal stained glassrose window. Due to the outward force per unit area of the vaults at that place became a demand for buttresses. Windows were really of import in the churches. Each stained glass had a message in it which was taken from a bible piece to go through across a message. Gothic architecture is alone in many different ways but largely by its usage of stuffs. Regional influences played a immense function in the design fluctuations and penchants for the different edifice stuffs. While inFrancethe most common stuffs used were limestone,Englandwitnessed a great usage of ruddy sandstone and coarse limestone with marble which was known as Purbeck architectural characteristics. Similarly, while in Northern Germany and the Baltic states, the tradition was that of chiefly utilizing bricks, inItaly, the most preferable stuff was marble. Timber was besides one of the stuffs used, which is seen in the hammer-beam ceilings and balks.

Some of the structural inventions included, the usage of a reenforcing block or wall of masonry adding support to the great vaults & A ; arches. Moulded or otherwise decorated set or series of sets around an gap of an arch. Supportive arch constructed within a wall, frequently above an architrave, functioning to absorb weight upon a passageway or portal below.

Notre doll in Paris is one of the finest illustrations of churches in the Gothic period. Its sculptures andstained glassdemo the heavy influence ofnaturalism. It was among the first edifices in the universe to utilize thewinging buttress. The edifice was non originally designed to include the winging buttresses around thechoirandnave. After the building began and the dilutant walls grew of all time higher, stress breaks began to happen as the walls pushed outward. In response, the cathedral ‘s designers built supports around the outside walls, and subsequently add-ons continued as such. Besides the forepart holding two towers popular of Gothic manner every bit good as the popular cardinal stained glassrose window.

Romanesque and Gothic Architecture is really similar in many signifiers, even though they are really similar in many facets they besides have their ain features. Gothic Architecture did acquire most of its signifiers from the Romanesque country, things like vaults and arches although they were evolved to be used in Gothic edifices.

Similarities between Gothic and Romanesque includes, the usage of the arch which was foremost seen in the Romanesque churches throughout Europe and so subsequently in Gothic edifices but had been adjusted to a more pointed arch compared to the rounded Romanesque signifier. Another signifier found both in Romanesque and Gothic architecture is the towers although really irregular in Romanesque they were a signifier of asymmetrical balance in Gothic architecture. Besides the usage of rock as a stuff was besides started during the Romanesque period and continued into the Gothic clip such as lumber used for the roof trusses. Another characteristic would be the usage of columns, used in both types of architecture they were changed from the Romanesque to gothic. The multi narrative Facades were used in both Romanesque and Gothic architecture. Vaulting used during these periods were started with the rib and panel vault in the Gothic period but so perfected during the Gothic period with the split vault. The rose or wheel Windowss started doing an visual aspect in during Romanesque clip but the concluding cardinal rose window was perfected above the chief entryway door normally confronting to the West ( started during Romanesque ) during the Gothic period.

Each of these epochs had their ain structural inventions that changed the manner designers and builders designed and built the edifices and most can even be seen in architecture today. One of the most of import being the vault created during the Romanesque clip but altered and perfected during the Gothic period. The Gothic period brought the usage of Masonry in walls to make support in the vaults and arches.Romanesque was designed to be more for protective intents than for any aesthetic quality, as Gothic cathedrals. Monasteries housed the relics of saints, and during the Romanesque period the cult of relics became a major cultural factor act uponing architecture. Gothic manner has three chief features that make it its ain alone manner: Highness, perpendicular lines and winging buttresses. Romanesque edifices were solid, heavy because of the midst walls, and, as a consequence of the relatively little Windowss, indistinctly lighted. They had a heavy frame construction. Gothic cathedrals were built with a slender skeleton, made up with pointed arches and winging buttresses, which gives feelings of harmoniousness and brightness.

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Southern Gothic Fiction

Sean Tinsley Eng 151C-33 3/08/2013 Southern Gothic Fiction is a genre of literature unique to the American south. Major influences of the genre itself were the culture, religion, and economic standing of the south at the beginning of the 20th century. Many who read southern gothic are transported into a grotesque fantasy world where ideas of death, good versus bad, and god are all prevalent. Many American authors were greatly influenced by the ideas of southern gothic literature such as “Harper Lee, Flannery O’Connor…William Faulkner, Truman Capote, and to a lesser extent, Eudora Welty. (jenksps. org) The culture of the south is riddled with strong beliefs in different sects of Christianity; mainly Presbyterians and Baptists with a passionate group of Evangelicals as well. Because God plays a large role in most southern gothic literature, the idea of morality is also of huge importance. Many protagonists will be juxtaposed by a moral less antagonist; usually the epitome of evil. Along with that comes the idea of a crumbling landscape; desolate almost. I believe this represents how the south was struggling economically at the time due to the crumbling of the antebellum era. jenksps. org) For this essay, I chose to analyze “This Is the Only Time I’ll Tell It” by Doris Betts. This story hits all the main topics of southern gothic literature; the idea of death or the grotesque, the concept of good versus bad, and God as well. The concept of good versus evil drives the overall moral of the short story “This Is the Only Time I’ll Tell It”. In fact, this theme provides the first instance of conflict. The narrator, a man by the last name of Coney, describes to the reader a woman, Zelene, who noticed a disturbance at the Jamison household.

Upon further investigation she noticed Tom Jamison trying to drown his nine month old baby girl. Fortunately, she saved the baby and “when she had brought back breath and screams, Zelene opened her clothes and fixed that naked baby flat against her naked breasts and…ran yelling into my store. ”(Christ Haunted Landscape, 232) Shortly thereafter, Zelene grabs one of Mr. Coley’s axes of his shelf and simply states, “I’m going back and kill him[Tom Jamison]. ”(Christ Haunted Landscape, 233) Mr.

Coley made no objection to her claim, and when she didn’t find him, he noted the other 20 townspeople who “had been heard to declare it was a shame Zelene had not drove home her ax. ”(Christ Haunted Landscape, 233) The interesting take on good versus evil shows itself in the characters’ response to unspeakable crime. All the townspeople were upset Tom Jamison hadn’t been brutally murdered. The attitude of the characters towards him, including Mr. Coley, fester inside them throughout the remainder of the story ultimately culminating in Mr.

Coley killing Tom Jamison with an ax upon his return to the store; the irony being that it was inside the store when Zelene first said she would kill him. Because the justice for the unspeakable crime of attempted murder on a baby was carried out by a normal citizen, this speaks highly for the overall theme. Although other elements of southern gothic fiction are prevalent in “This Is the Only Time I’ll Tell It”, good versus evil, and, more importantly, how evil should be treated, is the engine that drives this story. God, the uniting or divisive factor in the south, also plays a huge role in the story.

More importantly, the difference between what is deemed moral in God’s eyes, and what the characters perceive as justifiable sin. Mr. Coley mentions the town’s resistance to telling the truth about the next of kin. “But we had 37 lifetime Presbyterian mouths gone flat against their teeth until judgment day…”(Christ Haunted Landscape, 233). The way a person believes in God is also important in this short story. For Mr. Coley, Baptists are a bit weaker than his people, Presbyterians. “My wife’s people, Baptists, are a lot more soft-headed; one of them would have read his Commandments wrong and weakened someday. (Christ Haunted Landscape, 233). There were many grotesque and macabre aspects of this short story as well. For example, the first point of conflict deals with the attempted murder of a nine month old baby. Secondly, the way Tom Jamison was murdered, brutally by ax, would churn most people’s stomachs. Also, a valid point could be made that Zelene is grotesque. She is described as “pitiable herself. She was 38, and built like a salt block. ” (The Christ Haunted Landscape, 233). She was not entirely attractive, by any means, and she lived in relative squalor compared to the rest of the townspeople. This is The Only Time I’ll Tell It” is a perfect example of southern gothic literature. First of all, the overall theme of the story was good versus evil, and what should be done about it. Secondly, the aspect of what should be done with evil is related directly to the characters’ views on God, and the morals they’ve received from Him. Last but not least, it was overall creepy. To imagine a man trying to kill his nine month baby is enough to put fear into anyone’s heart. Although there are frightening parts to it, the story does a good job of making the reader ask themselves what they would do in Mr.

Coley’s position. The answer to that problem also relates directly to the audience’s religious views. Whatever God they may believe in, good versus evil is always prevalent, and that is why this story connects with many people. So, what would you do? Would you strike a man down for a crime that happened over 16 years earlier? Could you? These questions create intrigue in the reader, which is why this short story is so popular today. http://www. jenksps. org/pages/uploaded_files/CAMPsouthern%20gothic%20elements. pdf The Christ Haunted Landscape

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Gothic Literature in America : Hawthorne, Faulkner and O’conner

American Gothic Literature is a chance to experience the bizarre and scary natures of an individual. Authors such as Hawthorne, Faulkner and O’conner use the written word to paint these gothic images in the minds of their readers. Supernatural appearances and motifs such as ghosts and monsters, are embodiments of people’s deepest fears and longings. […]

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