Women in literature represent many things. They are sometimes omnipresent and protagonist, but also feared, dangerous and often completely forgotten. The role of women throughout the History of literature is quite representative and relevant to understand the Historical moment. Gothic is no exception. In Gothic fiction we find different kinds of women, which embody the views of society towards women in the late nineteenth-century in England and Ireland.
Instead, she parodies and undercuts them, with subtle causticness, and ridicule. Austen’s priority when writing Northanger Abbey was to defend the novel as a genre, whilst also addressing the concept of ‘reading’ itself. Essentially, by writing in the style of the gothic, she emphasised the ordinariness of the domestic gothic and, patriarchal domestic
This affected his composition and actually, the English Gothic novel began with his 'Gothic story '; 'The Castle of Otranto '. Fundamentally, a Gothic novel is said to incorporate sorcery, riddle, heavenly, uncanny and tension. The interpretation of a Gothic novel contrasts from reader to reader. A Gothic work is to have a unquestionable mixing of remote setting, destroyed strongholds, dilapidated houses, mazes, cells, dull halls, cellar, moonlight, candles, winding stairs, fierce interests, inbreeding, odd fixation, and condemnations. This sort makes sentiments of agony, riddle, dread, tension since their point is to investigate humankind 's dull side and question humanity about what is great and underhandedness, address what part the powerful shows, and experience dread or fear.
The combination of the two previously mentioned aspects of Northanger Abbey shows that Northanger Abbey is a prime example of a parody of the traditional gothic novel. It uses traditional gothic conventions to suit its plot and make up the events in the story. The death of Mrs. Tilney, which has been mentioned earlier, is a very good example of using gothic conventions to suit the storyline of Northanger Abbey as a parody of the gothic novel. A gothic convention, a realtionship with a fatal ending, is used to govern the plot into the right direction, which is the moment that Catherine realises her gothic fantasies are not reality and should not be treated as such. In Northanger Abbey the parody of gothic conventions is created in the form of an anticliax.
The fact that there were some role reversals in the novel, especially among the female characters, made most characters all the more dynamic. All the same, the novel was very obviously influenced by gender roles and when Stoker was writing Dracula there was an obvious dividing line between male and female characters that he would not cross. Stoker’s preoccupation with female sexuality in Dracula “is attested to by the fact that [gender roles] actually come to dominate the story, with the vampire hunters mainly concerned not with Dracula himself but with his effect on their beloved companions” (Dixon) While Mina, who represented the ideal Victorian woman, acted as a support system and assistant to the heroic group of men. While things have changed significantly for men and women alike in the modern age, Dracula will likely remain in place as one of the most famous and telling critiques of Victorian gender
After eleven years of an unhappy marriage Myrtle sees her affair with Tom as an escape from the awful like she is living in. The fact that she knows so little about the upper class men and the poor judgement of her character makes her an easy target for Tom to take advantage of her. Although she finally buys everything that she desired for, she never could have Tom’s heart all to herself. Tom would rather not leave Daisy because their marriage represents a larger meaning than only love it almost a symbol that show their social status. "Daisy!
Tiffin (2011), continued to state that gothic literature can related to be the romantic reaction against social class and rationalnality demonstrated by the neo-classicism of the eighteenth century, it’s seen as an extreme peripheral version of romanticism’s celebration of emotional- it deals with terror as the most extreme form of emotion (Tiffin (2011)). According to Bowen (2014) the genre gothic novel is characteristically a modern one, its particularly strange and obstinate family of texts which themselves are full of strange families, irrigated with scenes of rape and incest and surrounding marginal, uncertain and illegitimate
Analyzing Development: “Where is Here?” by Joyce Carol Oates Gothic literature holds an allure that readers and audiences often draw into; its combination of wickedness, mystery, death, and even romance stirs a sensation, a charm no other genre has. Through this charm, Edgar Allan Poe, the "founding voice of American gothic tradition," was able to pioneer interest into many future writers in the American writing industry. Specifically, modern writer Joyce Carol Oates implicated traditional gothic elements from Poe. Using dialogue, diction, and the interaction between characters, Oates carefully establishes the foundations and elements of spookiness into her gothic story—“Where is Here?” In brief, “Where is Here?” illustrates an encounter between an unexpected visitor and a family of four, living "in a quiet residential neighborhood" (325). On a dark evening, a stranger comes to visit the family, explaining that he used to live there as a child.
First performed in 1947, A Streetcar Named Desire, is considered to be one of Tennessee Williams’ greatest works. Detailing the weeks in which thirty-year-old Blanche DuBois stays with her sister, Stella, and Stella’s husband, Stanley, the play tells a story of unrequited love, the dangers of dreams, and the inevitable reality of life. Through each act, Blanche becomes increasingly unstable and this downfall culminates in a complete nervous breakdown. This breakdown is not caused by a single event, but rather, a long history of triggers. Prior to arriving in Elysian Fields, Blanche has survived the death of her husband and her subsequent sexually promiscuous lifestyle.
Part of Victor’s bad parenting comes from Shelley's father. According to Encyclopedia of World Biography “Mary's home life improved little when four years later her father married his next-door neighbor, Mary Jane Clairmont, who already had two children of her own. The new Mrs. Godwin favored her own children over the daughters of the celebrated Wollstonecraft, and Mary was often alone and unhappy”. The monster needed moral guidance but received none from his creator. He ended up having society “nurture” him.