Gothic Violence

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Carol Senf, "Why We Need the Gothic in a Technological World," in: Humanistic Perspectives in a Technological World, ed. Richard Utz, Valerie B. Johnson, and Travis Denton (Atlanta: School of Literature, Media, and Communication, Georgia Institute of Technology, 2014), pp. 31–32. Authorial or narrative violence is defined as the suffering caused with no character as a direct or indirect perpetrator; no one except the author is responsible for it. Typically, it is nature or disease that brings about this danger. In addition to progressing the storyline, its purpose is to generate hardships that ensure the characters' development by testing their values, motivations, and fears. [28] [1]

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James, Pd. "P.D. James: Who killed the golden age of crime? | The Spectator". www.spectator.co.uk . R 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] All aspects of pre-Gothic literature occur to some degree in the Gothic, but even taken together, they still fall short of true Gothic. [21] What needed to be added was an aesthetic to tie the elements together. Bloom notes that this aesthetic must take the form of a theoretical or philosophical core, which is necessary to "sav[e] the best tales from becoming mere anecdote or incoherent sensationalism." [23] In this case, the aesthetic needed to be emotional, and was finally provided by Edmund Burke's 1757 work, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, which "finally codif[ied] the gothic emotional experience." [24] Specifically, Burke's thoughts on the Sublime, Terror, and Obscurity were most applicable. These sections can be summarized thus: the Sublime is that which is or produces the "strongest emotion which the mind is capable of feeling"; Terror most often evoked the Sublime; and to cause Terror, we need some amount of Obscurity – we can't know everything about that which is inducing Terror – or else "a great deal of the apprehension vanishes"; Obscurity is necessary to experience the Terror of the unknown. [21] Bloom asserts that Burke's descriptive vocabulary was essential to the Romantic works that eventually informed the Gothic.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. Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p.2. Horner, Avril (2005). Gothic and the comic turn. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. p.27. ISBN 978-0-230-50307-6. OCLC 312477942.

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Darlington, Steve (8 September 2003). "Review of My Life with Master". RPGnet . Retrieved 9 July 2019.But natural violence is not always authorial, for characters can facilitate or even induce catastrophes. This is relevant, for example, to disasters sent by gods in mythological narratives. Because these gods are active characters in the story, the harm they cause, even if embodied by elements of nature, is instead character-imposed. An example is in Homer's Odyssey; menacing storms are cast at Odysseus by Poseidon as a form of divine justice following the protagonist's stabbing of his son's eye. [9]

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Psychological violence refers to the emotional harm that results from threats, manipulation, neglect, verbal abuse, harassment, isolation, or intimidation. [50] In fiction, these types of aggression are used to intensify a rivalry between two or more characters; conflicts typically begin with such instances before any physical harm occurs. [28] Mental conditions may also come as sources of a character's psychological pain, but is normally authorial in nature and forms a salient trait that interferes with their decisions and actions. Possibly every work of literature consists of emotional struggles used to depict a character's suffering. In some cases, this aggression can be relational; in the sense that one's relationships or social standing is damaged as a result of the concerned psychological affliction, [51] whether character-imposed or authorial. Lisa Hopkins, "Jane C. Loudon's The Mummy!: Mary Shelley Meets George Orwell, and They Go in a Balloon to Egypt", in Cardiff Corvey: Reading the Romantic Text, 10 (June 2003). Cf.ac.uk (25 January 2006). Retrieved on 18 September 2018. Britten, Naomi; Trilogy, Mandala; Bird, Carmel (2010). "Re-imagining the Gothic in Contemporary Australia: Carmel Bird Discusses Her Mandala Trilogy". Antipodes. 24 (1): 98–103. ISSN 0893-5580. JSTOR 41957860– via JSTOR. Richard Flanagan, Gould's Book of Fish, would have to be Gothic. Tasmanian history is pro-foundly dark and dreadful. Pulp magazines such as Weird Tales reprinted and popularized Gothic horror from the previous century. Joe Walker, Grady (1957). "Scott's Refinement of The Gothic In Certain of The Waverley Novels" (PDF). Archived (PDF) from the original on 21 May 2022 . Retrieved 4 May 2022.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 ]

Gothic fiction - Wikipedia Gothic fiction - Wikipedia

Shakespeare, William (1997), The Riverside Shakespeare: Second Edition, Boston, NY: Houghton Mifflin Co. War tales that employ similar violence, however, try to achieve a goal beyond the evoking of excitement. By describing unspeakable war crimes, authors depict the suffering felt by innocent people whose pleas go unheard. It is a means to compel empathy in readers for those affected by the psychological and physical agonies of armed conflict. Aleksander Hemon's short story " A Coin", told through letters sent by a journalist named Aida in Sarajevo to the narrator in Chicago, describes the horrors of the Bosnian 1990s war using explicit violence. In one of its passages, for instance, Aida relates having witnessed a dog chew off her deceased aunt's hand and carry it away in its jaw. Snipers shooting from buildings are characterized as vicious and inhumane, as the following lines describe: [43]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. 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] Although ushering in the historical novel, and turning popularity away from Gothic fiction, Walter Scott frequently employs Gothic elements in his novels and poetry. [42] Scott drew upon oral folklore, fireside tails, and ancient superstitions, often juxtaposing rationality and the supernatural. Novels such as The Bride of Lammermoor (1819), in which the character's fates are decided by superstition and prophecy, or the poem Marmion (1808), in which a Nun is walled alive inside a convent, illustrate Scott's influence and use of Gothic themes. [43] [44] As the first known gothic tale, Walpole's novel features violence that is both realistic and fantastical. Physical harm is mostly attributed to human or material causes; like the graphic death of the protagonist Manfred's son by a gigantic helmet that falls and crushes him on his wedding day. Other instances include sexual assault, bloody knight duels, abuse by oppressive authorities, and the climactic yet accidental fatal stabbing of Matilda. On the other hand, the psychological torment experienced by the characters is mostly due to supernatural characters and elements. For example, Manfred is throughout the novel mercilessly haunted by his grandfather's ghost, and several of his actions and decisions, especially those of violent nature, are driven by the constant fear of ancient magical prophecies. It is, after all, a prophecy which predicts the loss of kingdom after his son's death that pushes Manfred to attempt raping Isabella and, later, murdering her. His efforts remain unsuccessful, however, as he mistakes Matilda for her and ends up killing his own daughter. [16] The novel's gothic aspects – gruesome violence, emotional abuse, mystic scenery, and details of setting such as medieval architecture, secret passages, and animated portraits – inspired contemporary and later authors to imitate, reform, and develop the genre. [17] American author Edgar Allan Poe. He is named the father of American gothic literature and an inspiration for future horror writers.