This dream lead her to finishing this interesting piece of literature. The main themes of this novel are ‘Nature vs. Nurture’, ‘Creator and Created’, ‘Humans playing God’ and ‘Ethics and Science’ (Potter, 2013). The Morality and the Gothic Novel with Specific Reference to Frankenstein and Wuthering Heights Morality plays a big part in society and these novels seemed to have been filled with different examples of how morality was gone against. The strange events that happen in both novels are against the morals of the then society. According to the Marriam-Webster Learners Dictionary (1828) morality is distinguishing between what is right and what is wrong behaviour and these are centred around peoples beliefs.
For instance, the horrible atmosphere, the existence of supernatural, the contradictions of characters, the complicated conflicts of morality and evilness. Chapter 2 The Fundamental Tone of the Gothic Elements in Frankenstein-- The Gothic Aesthetics The reflection of the gothic elements in the novel is mainly circled with the tone of gothic aesthetics. Gothic aesthetics was raised by Edmund Burke, referring to beauty of negative, gloom and even dark characteristics. Based on it, the individuals may acquire a total extraordinary experience in the novel. 2.1 The Manifestation of Characters The protagonists in Frankenstein are Frankenstein and the monster.
Another main Connotations of Gothic Literature(The Gothic Novel). “Frankenstein” took place in a very old Fashioned time. One of the Examples of this Old Fashioned time is during Justine's Trial! “Justine was Apprehended. On Being Charged with the Fact.
The use of “horror” in Gothic styles of writing allows for the theme of selfishness, which is seen throughout these writings. Selfishness is a theme that is brought up throughout Gothic writing and in these stories because it allows for the reader to think deeper about their own lives. In Flannery O’Connor’s story, “A Good Man is Hard to Find,” we follow from the view point of the grandmother and we see throughout the story how selfish she truly is. The reader understands how selfish the grandmother was in this story and understand how selfishness is something that should take a backseat. In the story, we see how selfish the grandmother was when dealing with the “Misfit” as he began to murder her family we saw her beg for her life and not anyone else’s in her family.
Nineteenth-century fin-de-siècle witnessed the emergence of the New Woman who is “an outspoken, independent and thoroughly modern woman, whose “masculine” behaviours made her something of a monster” (199). In fact, monstrosity in nineteenth-century gothic productions is “largely interpellated by the Symbolic gaze” that relegates the New Woman’s transgressive acts to oddity (Hock-soon Ng 2). Women’s assertive and aggressive behaviours contradict with “the Symbolic normative” that inscribes them within the discourse of monstrosity (2). In The Madwoman in the Attic, Gilbert and Gubar explain that women’s “assertiveness, aggressiveness – all characteristics of male life of “significant action” - are “monstrous” in women precisely because “unfeminine” and therefore unsuited to a gentle life of “contemplative purity” (28). The she-monster thus, not only crosses the boundaries of normativity but also jeopardizes the constructed conception of femininity and humanity.
Focusing on Female Gothic tradition, this work intends to explore the reasons for its revival in the closing decades of the twentieth-century. The Female Gothic’s continuous steam and its ebullient effervescence are assigned to the persistent and consistent act of revising and rewriting, ensuring thus its mutability and adaptability. I will argue that the Gothic is “an instrumental genre, reemerging cyclically, at periods of cultural stress, to negotiate the anxieties that accompany social and epistemological transformations and crises” (Hurley 4-5). The Gothic articulates these anxieties and fears that differ “according to diverse changes: political revolution, industrialism, urbanisation, shifts in sexual and domestic organisation, and scientific discovery” (Botting 3). The re-appearance of Female Gothic also coincides with the rise of postmodern theory that aims to legitimize the re-development of the long trivialized genres of the past.
One of the Gothic novel iconic characteristics lies in the disturbing return of the past menacing the present, usually literally expressed as family secrets and ghosts, for example. Here, we can find a parallel with the hauntings of later detective fiction narratives, in which some crime from the past threatens the social order in the present. Fred Botting (1996) says that while the Gothic novel, in its fascination with murder and intrigue, and in its presentation of diabolical deeds, seems to celebrate criminal behaviour, the horror associated with such transgressions becomes a powerful means to reinforce the values of society and virtue. In the Gothic novel the threat to the social order comes from a pre-Enlightenment past associated with
Supernatural elements were integral to the plot (cf. Davison 1269 Anxieties that were processed in these works include the fear of degeneration from homosexuals, so called inverts and New Woman (cf. Byron 134f). The trope of the Gothic monster was integral, be it the Double, the Vampire,or the Shape shifter and part human that challenge the notion of a natural gender identity as well as a fixed identity and self. These later Gothic works often move the plot from rural areas into the city (cf.
Deterioration of rural England, rapid rise of middle class and constant pressure towards unavoidable social and political reform were common themes in writing, Brontë’s included. (Abrams 1999:153) She wrote about the changing times in a darker and unconventional way using eerie and paranormal elements, depicting the struggles uniquely, and simultaneously criticising the majority of the burning questions and problems of the time. All Brontë sisters resorted to the Gothic novel genre in their writing, but they also greatly expanded the genre and went beyond it to accommodate their ideas and by doing so they reinvented and expanded the Female gothic into the New Gothic. This paper explores the gothic literary complex Emily Brontë used to write Wuthering Heights. The focus is on the elements of gothic and how their abundance in this work successfully enables the author to criticize all aspects of the Victorian era and depart form the established Victorian values.
Gothic as a literary genre has generally been associated with descriptions of frightening events that produce an atmosphere of mystery and uncertity, concepts that in the end provide the suspension of disbelief so important to the Gothic fiction. Described by many as “a literature of crisis”, the Gothic can be understood as a linguistic assertion where “the anxieties of a culture find their most explicit expression” (Daly, 1997: 184), reflecting thus the political, social and cultural context in which they were written. Relevant to point out is that by the end of the Victorian period Gothic fiction had ceased to be the prevailing genre and was overlooked by most critics, however, in many ways, it was now arriving to its most creative stage with authors such as Mary Shelley, Edgard Allan Poe, Robert Louis Stevenson and many others. This was the context in which Bram Stoker wrote “one of the most horrifying books in English literature” (Henderson, 1976: 607) Dracula, a narrative that provides a case study about a powerful cultural myth which is interpreted, as Eleni Coundouriotis notes, “in terms of Eastern Euopean Folklore” (1999: 143). As a result, the clash between Britain’s view of Romania, or better said, Stoker’s depiction of it, and the country’s own identity cannot concur in their representation.