Gothic Violence

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Richter, David H. (28 July 2016). "The Gothic Novel and the Lingering Appeal of Romance". In Downie, James Alan (ed.). The Oxford Handbook of the Eighteenth-Century Novel. Oxford University Press. pp.471–488. doi: 10.1093/oxfordhb/9780199566747.013.021. ISBN 978-0-19-956674-7. Gamer, Michael (2006), Romanticism and the Gothic. Genre, Reception and Canon Formation, Cambridge: Cambridge University Press Haefele-Thomas, Ardel (2012). Queer Others in Victorian Gothic: Transgressing Monstrosity (1ed.). University of Wales Press. ISBN 978-0-7083-2464-6. JSTOR j.ctt9qhdw4. Cairney, Christopher (1995). The Villain Character in the Puritan World (PhD dissertation). Columbia: University of Missouri. ProQuest 2152179598 . Retrieved 20 November 2017.

Glossary of the Gothic: Violence - Marquette University

On the other hand, a character who transgresses social principles imposes this harm on others. It can come in forms of psychological or physical abuse and, in extreme cases, murder – the target of which ranging from a single character to an entire community. Common large-scale violence in literature takes place in situations of war, colonization, and serial killer sprees. Shootings, stabbings, and poisonings are few examples of how such character versus other violence – rising from an underlying conflict with the self – can manifest. [28] [1] O'Connell, Lisa (2010), The Theo-political Origins of the English Marriage Plot, Novel: A Forum on Fiction, Vol. 43, Issue 1, pp.31–37 Romain, Lindsey (5 October 2020). "THE HAUNTING OF BLY MANOR Is a Beautiful Gothic Romance". Nerdist . Retrieved 29 December 2020. Percival, Robert (2013). From the Sublime to the Numinous: A Study of Gothic Qualities in the Poetry and Drama of Shelley's Italian Period (PDF) (MA thesis). University of Canterbury. doi: 10.26021/4865. hdl: 10092/11870 . Retrieved 29 April 2022.Aldana Reyes, Xavier (2017). Spanish Gothic: National Identity, Collaboration and Cultural Adaptation. Palgrave Macmillan. ISBN 978-1137306005. Cornwell, Neil (1999), The Gothic-Fantastic in Nineteenth-Century Russian Literature, Amsterdam: Atlanta, GA: Rodopi, Studies in Slavic Literature and Poetics, volume 33 The Castle of Otranto | Summary, Characters, Analysis, & Facts | Britannica". www.britannica.com . Retrieved 2022-04-19. Epics are known for their acts of grand-scale brutality. Recognized as the most ancient of literary texts, The Sumerian Epic of Gilgamesh (c. 2150 – 1400 BCE), discovered on clay tablets, [5] begins with its protagonist king, corrupted by power, incessantly abusing his people; killing men and assaulting women. Themes of slaughter, sacrifice, rivalry, disease, and natural disasters are described throughout his quest for eternal life. Some acts of violence appear to be committed for the sake of glory and fame, such as the brutal duel between Gilgamesh and Enkidu for kingdom over the Babylonian land, whereas others have a greater significance to the plot. [6] [7] a b Horner (2002). Neil Cornwell: European Gothic and the 19th-century Gothic literature, pp. 59–82.

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

See "ecoGothic" in William Hughes, Key Concepts in the Gothic. Edinburgh University Press, 2018: 63. Southern Ontario Gothic applies a similar sensibility to a Canadian cultural context. Robertson Davies, Alice Munro, Barbara Gowdy, Timothy Findley, and Margaret Atwood have all produced notable exemplars of this form. Another writer in the tradition was Henry Farrell, best known for his 1960 Hollywood horror novel What Ever Happened To Baby Jane? Farrell's novels spawned a subgenre of "Grande Dame Guignol" in the cinema, represented by such films as the 1962 film based on Farrell's novel, which starred Bette Davis versus Joan Crawford; this subgenre of films was dubbed the " psycho-biddy" genre. Irish Catholics also wrote Gothic fiction in the 19th century. Although some Anglo-Irish dominated and defined the subgenre decades later, they did not own it. Irish Catholic Gothic writers included Gerald Griffin, James Clarence Mangan, and John and Michael Banim. William Carleton was a notable Gothic writer, and converted from Catholicism to Anglicanism. [64] 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. 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.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. Mishra, Vijay (2002). Bollywood cinema: temples of desire. Routledge. pp.49–57. ISBN 0-415-93014-6. 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. The poetry, romantic adventures, and character of Lord Byron—characterized by his spurned lover Lady Caroline Lamb as "mad, bad and dangerous to know"—were another inspiration for the Gothic novel, providing the archetype of the Byronic hero. For example, Byron is the title character in Lady Caroline's Gothic novel Glenarvon (1816).