Gothic Violence

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Violence in literature refers to the recurrent use of violence as a storytelling motif in classic and contemporary literature, both fiction and non-fiction. [1] Depending on the nature of the narrative, violence can be represented either through graphic descriptions or psychological and emotional suffering. Historical literary eras have differed in their purposes for employing this thematic element, with some stories using it to symbolize a societal, psychological, or philosophical matter and others for the sole object of entertainment. 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] Educators in literary, cultural, and architectural studies appreciate the Gothic as an area that facilitates investigation of the beginnings of scientific certainty. As Carol Senf has stated, "the Gothic was... a counterbalance produced by writers and thinkers who felt limited by such a confident worldview and recognized that the power of the past, the irrational, and the violent continue to sway in the world." [115] As such, the Gothic helps students better understand their doubts about the self-assurance of today's scientists. Scotland is the location of what was probably the world's first postgraduate program to consider the genre exclusively: the MLitt in the Gothic Imagination at the University of Stirling, first recruited in 1996. [116] See also [ edit ]

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a b Hogle, Jerrold E. (2002). The Cambridge Companion to Gothic Fiction. England: Cambridge University Press. pp.1–20. ISBN 9780511999185. Salter, David (2009), This demon in the garb of a monk: Shakespeare, the Gothic and the discourse of anti-Catholicism, Vol. 5, Issue 1, pp.52–67 Fall of the House of Usher, The (i)", Oxford Music Online, Oxford University Press, 2002, doi: 10.1093/gmo/9781561592630.article.o901543 , retrieved 2022-04-19 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.

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. The TV series Penny Dreadful (2014–2016) brings many classic Gothic characters together in a psychological thriller set in the dark corners of Victorian London. Skarda, Patricia L., and Jaffe, Norma Crow (1981), Evil Image: Two Centuries of Gothic Short Fiction and Poetry. New York: Meridian

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L. Wiley, Jennifer (2015). Shakespeare's Influence on the English Gothic, 1791-1834: The Conflicts of Ideologies (PDF) (PhD dissertation). University of Arizona. hdl: 10150/594386 . Retrieved 4 May 2022. Hale, Terry (2002), Hogle, Jerrold E. (ed.), "French and German Gothic: the beginnings", The Cambridge Companion to Gothic Fiction, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp.63–84, ISBN 978-0-521-79124-3 , retrieved 2 September 2020Welcome to /r/literature, a community for deeper discussions of plays, poetry, short stories, and novels. Discussions of literary criticism, literary history, literary theory, and critical theory are also welcome. Potter, Franz J. (2005). The history of Gothic publishing, 1800-1835: exhuming the trade. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. ISBN 1-4039-9582-6. OCLC 58807207. 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. 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.

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Radcliffe, Ann (1995). The Castles of Athlin and Dunbayne. Oxford: Oxford UP. pp.vii–xxiv. ISBN 0192823574. 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. Horner, Avril (2005). Gothic and the comic turn. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. p.27. ISBN 978-0-230-50307-6. OCLC 312477942. Grigorescu, George (2007), Long Journey Inside The Flesh, Bucharest, Romania ISBN 978-0-8059-8468-2 After Gogol, Russian literature saw the rise of Realism, but many authors continued to write stories within Gothic fiction territory. Ivan Sergeyevich Turgenev, one of the most celebrated Realists, wrote Faust (1856), Phantoms (1864), Song of the Triumphant Love (1881), and Clara Milich (1883). Another classic Russian Realist, Fyodor Mikhailovich Dostoyevsky, incorporated Gothic elements into many of his works, although none can be seen as purely Gothic. [66] Grigory Petrovich Danilevsky, who wrote historical and early science fiction novels and stories, wrote Mertvec-ubiytsa ( Dead Murderer) in 1879. Also, Grigori Alexandrovich Machtet wrote "Zaklyatiy kazak," which may now also be considered Gothic. [67] Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886) was a classic Gothic work of the 1880s, seeing many stage adaptations.

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Moreover, they argue that violence should be not only acceptable, but necessary in children's literature because it offers an accurate depiction of the world they live in. Since violence is a fact encountered in nearly every aspect of life, it is argued that to delay kids' exposure to evil is unrealistic and potentially harmful. This is due to the likelihood that they will come to face violent situations in their futures; telling them stories of this nature can therefore provide them with ways to successfully overcome these situations. And these ways need not be violent, they state, because by teaching them about the harmful consequences violence has on both the good and evil characters (the first through suffering and the second through receiving violent punishments) they might develop a preference for peaceful conflict resolutions instead. Thus, if adequately justified in the stories, literary violence can not only be educational but also ethical. [67] [2] [63] Villiers, Gerda de (2020). "Suffering in the Epic of Gilgamesh". Old Testament Essays. 33 (3): 690–705. doi: 10.17159/2312-3621/2020/v33n3a19. ISSN 1010-9919. S2CID 236855025. Cornwell, Neil (1999), The Gothic-Fantastic in Nineteenth-Century Russian Literature, Amsterdam: Atlanta, GA: Rodopi, Studies in Slavic Literature and Poetics, volume 33 Smith, Andrew, and Diana Wallace, "The Female Gothic: Then and Now." Gothic Studies, 25 August 2004, pp. 1–7.

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

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] 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. The 1880s saw the revival of the Gothic as a powerful literary form allied to fin de siecle, which fictionalized contemporary fears like ethical degeneration and questioned the social structures of the time. Classic works of this Urban Gothic include Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1891), George du Maurier's Trilby (1894), Richard Marsh's The Beetle (1897), Henry James' The Turn of the Screw (1898), and the stories of Arthur Machen.See "ecoGothic" in William Hughes, Key Concepts in the Gothic. Edinburgh University Press, 2018: 63. As for human-induced violence, the story of Cain and Abel (first sons of Adam and Eve) describes the first murder committed upon the Earth, and is virtually the same in all three religions: Cain's sacrifices to God are rejected but his brother's accepted, and out of jealousy, the first slays the latter. [12] [11] Other accounts of human-induced brutality include descriptions of battle, conquest, sacrifice, imprisonment, stoning, and crucifixion – among others. Typically, these accounts serve to not only educate the followers of the religions about previous nations but to warn them of the darkness of human nature as well as the consequence of sin, oppression, and God's power. [13] Gothic literature [ edit ] The components that would eventually combine into Gothic literature had a rich history by the time Walpole presented a fictitious medieval manuscript in The Castle of Otranto in 1764. 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 ] 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.