Gothic Violence

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Romain, Lindsey (5 October 2020). "THE HAUNTING OF BLY MANOR Is a Beautiful Gothic Romance". Nerdist . Retrieved 29 December 2020.

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By the Victorian era, Gothic had ceased to be the dominant genre for novels in England, partly replaced by more sedate historical fiction. However, Gothic short stories continued to be popular, published in magazines or as small chapbooks called penny dreadfuls. [2] The most influential Gothic writer from this period was the American Edgar Allan Poe, who wrote numerous short stories and poems reinterpreting Gothic tropes. His story " The Fall of the House of Usher" (1839) revisits classic Gothic tropes of aristocratic decay, death, and madness. [55] Poe is now considered the master of the American Gothic. [2] In England, one of the most influential penny dreadfuls is the anonymously authored Varney the Vampire (1847), which introduced the trope of vampires having sharpened teeth. [56] Another notable English author of penny dreadfuls is George W. M. Reynolds, known for The Mysteries of London (1844), Faust (1846), Wagner the Wehr-wolf (1847), and The Necromancer (1857). [57] Elizabeth Gaskell's tales "The Doom of the Griffiths" (1858), "Lois the Witch," and "The Grey Woman" all employ one of the most common themes of Gothic fiction: the power of ancestral sins to curse future generations, or the fear that they will. In Spain, Gustavo Adolfo Bécquer stood out with his romantic poems and short tales, some depicting supernatural events. Today some consider him the most-read Spanish writer after Miguel de Cervantes. [58] Jane Eyre's trial through the moors in Charlotte Brontë's Jane Eyre (1847) The excesses, stereotypes, and frequent absurdities of the Gothic genre made it rich territory for satire. [36] After 1800 there was a period in which Gothic parodies outnumbered forthcoming Gothic novels. [37] In The Heroine by Eaton Stannard Barrett (1813), Gothic tropes are exaggerated for comic effect. [38] In Jane Austen's novel Northanger Abbey (1818), the naive protagonist, a female named Catherine, conceives herself as a heroine of a Radcliffean romance and imagines murder and villainy on every side. However, the truth turns out to be much more prosaic. This novel is also noted for including a list of early Gothic works known as the Northanger Horrid Novels. [39] Second generation or Jüngere Romantik [ edit ] Killeen, Jarlath (31 January 2014). The Emergence of Irish Gothic Fiction. Edinburgh University Press. p.51. doi: 10.3366/edinburgh/9780748690800.001.0001. ISBN 978-0-7486-9080-0. S2CID 192770214. Mighall, Robert (2007), "Gothic Cities", in C. Spooner and E. McEvoy, eds, The Routledge Companion to Gothic, London: Routledge, pp.54–72 Punter, David (1980). "Later American Gothic". The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. United Kingdom: Longmans. pp.268–290. ISBN 9780582489219.Several Gothic traditions have also developed in New Zealand (with the subgenre referred to as New Zealand Gothic or Maori Gothic) [93] and Australia (known as Australian Gothic). These explore everything from the multicultural natures of the two countries [94] to their natural geography. [95] Novels in the Australian Gothic tradition include Kate Grenville's The Secret River and the works of Kim Scott. [96] An even smaller genre is Tasmanian Gothic, set exclusively on the island, with prominent examples including Gould's Book of Fish by Richard Flanagan and The Roving Party by Rohan Wilson. [97] [98] [99] [100]

Glossary of the Gothic: Violence - Marquette University

What distinguishes these "whodunnit" tales is the fact that the violent act and its connotation are usually not the focus of the plot; rather, it is the circumstances leading up to the crime as well as the identity of the culprit that concern the detective protagonist. With the implications of the offence often being ignored, these stories may be said to use violence solely to display the protagonist's intelligence. For this reason, Foster (2003) in his book How to Read Literature Like a Professor considers that violence in crime fiction is mostly meaningless. The victim is killed off early on in the story, which gives the readers no chance to develop a liking or emotional attachment to them. And because these narratives typically end the same way (the guilty found and the crime solved), the initial violence is given no true weight beyond its advancement of the plot. [1] Yet, in dealing with the dark side of humanity, these stories may offer readers a sense of hope that no crime can go unpunished. In the United States, two notable late 19th-century writers in the Gothic tradition were Ambrose Bierce and Robert W. Chambers. Bierce's short stories were in the horrific and pessimistic tradition of Poe. Chambers indulged in the decadent style of Wilde and Machen, even including a character named Wilde in his The King in Yellow (1895). [71] Some works of the Canadian writer Gilbert Parker also fall into the genre, including the stories in The Lane that had No Turning (1900). [72] Le Horla (1887) by Guy de Maupassant Horner, Avril (2002), European Gothic: A Spirited Exchange 1760–1960, Manchester & New York: Manchester University Press Jürgen Klein (1975), Der Gotische Roman und die Ästhetik des Bösen, Darmstadt: Wissenschaftliche BuchgesellschaftHansen, Jim (2011). "A Nightmare on the Brain: Gothic Suspicion and Literary Modernism". Literature Compass. 8 (9): 635–644. doi: 10.1111/j.1741-4113.2010.00763.x.

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Charlotte Perkins Gilman's short story " The Yellow Wallpaper" serves as a good example of psychological violence inflicted by both a mental condition and other characters. Its narrator is a young woman suffering from post-partum depression, and though it causes her significant distress, her pain is heightened by her husband and doctor's neglect and underestimation of her situation. Overlooking its gravity, they term it a "temporary nervous depression" and force her into the rest cure which deprives her of any form of activity or entertainment as well as others' company – severing her relationships and isolating her from the world. Throughout the narrative, she gradually spirals into madness by growing more and more obsessed with her room's yellow wallpaper. [52] Her story, and others that demonstrate psychological suffering, express that it can be as damaging as physical violence.Hewitt, Natalie A. (2013). Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition (PhD dissertation). Claremont Graduate University. doi: 10.5642/cguetd/77 . Retrieved 29 April 2022. 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] On days when snipers are particularly rabid, there are scattered bodies as well. Some of them may still be alive and twitching toward the distant cover, leaving a bloody trail behind, like snails. People seldom try to help them, for everybody knows that the snipers are just waiting for that. Sometimes a sniper mercifully finishes off the crawling person. Sometimes the snipers play with the body, shooting off his or her knees, feet, or elbows. They seem to have made a bet how far he or she is going to get before bleeding away. [44]