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In the event she is forced to sign away her property to her wicked uncle not because of any inability to suffer with fortitude, but because in a castle overrun with drunken mercenaries and Venetian courtesans she can no longer safeguard her privacy or virtue without his protection. Which excerpt best exemplifies the gothic literary style of literature. Burke contends that nature images—such as the incomparable vastness of the ocean or the infinite darkness of a dense forest—inspire the highest and most intense feelings of the sublime. Hawthorne's representations concur with contemporary comment on the problems of heredity. Moreover, in insisting that her staged death is not a performance from which she can walk away unscathed, Jacobs points to the costs of her conjuring. Lord Ruthven had called the morning after the drawing room, and had been refused with every one else.

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In the case of Wilde, the whole issue is cast archaically in the old Gothic categories of aristocratic life-style and its relation to primal cruelty. Leaving her under the protection of a matron, he retired into a recess, and there gave himself up to his own devouring thoughts. Whereas Walpole conceived his novel as an entertainment with an abundant display of supernaturalism, Reeve's narrative is distinguished by her didactic theme and moderate use of supernatural elements. Miller (London: Cape, 1975), p. 19. Mary Ann Radcliffe's polemic centres on the peculiar horrors of the plight of genteel women without financial means or male protectors, subjected to 'the absolute necessity of bartering their virtue for bread. ' Goldsby, Jacqueline. Which excerpt best exemplifies the gothic literary style sheets. Lovecraft's stories are commonly divided into three types: those influenced by the Irish fantasist Lord Dunsany, a diverse group of horror narratives set in New England, and tales sharing a background of cosmic legendry usually referred to as the "Cthulhu Mythos. " Nature's testimony against slavery is not the scene itself but the white viewer's response to it: pale lips and trembling knees. When Lytton Strachey says of Horace Walpole that 'he liked Gothic architecture, not because he thought it beautiful, but because he found it queer', 5 the sensibility sounds very much like Wilde's, and the embarrassment one feels at Castle of Otranto (1764) is similar to that in Dorian Gray. Compare with Brontë's Wuthering Heights (1848), and Hardy's The Well-Beloved (1892), other 'generational' narratives. Regards the relationship of the double to the self in Jean Paul's Siebenkäs and Titan and Hoffmann's Die Elixiere des Teufels (The Devil's Elixir). She felt them coming, but no power. This twofold collaboration reveals them as two parts of the father-imago, which means that both the mechanic and the optician are the fathers not only of Olimpia, but of Nathaniel too. For example, Frank undergoes extensive preparation in summoning the Cenobites, including having "a jug of his urine—the product of seven days' collection" on hand "should they require some spontaneous gesture of self-defilement" (187).

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The narrative effect not only claims the status of event but supersedes it. Then select the response option that best answers a question, recommends a course of action, or gives the appropriate evaluation or teacher comment. Which excerpt best exemplifies the gothic literary style of painting. 123-140; Baillie, Matthew Morbid Anatomy (2nd ed. As in much Gothic, there is a dialectical interplay here between the unspeakable and the methods of verification evidenced in the complexity of narrative structure, but post-Darwinian fears have given a new twist to the concept of degeneration. 8 (August 1965): 64-65, 116, 118. Jacobs's factual account of her seven-year imprisonment in her grandmother's garret, written almost a decade after Key, echoes Stowe's fictional tale about Cassy haunting Legree's attic. In the Circles of Fear and Desire: A Study of Gothic Fantasy.

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American Transcendental Quarterly 15, no. It is, for the very reasons that Pargeter pointed out in his Observations on Maniacal Disorders, potentially dangerous as a means of confining the sane in mad-houses. She might exploit gothic metaphors (for instance, she describes herself as a "poor captive in her dungeon" [133]), but she insists that they be taken as truth. The plot of Gaslight is the same as Joanna Baillie's Orra: the mental stability of the female protagonist is undermined by deliberate abuse perpetrated by her male "protector. " '30 As Adrienne Rich notes, 'no more devastating image could be invented for the bondage of woman: sheeted, supine, drugged, her wrists strapped down and her legs in stirrups, at the very moment when she is bringing new life into the world. "In such conditions of social life, " writes Giddens, "the ontological security of the individual in day-to-day life is more fragile than in societies dominated by tradition and the meshings of kinship across space and time. Richard Howard (Ithaca: Cornell Univ. Although the slave narrative might not incorporate the gothic's typical supernatural elements, it does, however, contain—even in its factual form—many gothic characteristics. Melmoth the Wanderer: A Tale. —Sigmund Freud, The Interpretation of Dreams. Douglass's resistance to turning the event of slavery into a narrative effect is also evident in the way he represents Aunt Hester's whipping. And, as his readers knew, there were no castle ruins, 'no shadow, no antiquity, no mystery, no picturesque and gloomy wrong', in the 'broad and simple daylight' of America. Douglas (note 1), 97.

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Moreover, as we will see, she does so by using accents that uncannily echo the rhetoric of Stoker's Count. This muted, subtle form of the Gothic not only informs supernatural elements in some of Bowen's Irish fictions but also pervades many a page of Bowen's Court. "'It cannot be helped, —you must swear. Indeed, one can go further and claim that no deeper mystery and no other significance lie behind the fear of castration.

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The Picture of Dorian Gray (novel) 1890; first published in the journal Lippincott's Monthly Magazine; revised edition, 1891. In the first edition of 1919 this note occurs where it does now, but in subsequent German editions (except the students' edition) it appears, no doubt erroneously, after the second mention of the name Coppelius in the previous paragraph. Jacobs's manipulation of the gothic's conventions is central to this performance. In this sense is to be understood my earlier conception of the supernatural as the really human element, in contradistinction to the biological life which is natural (homo naturalis). 62 (New Haven: Yale University Press, 1920). Barker suggests that the true haunted castle may be the twisted mind of Gregorius who envisions this New Hell, and becomes its overlord after its completion. The Invention of the Polygraph, and Law Enforcement's Long Search for a 'Lie Detector' March 8, 2023. At the same time her alienation from her own will is imposed by the shadow of propriety, making her response to economic oppression double: libertarian in so far as she is a sensible individual; calculating—on behalf of reputation—insofar as she is a woman, constrained by gender. The notion of intellectual uncertainty in no way helps us to understand this uncanny effect.

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Her confinement within the home speaks convincingly of the impotence that characterizes her pathetic existence. Polidori's text creates a modern fantastic effect, deriving its potency from the device of bringing his nobleman/vampire into the city of London—seventy-five years before Stoker does the same thing. Martha Vicinus (Bloomington: Indiana Univ. A Study of Gothic Fantasy (1985), for example, states that "the specific material that made it [the Gothic] so compelling for contemporary readers" was the concern with "masculine and feminine identity" and problems challenging "conventional concepts of identity and family that dominated nineteenth-century middle-class life, " p. 5.

In the following essay, Punter illustrates how works of Gothic literature by Robert Louis Stevenson, Oscar Wilde, H. Wells, Bram Stoker, and Arthur Machen exemplify Decadence, and asserts that each of these works question the extent to which a civilization can change, or "decline, " and still retain its national and cultural identity. The brutal satire Bierce employed in his journalism appears as plain brutality in his fiction, and critics have both condemned and praised his imagination, along with Poe's, as among the most vicious and morbid in American literature. At the source of this diverse terminology is the fact that, while these works clearly belong to the tradition of Gothic literature, Lovecraft did not make them dependent on the common mythic conceits associated with this tradition—ghosts, vampires, witches, werewolves, and other figures of folklore—and even when they do appear in his work, these entities are often modified to function against a new mythical background, one whose symbolism emphasizes the philosophical over the psychological. In Klein's terms, we would be able to add something to this interpretation: that here we clearly have an unhappy, or disastrous, accommodation with the head, or penis—a failure of patriarchal descent which is, in the end, what undermines Manfred himself; and this connects in with the prohibited theme of the story, which is incest. 14 The crucial question for us, however, is: what were the differences between her theory and practice and those of the psychoanalytical orthodoxy? She is both the image of purity, sweetness, and beauty—the traditional blond angel in the house—and the creature of sexual appetites, the sleep-walker who accedes to violent penetration by the vampire. He could not feel interest about the frivolities of fashionable strangers, when his mind had been so torn by the events he had witnessed; but he determined to sacrifice his own comfort to the protection of his sister. And in the moment of his prayers.

David Drayton and his friends are the only ones who are brave enough to make an effort to find the limits of the mist. Roger Henkle (English) and L. Perry Curtis (History), and to my colleagues in the seminar for their advice and support. When Prendick first ventures on a journey to discover the island's secrets, Moreau catches him: 'he lifted me as though I was a little child' (Moreau, p. 56), says Prendick, and when Moreau dies, Montgomery collapses completely and returns to drink: 'he had been strangely under the influence of Moreau's personality. 1829) and Melville's Benito Cereno (1855), the horrible reality of slavery was depicted through gothic images and a romantic rhetoric. Studies in Short Fiction, 18 (Fall 1981), 413-19.