Gap Between Literary Gothic and Pornography

Margaret Atwood begins her essay by explaining the distinction between mild pornorgraphy, which portrays the nude form and sexual activities, and violent pornography, which depicts extremely violent activities in a sexual manner. When discussing pornography, people often assume Atwood is referring to mild pornography; however, even though this pornography is considered “mild” by Atwood, the reactions and perspectives from people are rarely mild. The passionate accusations declaring opposing sides “prudish” or “perverted” lead to the question of what is the meaning of pornography, if there is any? Whether it

Professor’s Comment: This powerful essay contrasts the views of two feminist, Catherine MacKinnon and Sallie Tisdale, each of which perceives pornography in widely divergent ways. While MacKinnon's 'Not A Moral Issue' explains the adverse impacts of pornography to women and society as a whole, Tisdale's 'Talk Dirty to Me: An Intimate Philosophy of Sex' is receptive to pornography despite these adverse impacts, suggesting in fact that the solution to the problems associated with pornography is a greater role of women in production of that pornography.

Lisa Sigel’s, urge towards more historiography within the realm of pornography appears to be a vital response to the contestations concerning a comprehensive understanding of such a chaotic topic. To begin with, Sigel explores the discord revolving periodisation and delineation. She particularly looks at debates around the period the genre was formed as well as the challenges to formulate a single universal definition of pornography (pp. 223-224). Subsequently, her article veers towards research that has been conducted by other disciplines in the field, but it does so in correlation to what work historians should initiate in clearing the gaps that are left behind. Here, Sigel talks of the issues power and censorship has imbued on the research of pornography but she, moreover, examines how this could be corrected. She exemplifies the analyses of literary and art scholars, including Bradford Mudge, Sarah Leonard and Alyce Mahon, as a way forward for historians (pp. 227-231). Sigel goes on to argue that the result of historian work would help align pornography to specific socio-political contexts. She goes on to explore some of these contexts and insists that by continuing this contextualisation process a better understanding of pornography will be obtained (pp.231-233).

Sexuality is a prevalent theme in Angela Carter’s story The Bloody Chamber. Sexual violence within a relationship often reveals aspects of each party’s identity and character as well as affects its power dynamics. Carter depicts sex both explicitly and implicitly in the story through the heroine’s own thoughts of her newfound sexuality and her sexual experiences with the Marquis. Carter’s implicit and explicit portrayals of sex and sexuality in The Bloody Chamber reflect changes in the power dynamic between the heroine and the Marquis throughout the text, develop the identity of the heroine and reveal aspects of the Marquis’ character, and challenge notions of gender.

Pornography is a controversial subject all around the world. Part of its appeal is its taboo nature. It has been argued that pornography is harmful. Porn is an underground market that is more or less legal but is it harmful? An article written by Diana E.H. Russell in “Dangerous Relationships: Pornography, Misogyny, and Rape” argues that it is. Diana E.H. Russell is a sociology professor. She has researched the issue and argues that pornography is profoundly harmful. Professor Russell believes that it inclines men to want to rape women and that it encourages them to act out rape fantasies. However, Michael C. Seto disputes Professor Russell's theory that pornography is harmful. Michael Seto's article, written with

The Gothic genre often reproduces a conservative paranoid structure when it comes to homophobia and other moral panics over sex (Hanson, Pg. 176). Eve Sedgwick depicts this in her work, ‘Between Men: English Literature and Male Homosexual Desire’ as she discusses how these ideas (paranoia) are represented within the Gothic, in what she describes as the ‘homosocial’ in reference to male bonds (Sedgwick, Pg. 86). She also discusses how bonds between men exist as the backbone of social form and forms (Sedgwick, Pg. 86). Thus, a consequence of said structure is the ability to define, control, and manipulate male bonds, which in turn becomes an inexplicably powerful instrument of social control (Sedgwick, Pg. 86). Thus, homosexuality is represented as the ‘unspeakable’ within the Gothic, as it has been defined, controlled, and manipulated to be such though social control. Therefore, this paper will discuss how ‘homosocial’ bonds between men, are used as a tool in social control and used as a way to produce paranoia and moral panic, thus in reference to the Gothic, these forms epitomize homosexuality as the ‘unspeakable,’ especially through homosexual representations within the contexts of ghosts and haunted houses.

Anne McClintock’s “Gonad the Barbarian and the Venus Flytrap”, focuses a lot of attention on how from the beginning of history, women have been denied some of the basic rights and freedoms that have been essential to the way that men live. Starting back from the times where they couldn’t vote and when women were basically seen as property when wedded. Women today and even in the earlier days could not express their sexuality and could not show that they were sexual beings. Anne McClintock gives the idea that women should be able to have the things that men have and they should be able to express it in the same way as men. In this essay, I will analyze how Anne McClintock views pornography as a form of pleasure that is mostly consumed by men and how women are incorporated into the employment of the industry and even in the home setting.

Our social world is becoming increasingly sexualised as pornographic references and imagery are progressively more intertwined with mainstream media, social media, advertising, and pop culture. According to Tyler (2011), this intertwinement of pornography and pop culture consists of five fragments; the beginning of the pornographic boom, the

Professor Gail Dine’s teaches women studies and female images of sexuality in pop culture at Wheelock College in Boston, MA. In addition to her work, she is a founding member of Stop Porn Culture (SPC). The goal of the group is to raise awareness of the hyper sexualization of women in Society. This is a selection from her book, Pornland (2010). “Visible or Invisible: Growing Up Female in Porn Culture” illustrates how mainstream pornographic images have become so prevalent in Western Culture Society. It also shows us examples of what is perceived to be the female beauty standard via Hollywood and pop music stars. There is the real danger that children and adolescents will perceive “the pop culture gone porn culture” (dines pg) to be normal and conform to these set standards. Dines goes on about where these images are present and how widely they are in the media. She implies the need to stop these accelerated images of female porn industry and Consumerism culture conformity. In addition, how if we do not bring these matters to attention soon, before the western culture society will lead generations to achieve a beauty standard that is not real or genuinely.

The Gothic genre delves into the depths of humanity, where the presence of the horrible and the macabre represent ‘the dark side’ of human nature.  Indeed, according to M. H. Abrams, Gothic novelists invited “fiction to the realm of the irrational and of the perverse impulses and nightmarish terrors that lie beneath the orderly surface of the civilized mind” (111).  In such works, unnatural desires and forbidden excesses that are buried and secret in the functioning self, become the monsters lurching around in Gothic lore.   Eve Sedgwick expands upon these themes by identifying how the fictional self is “massively blocked off from something to which it ought normally

For many years there has been a lot of arguments about the ethical and morality of pornography. pornography is defined as the depiction of erotic behavior intended to cause sexual excitement. When it coms down to pornography, people have different opinions about it. Some people might find it moral because it gives them pleasure and it satisfies them physically. some individuals see it as a form of art that describes the figure of a human body in an artistic form. Others see it as immoral because it harms and degrades an individual. Personally I believe that it all depends how pornography is conducted and how we respond to it. It can be morally healthy that we like it because it makes us happy, such as it helps with your marriage relationship in intimacy, and it can be immoral when it is used in an unhealthy that we do not like it because hurts an innocent person.

The idea that pornography gives feminists of differing opinions this middle ground that they can meet on and see how to articulate the different desires of feminism and what they want to turn it into is one of the main reasons Catherine Lumby argues that feminists need pornography (par 60). As Lumby writes in “Why Feminists Need Porn,” chapter five of her book Bad Girls, “the notion that you can draw a cause and effect line between fantasy and social practice is disturbing and distasteful to some feminists,” (par 60).

Thesis – Multiple outlooks have been taken on the ethics of pornography, and the means by which it may either negatively influence power in sexuality, or actually provide some sort of social value and worth. These different ethical perspectives display the flaws in the industry and what it represents; yet they also end up proving the fact that it can be modified with positive influence and that pornography is not something to be deemed utterly unethical.

MacKinnon argues that pornography defines male treatment of women, and is the clearest demonstration of male dominance. Her perspective is radical, but valuable because it forces one to reexamine his or her view of pornography. She says that, “male power makes authoritative a way of seeing and treating women that when a man looks at a pornographic picture... the viewing is an act of male supremacy” (130). This form of expression dictates the way in which men view women as a class. The uneven distribution of power in this system makes pornography a form of discrimination. “Pornography causes attitudes and behaviors of violence and discrimination that define the treatment and status of half the population” (147). Not only women are subject to this form of oppression. “Pornography is the

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.