Creach, Jerome F. D. (2016-07-07). "Violence in the Old Testament". Oxford Research Encyclopedia of Religion. doi: 10.1093/acrefore/9780199340378.013.154. ISBN 978-0-19-934037-8 . Retrieved 2022-04-17. a b "Reading Frankenstein", Shelley’s Frankenstein, Bloomsbury Academic, 2008, doi: 10.5040/9781474211512.ch-003, ISBN 978-0-8264-9524-2 , retrieved 2022-04-19

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The first Russian author whose work has been described as gothic fiction is considered to be Nikolay Mikhailovich Karamzin. While many of his works feature gothic elements, the first to belong purely under the gothic fiction label is Ostrov Borngolm ( Island of Bornholm) from 1793. [75] Nearly ten years later, Nikolay Ivanovich Gnedich followed suit with his 1803 novel Don Corrado de Gerrera, set in Spain during the reign of Philip II. [76] The term "Gothic" is sometimes also used to describe the ballads of Russian authors such as Vasily Andreyevich Zhukovsky, particularly "Ludmila" (1808) and " Svetlana" (1813), both translations based on Gottfreid August Burger's Gothic German ballad, " Lenore." [77]Welcome to /r/literature, a community for deeper discussions of plays, poetry, short stories, and novels. Discussions of literary criticism, literary history, literary theory, and critical theory are also welcome. Rose Miller, Emma (2019). "Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor" (PDF). Archived (PDF) from the original on 21 May 2022 . Retrieved 1 May 2022. Irish Catholics also wrote Gothic fiction in the 19th century. Although some Anglo-Irish dominated and defined the subgenre decades later, they did not own it. Irish Catholic Gothic writers included Gerald Griffin, James Clarence Mangan, and John and Michael Banim. William Carleton was a notable Gothic writer, and converted from Catholicism to Anglicanism. [64] Violence in literature refers to the recurrent use of violence as a storytelling motif in classic and contemporary literature, both fiction and non-fiction. [1] Depending on the nature of the narrative, violence can be represented either through graphic descriptions or psychological and emotional suffering. Historical literary eras have differed in their purposes for employing this thematic element, with some stories using it to symbolize a societal, psychological, or philosophical matter and others for the sole object of entertainment. Terror and Wonder the Gothic Imagination". The British Library. British Library . Retrieved 26 March 2016.

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Recently, the Netflix original The Haunting of Hill House and its successor The Haunting of Bly Manor have integrated classic Gothic conventions into modern psychological horror. [114] Scholarship [ edit ] John Milton's Paradise Lost (1667) was also very influential among Gothic writers, who were especially drawn to the tragic anti-hero character Satan, who became a model for many charismatic Gothic villains and Byronic heroes. Milton's "version of the myth of the fall and redemption, creation and decreation, is, as Frankenstein again reveals, an important model for Gothic plots." [17] In Ireland, Gothic fiction tended to be purveyed by the Anglo-Irish Protestant Ascendancy. According to literary critic Terry Eagleton, Charles Maturin, Sheridan Le Fanu, and Bram Stoker form the core of the Irish Gothic subgenre with stories featuring castles set in a barren landscape and a cast of remote aristocrats dominating an atavistic peasantry, which represent an allegorical form the political plight of Catholic Ireland subjected to the Protestant Ascendancy. [68] Le Fanu's use of the gloomy villain, forbidding mansion, and persecuted heroine in Uncle Silas (1864) shows direct influence from Walpole's Otranto and Radcliffe's Udolpho. Le Fanu's short story collection In a Glass Darkly (1872) includes the superlative vampire tale Carmilla, which provided fresh blood for that particular strand of the Gothic and influenced Bram Stoker's vampire novel Dracula (1897). Stoker's book created the most famous Gothic villain ever, Count Dracula, and established Transylvania and Eastern Europe as the locus classicus of the Gothic. [69] Published in the same year as Dracula, Florence Marryat's The Blood of the Vampire is another piece of vampire fiction. The Blood of the Vampire, which, like Carmilla, features a female vampire, is notable for its treatment of vampirism as both racial and medicalized. The vampire, Harriet Brandt, is also a psychic vampire, killing unintentionally. [70] Jürgen Klein (1975), Der Gotische Roman und die Ästhetik des Bösen, Darmstadt: Wissenschaftliche Buchgesellschaft Gamer, Michael (2006), Romanticism and the Gothic. Genre, Reception and Canon Formation, Cambridge: Cambridge University Press

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On the other hand, a character who transgresses social principles imposes this harm on others. It can come in forms of psychological or physical abuse and, in extreme cases, murder – the target of which ranging from a single character to an entire community. Common large-scale violence in literature takes place in situations of war, colonization, and serial killer sprees. Shootings, stabbings, and poisonings are few examples of how such character versus other violence – rising from an underlying conflict with the self – can manifest. [28] [1] Early and Pre-Gothic Literary Conventions & Examples". Spooky Scary Skeletons Literary and Horror Society. Spooky Scary Society. 31 October 2016 . Retrieved 26 March 2016. Bloom, Clive (2007), Gothic Horror: A Guide for Students and Readers, Basingstoke: Palgrave Macmillan Saraoorian, Vahe (1970). The Way To Otranto: Gothic Elements In Eighteenth-Century English Poetry (PhD dissertation). Bowling Green State University . Retrieved 4 May 2022.

Gothic fiction - Wikipedia Gothic fiction - Wikipedia

By the Victorian era, Gothic had ceased to be the dominant genre for novels in England, partly replaced by more sedate historical fiction. However, Gothic short stories continued to be popular, published in magazines or as small chapbooks called penny dreadfuls. [2] The most influential Gothic writer from this period was the American Edgar Allan Poe, who wrote numerous short stories and poems reinterpreting Gothic tropes. His story " The Fall of the House of Usher" (1839) revisits classic Gothic tropes of aristocratic decay, death, and madness. [55] Poe is now considered the master of the American Gothic. [2] In England, one of the most influential penny dreadfuls is the anonymously authored Varney the Vampire (1847), which introduced the trope of vampires having sharpened teeth. [56] Another notable English author of penny dreadfuls is George W. M. Reynolds, known for The Mysteries of London (1844), Faust (1846), Wagner the Wehr-wolf (1847), and The Necromancer (1857). [57] Elizabeth Gaskell's tales "The Doom of the Griffiths" (1858), "Lois the Witch," and "The Grey Woman" all employ one of the most common themes of Gothic fiction: the power of ancestral sins to curse future generations, or the fear that they will. In Spain, Gustavo Adolfo Bécquer stood out with his romantic poems and short tales, some depicting supernatural events. Today some consider him the most-read Spanish writer after Miguel de Cervantes. [58] Jane Eyre's trial through the moors in Charlotte Brontë's Jane Eyre (1847) Walpole, Horace (2021). The Castle of Otranto. Duke Classics. ISBN 978-1-62011-221-2. OCLC 1285939332. See "ecoGothic" in William Hughes, Key Concepts in the Gothic. Edinburgh University Press, 2018: 63. Popular tabletop card game Magic: The Gathering, known for its parallel universe consisting of "planes," features the plane known as Innistrad. Its general aesthetic is based on northeast European Gothic horror. Innistard's common residents include cultists, ghosts, vampires, werewolves, and zombies.

Toxic love, on the other hand, can manifest in the form of unjustifiable violence. Caroline Kepnes's novel, You, presents an example of this as the protagonist, who is unnaturally obsessed and possessive of his several lovers, murders any person that might compromise their happiness or get in the way of their relationships. [54] This type of obsessive love may also root from feelings of jealousy that, depending on the circumstances, can result in acts of domestic violence against the subject of obsession. [55] a b Hogle, Jerrold E. (2002). The Cambridge Companion to Gothic Fiction. England: Cambridge University Press. pp.1–20. ISBN 9780511999185. The components that would eventually combine into Gothic literature had a rich history by the time Walpole presented a fictitious medieval manuscript in The Castle of Otranto in 1764.