Gothic Violence

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a b c d e "Early and Pre-Gothic Literary Conventions & Examples". Spooky Scary Skeletons Literary and Horror Society. Spooky Scary Society. 31 October 2015 . Retrieved 26 March 2016. Society, National Geographic (2020-04-01). "Storytelling". National Geographic Society . Retrieved 2022-04-18. Radcliffe, Ann (1995). The Castles of Athlin and Dunbayne. Oxford: Oxford UP. pp.vii–xxiv. ISBN 0192823574. In Spain, the priest Pascual Pérez Rodríguez was the most diligent novelist in the Gothic way, closely aligned to the supernatural explained by Ann Radcliffe. [49] At the same time, the poet José de Espronceda published The Student of Salamanca (1837-1840), a narrative poem that presents a horrid variation on the Don Juan legend. 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.

The Gothic | The British Library

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] Horner, Avril (2002), European Gothic: A Spirited Exchange 1760–1960, Manchester & New York: Manchester University PressFrom the castles, dungeons, forests, and hidden passages of the Gothic novel genre emerged female Gothic. Guided by the works of authors such as Ann Radcliffe, Mary Shelley, and Charlotte Brontë, the female Gothic allowed women's societal and sexual desires to be introduced. In many respects, the novel's intended reader of the time was the woman who, even as she enjoyed such novels, felt she had to "[lay] down her book with affected indifference, or momentary shame," [11] according to Jane Austen. The Gothic novel shaped its form for woman readers to "turn to Gothic romances to find support for their own mixed feelings." [12] This debate, nevertheless, is ongoing and has extended to include other forms of storytelling, such as film and video games. 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. Mighall, Robert (2007), "Gothic Cities", in C. Spooner and E. McEvoy, eds, The Routledge Companion to Gothic, London: Routledge, pp.54–72

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Grigorescu, George (2007), Long Journey Inside The Flesh, Bucharest, Romania ISBN 978-0-8059-8468-2 Contemporary literature (c. 1950 – present day) has branched into several specific subgenres. Speculative fiction (horror, science fiction, and fantasy), for example, can be particularly or a mixture of occult, paranormal, post-apocalyptic, gothic, dystopian, cyberpunk, steampunk, urban fantasy, magic realism – among other types. [25] Notable contributors include Neil Gaiman, Stephen King, Kurt Vonnegut, and Ray Bradbury – and most of their writing maintains, if not magnifies, the types of physical and emotional violence encountered in past fiction. Horner, Avril (2005). Gothic and the comic turn. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. p.27. ISBN 978-0-230-50307-6. OCLC 312477942. Gothic literature is intimately associated with the Gothic Revival architecture of the same era. English Gothic writers often associated medieval buildings with what they saw as a dark and terrifying period, marked by harsh laws enforced by torture and with mysterious, fantastic, and superstitious rituals. Similar to the Gothic Revivalists' rejection of the clarity and rationalism of the Neoclassical style of the Enlightened Establishment, the literary Gothic embodies an appreciation of the joys of extreme emotion, the thrills of fearfulness and awe inherent in the sublime, and a quest for atmosphere. Gothic ruins invoke multiple linked emotions by representing inevitable decay and the collapse of human creations – hence the urge to add fake ruins as eyecatchers in English landscape parks. 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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Cornwell, Neil (1999), The Gothic-Fantastic in Nineteenth-Century Russian Literature, Amsterdam: Atlanta, GA: Rodopi, Studies in Slavic Literature and Poetics, volume 33 Krys Svitlana, " Folklorism in Ukrainian Gotho-Romantic Prose: Oleksa Storozhenko’s Tale About Devil in Love (1861)." Folklorica: Journal of the Slavic and East European Folklore Association, 16 (2011), pp. 117–138. Cairney, Christopher (1995). The Villain Character in the Puritan World (PhD dissertation). Columbia: University of Missouri. ProQuest 2152179598 . Retrieved 20 November 2017. 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.

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Shakespeare, William (1997), The Riverside Shakespeare: Second Edition, Boston, NY: Houghton Mifflin Co. Ronald "Terror Gothic: Nightmare and Dream in Ann Radcliffe and Charlotte Bronte", The Female Gothic, Ed. Fleenor, Eden Press Inc., 1983.In America, pulp magazines such as Weird Tales reprinted classic Gothic horror tales from the previous century by authors like Poe, Arthur Conan Doyle, and Edward Bulwer-Lytton, and printed new stories by modern authors featuring both traditional and new horrors. [83] The most significant of these was H. P. Lovecraft, who also wrote a conspectus of the Gothic and supernatural horror tradition in his Supernatural Horror in Literature (1936), and developed a Mythos that would influence Gothic and contemporary horror well into the 21st century. Lovecraft's protégé, Robert Bloch, contributed to Weird Tales and penned Psycho (1959), which drew on the classic interests of the genre. From these, the Gothic genre per se gave way to modern horror fiction, regarded by some literary critics as a branch of the Gothic, [84] although others use the term to cover the entire genre.

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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. Regardless of genre and period, literary violence has been a subject of controversy as it is often considered unethical and harmful for readers, particularly when it comes to juvenile literature. [2] Historical development [ edit ]Hansen, 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. Contemporary American writers in the tradition include Joyce Carol Oates in such novels as Bellefleur, A Bloodsmoor Romance, and short story collections Night-Side (Skarda 1986b) and Raymond Kennedy in his novel Lulu Incognito. [92]