“Haunted Heroines: The Gothic Imagination and the Female Bildungsromane of Jane Austen, Charlotte Brontë, and L. M. Montgomery” The Lion and the Unicorn 34. 2 (2010): 125-147 Richetti, John. The Cambridge Companion to the Eighteenth Century Novel. Cambridge: Cambridge University Press, 1998. Print.
Devoney Looser. Houndsmills, Basingstoke, Hampshire: Macmillian, 1995. 137-49 Neill, Edward. “The Secret of Northanger Abbey.” Essays in Criticism 47 (1997): 13-32 Williams, Anne. “The Horror, the Horror: Recent Studies in Gothic Fiction.” Modern Fiction Studies 46.3 (2000): 789-99
The Gothic Novels of Doctor Jekyll and Mr. Hyde, Frankenstein and Confessions of a Justified Sinner The word 'Gothic', taken from a Germanic tribe, the Goths, stood firstly for 'Germanic' and then 'mediaeval'. It was introduced to fiction by Horace Walpole in 'Castle of Otranto, a Gothic Story', and was used to depict its mediaeval setting. As more novelists adopted this Gothic setting; dark and gloomy castles on high, treacherous mountains, with supernatural howling in the distance; other characteristics of the 'Gothic Novel' could be identified. The most dominant characteristic seems to be the constant battle between the good and the dark side of the human soul and how that, given a chance, the dark side of human nature will gradually develop, through the actions of the character in question, until it has engulfed the good, and also raises the theme of suffering and isolation. Other keynotes of 'Gothic Novels' seem to be the misuse or abuse of technology.
Horace Walpole wrote The Castle of Otranto in 1764. Walpole single-handedly sparked a new style of literature, gothic fiction. Walpole also coined the word seredipidy. The Castle of Otranto is referred as the the start of gothic fiction as a genre. What is gothic fiction exactly?
Modern Philology 100 (2003): 417-35. Walpole, Horace. The Castle of Otranto. New York: Oxford UP, 1996.
2010 . Griffith, George V. “An Overview of Frankenstein, in Exploring Novels.” Gale, Literature Resource Center, 1998. 18 March 2010 Hitchcock, Susan Tyler. Frankenstein a Cultural History. New York, NY: W. W. Norton & Company, 2007.
Shelley, Mary Wollstonecraft, A Norton Critical Edition: Mary Shelley’s Frankenstein: The 1818 Text, Contexts, Criticism. Ed. J. Paul Hunter. New York: Norton. 2012.
Fear is a guiding force in both the short stories and the fixation the main characters with it only leads to their demise. With both terror and the supernatural being common conventions in most gothic fiction Gothic Fiction is a popular genre of literature that’s aim is to combine horror, fiction and romanticism. It originated in 18th century England and was said to have been founded through Horace Walpole’s novel “The Castle of Otranto” (Hughes). He claimed it to be a “found” medieval manuscript which added to its popular, although he later admitted it was a lie (Hughes). This mode of literature appears to have sprung out from Gothic architecture... ... middle of paper ... ...th possess conventions commonly demonstrated in gothic fiction surrounding setting, atmosphere and theme.
The Gothic crosses boundaries into the realm of the unknown, arousing extremes of emotion through the catalyst of disassociation and subversion of presence. Gothic literature utilises themes of the supernatural to create a brooding setting and an atmosphere of fear. The Gothic dimensions of Poe’s fictional world offered him a way to explore the human mind in extreme situations, and so arriving at an essential truth. The Gothic theme of the importance of the intuitive and emotional and the rejection of the rational and intellectual is prevalent throughout The Raven, The Black Cat, and The Tell-Tale Heart. This is coupled with the convention of transgressive, encroaching insanity, ubiquitous in Gothic literature.
Harcourt College Publishers, 2000. 348-352 Mighall, Dr. Robert. A Geography of Victorian Gothic Fiction: Mapping History’s Nightmares. Oxford University Press, 1999. 166-209.