Compare And Contrast The Monk And The Gothic

Although Moers’ essay is not entirely focused on the formalist approach, there is a good deal that holds the same values. Moers talks about Gothic fiction as a genre and how the time period influenced Mary Shelley’s alteration of

Various authors develop their stories using gothic themes and characterizations of this type to lay the foundation for their desired reader response. Although Edgar Allan Poe’s “The Fall of the House of Usher” and Peter Taylor’s “Venus, Cupid, Folly and Time” are two completely different narratives, both of these stories share a commonality of gothic text representations. The stories take slightly different paths, with Poe’s signifying traditional gothic literature and Taylor approaching his story in a more contemporary manner.

Women have a profound role in not only the society, but in all facets of culture. Their impact can be seen/felt in music, fashion, and even literature. After reading the short stories from the last few weeks, it has become more apparent that women truly encompass a definite role as well in gothic fiction. As a result, this paper will seek to analyze and define the roles of women in two (2) prominent gothic fiction pieces: “The Yellow Wallpaper” by Charlotte Perkins Gilman and Edgar Allen Poe’s “The Fall of the House of Usher.”

Gothic literature is a style of writing dating back to 1764, some of the most important elements of this writing style are of an eerie setting and mental decay, stories that made great use of these elements are: “The Raven”, “Black Cat”, “The House of Usher”, and “The Devil and Tom Walker”. The authors use the gothic element of eerie setting so that they can enhance the mood of the story and of mental decay to highlight what the conflict in the characters’ lives is causing.

Gothic literature has a different way of captivating the reader. Page by Page, gothic themes are present that create mystery and evoke suspense. The Night Circus, a novel by Eric Morgenstern, “The Devil and Tom Walker”, by Washington Irving, and “The Oval Portrait”, by Edgar Allan Poe share two important themes: eerie setting and isolation. All the stories connect through a lesson that passion can become harmful.

The gothic literary movement is a part of the larger Romantic Movement. Gothic literature shares many of the traits of romanticism, such as the emphasis on emotions and the imagination. Gothic literature goes beyond the melancholy evident in most romantic works, however, and enters into the areas of horror and decay, becoming preoccupied with death. “The Fall of the House of Usher” by Edgar Allan Poe is a powerful example of gothic fiction, whereas James Fenimore Cooper’s The Last of the Mohicans serves as the romantic predecessor, illustrating the differences and the similarities between romantic and gothic literature.

Edgar Allan Poe, renowned as the foremost master of the short-story form of writing, chiefly tales of the mysterious and macabre, has established his short stories as leading proponents of “Gothic” literature. Although the term “Gothic” originally referred only to literature set in the Gothic (or medieval) period, its meaning has since been extended to include a particular style of writing. In order for literature to be “Gothic,” it must fulfill some specific requirements. Firstly, it must set a tone that is dark, somber, and foreboding. Next, throughout the development of the story, the events that occur must be strange, melodramatic, or often sinister. Poe’s short stories are

Horace Walpole’s The Castle of Otranto, is acknowledged by many as the first gothic novel. It was the first of it’s kind and many of the conventions used by Walpole, which put it in a literary genre of it’s own, were continued by authors such as Ann Radcliffe and Matthew Lewis. Many of these defining characteristics can be seen within the very first few pages of the text and for the purposes of this essay, to identify some of these conventions used and the relevance of this text to modernity I shall focus this analysis on the passage between pages twenty-four and twenty-six from the Oxford World’s Classics edition.

Although the Prioress does not outcast her opinion towards feminism as much as the wife, it is still important to discuss her outlook on a patriarchal society and how she behaved throughout it. The way the nun presents herself with the clothes she wears and her table manners indicate that she is from an aristocracy ranking. It was not acceptable for women in the medieval time that were so devoted to God to give much attention to their attire. However, the author states, “women of rank continued to display their status in fine clothing and adornment” (Nelson 35-36) and that is just what the Prioress continued to do even after devoting herself to God. It is said that when she sees a mouse stuck in a trap that she weeps, and she even has dogs

Though the prioress is a religious figure who is suppose to be practicing moderation, piousness, and charity, she is instead refining behavior that is expected of the courts, which is unnecessary in religious institutions. The extensive description of her elegant attire and courtly manners paints a portrait of excessive pompousness and arrogance. The extravagance of the nun’s clothes also shows that rather than living in humble poverty, the nun is living a lavish life, which portrays her in a corrupt light because she does not abide by the teachings of the convent. The nun further demeans religious codes through her obsession with worldliness. The nun’s boundless love for her dogs, and the tears that she sheds for animals demean the respect and love that she should be directing towards God because she shows that she loves the material more than she does anything else. Her brooch that reads “Amor vincit omnia” (162) is a display of her affection towards worldly material items because her love is imprinted on her brooch instead of being expressed through her actions. The nun’s focus on worldly items reflects the corruption that was overtaking religious institutions as more individuals within it began to incorporate the ambitions and ideals of aristocracy into their religious practices.

With each letter in Les Liaisons dangereuses, Choderlos de Laclos advances a great many games of chess being played simultaneously. In each, the pieces—women of the eighteenth-century Parisian aristocracy—are tossed about mercilessly but with great precision on the part of the author. One is a pawn: a convent girl pulled out of a world of simplicity and offered as an entree to a public impossible to sate; another is a queen: a calculating monument to debauchery with fissures from a struggle with true love. By examining their similarities and differences, Laclos explores women’s constitutions in a world that promises ruin for even the most formidable among them. Presenting the reader glimpses of femininity from a young innocent’s daunting debut to a faithful woman’s conflicted quest for heavenly virtue to another’s ruthless pursuit of vengeance and earthly pleasures, he insinuates the harrowing journey undertaken by every girl as she is forced to make a name for herself as a woman amongst the tumult of a community that machinates at every turn her downfall at the hands of the opposite sex. In his careful presentation of the novel’s female characters, Laclos condemns this unrelenting subjugation of women by making clear that every woman’s fate in such a society is a definitive and resounding checkmate.

The term gothic fiction implies a British literary genre from the late eighteenth, and early nineteenth century. The modernized term seems to have been generalized into anything that is dark, gloomy, or depressing. Gothic novels often time posses an emphasis on portraying the terror, a prominent use of supernatural circumstances, the presence of highly stereotyped characters, and the attempt to display techniques of literary suspense. There are also other parallels among this vastly popular genre. Gothic novels often time describe the city of London in corresponding ways. Also a common theme amongst gothic literary works is the duality of human nature, or the quality or characteristic of being twofold. These mutual themes are apparent in

The term gothic serves as the ideal backdrop for a literary era of suspense, mystery, and terror. A haunted mansion bursting with secrets, a naïve helpless heroine, and the male hero that saves the day are all quintessentially gothic. When Ellen Moers first coined the term “Female Gothic” in her 1976 book, Literary Women, she defined it as “the work that women writers have done in the literary mode that, since the eighteenth century have been termed Gothic” (Moers). Her argument that Female Gothic literature is a code for women’s fear of domestic entrapment, especially within their own bodies as was mainly experienced in childbirth and motherhood, was quite influential. Anne Williams, in her book The Art of Darkness: A Poetics of Gothic, argues that Female Gothic can be further dissected to include its intention to criticize the patriarchy while educating and socializing its female readers with an affirmation of absolute independence and strength. The Female Gothic is often pursued and haunted by a villainous patriarchal figure, but finds salvation on her own accord and more importantly, within herself. Another element of Female gothic is madness and monstrosity as an explanation for why the female would deviate from the conventional norm.

Carol Lazzaro-Weis is the President of the American Association of Italian Studies, the largest associate of university professors of Italian in North America and serves on several editorial boards. Professor Lazzaro-Weis has been appointed to serve on the International Advisory Board for The Centre of Contemporary Women’s Writing. Her teaching and research interests include nineteenth and twentieth century Italian literature, genre, French women writers of the seventeenth and eighteenth century, feminist theory, etc. In addition to numerous articles on French and Italian writers, she has published the following books: From Margins to Mainstream: Feminism and Fictional modes in Italian Women’s Writing, La Signorina and Other Stories, Confused Epiphanies: L’abbé Prévost and the Romance Tradition, etc. She is currently preparing a book-length manuscript on women’s historical novels in Italy, France, Francophone Canada and the Caribbean.

As a brief introduction to Gothic, the label ‘Gothic’ was coined in Italy. It was during Renaissance, “as a derogatory reference to the art and architecture of these earlier centuries” (Introduction: