Gothic Fiction And Traditional Fairytales

There are numerous genre’s in literature, but the level of importance and influence on an individual will differ. Exposure to books and stories is especially important for children because it their chance to acclimate themselves to written language and in turn create their own visuals for the toneless words. “Why Fairy Tales Matter: The Performative and the Transformative”, by Maria Tatar contains an ample amount of textual evidence from author’s research into fairytales, as well as writer’s personal experiences with fairytales. Although Tatar supports her claims with evidence, her resources are not concrete, and seems excessive at times. Also, her assertions are weakened by her failure to defend her conclusion against competing beliefs.

‘Gothic Horror’ is a style of literature that is defined by elements of fear, horror, death and gloom, not to mention romantic elements like nature, individuality and very high emotion. It can also include supernatural themes. This style usually appeals more to an older audience, rather than children. It can appeal more to this audience because gothic horror can be used to explore serious themes and ideas, and older audiences can fully appreciate that. An older audience is also more likely to enjoy the feeling of fear gothic horror usually gives.

‘Gothic Horror’ is a style of literature that is defined by elements of fear, horror, death and gloom, not to mention romantic elements like nature, individuality and very high emotion. It can also include supernatural themes. This style usually appeals more to an older audience, rather than children. It can appeal more to this audience because gothic horror can be used to explore serious themes and ideas, and older audiences can fully appreciate that. An older audience is also more likely to enjoy the feeling of fear gothic horror usually gives.

The first trope that must be present in order to make a novel “Gothic” is, desolate and wild landscapes. In Dracula, Stoker writes, “ Soon we were hemmed in with trees, which in places arched right over the roadway till we passed as through a tunnel; and again great frowning rocks guarded us boldly on either side” (11). Stoker demonstrates the first trope by introducing a desolate setting in the woods. He does this by creating a landscape that involves trees, rocks, and tunnels, to create a dark spooky image for the readers. On the same page, Stoker also writes, “The baying of the wolves sounded nearer and nearer, as though they were closing round on us from every side. I grew dreadfully afraid, and the horses shared my fear… I could not see anything through the darkness” (11). On the wild aspect of the landscape, Stoker speaks about the presence of wolves and darkness that creates fear within the character in the novel who is experiencing it. Clearly, Dracula portrays the first trope in a

To begin, “The term Gothic fiction refers to a style of writing that is characterized by elements of fear, horror, death and gloom, as well as romantic elements, such as nature, individuality, and very high emotion. These emotions can include fear and suspense.”. (Greaver, 1). This specific style of writing began in the late seventeen hundreds. Gothic fiction was created in order to keep a narrower set of viewers or readers more intrigued and interested. “The term Gothic actually originated as a term belittling the architecture and art of the period, which was dark, decaying, and dismal. The settings were often old, dilapidated buildings or houses in gloomy, lifeless, fear inducing landscapes.” (Greaver, 1). Gothic literature is often explained as an illusion that is unexplainable. “Gothic fiction hovers between the uncanny and the marvelous, offering little

Gothic stories contain supernatural occurrences to incite an imminent feeling of darkness, and mystery. Using supernatural themes helps the reader become entrapped in the story, causing the reader to crave more of the story. For example, in Edgar Allen Poe’s The Black Cat in the short story Poe integrates the theme of supernatural by creating a dark and ominous

The power of the imagination is one of the most under-appreciated capabilities that human kind has. Though it is broadly under-estimated, it is essential to exercise the imagination consciously and unconsciously in order to achieve in-depth understandings of the creative world. After analyzing the individual components that make up fairy tales and the gothic, it becomes evident that these two genres are unified into one blended genre full of interplay on innovation and underlying meanings. Both fairy tales and the gothic genre have similar imaginative aspects, symbols and motifs that interact in unison.

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One of the spookiest experiences in Harley’s life was on a cold, dark Halloween night when Harley and her friends, Lauryn and Heidi, got chased by a clown for 3 blocks on a gloomy narrow road. This scenario relates to traits  of Gothic Literature and Magical Realism because, that experience was in a dark setting and contained weird incidents and a disturbing plot. Those two genres are similar because they both usually have unrealistic characters and scary plots. However, in Edgar Allan Poe’s “Fall of the House of Usher” is an example of Gothic Literature because, the story’s setting is in an isolated, creepy, and large house with odd characters and a frightening plot line, while Julio Cortazar’s “House Taken Over” is an example of  Magical Realism because the realistic characters are accepting the unimpressed narrative tone in an ordinary way of life. Gothic Literature is a style of writing that is characterized by elements of fear, horror, death, and gloom. Settings are usually in a isolated and haunted location in a big house or castle with trap doors, dark rooms, and secret passages. Characters are usually supernatural beings or monsters.

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.

Novel in particular and literature in general is more than just a work of fiction but in fact the hidden reflection of a specific historical era. Although, Frankenstein, Wuthering Heights and Dracula were written in different times and each leaves its readers with different emotion and contemplation stages, they all share an affinity: the presence of Gothic elements. Indeed, these novels are designed to lead their reader into thrilling journeys through spooky dark setting, suspense horrifying plot, and claustrophobic atmosphere. These elements, though appear in various forms throughout these three novels, still excellently accomplish their mission of enticing the readers to be caught up in the narrative.

While Magical Realism and Gothic Literature are similar in certain aspects, they do have their differences. The genres are different because Gothic Literature focuses more on the topic of fear, horror, suspense, death, and gloom, while Magical Realism focuses on surreal elements, dreams, and fantasy. In Joyce Carol Oate’s “Where is Here”, a strange man visits his childhood home late in the night, where a family of two children and their parents now live, and asks to look around. The husband and his wife agree, although hesitant, and the stranger reminisces about his childhood memories as he ventures through different rooms in the house.

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

All too often the gothic literature genre is reduced in its interpretation to gloomy weather and archaic haunted houses. These patterns do exist, but they do not define the genre. Gothic literature found its niche in the 18th and 19th centuries, and during the Victorian era it served a more nuanced purpose than simply to scare readers. Many gothic authors used a monster as a vessel to symbolize topics that the Victorian era sensibilities would label as “monstrous.” They are the incarnation of the taboo subjects society is trying to repress. In Bram Stoker’s Dracula and Edgar Allan Poe’s “A Tell-Tale Heart”, the authors use Freudian symbolism along with literary symbolism to demonstrate the repercussions of repressing “id” desires.

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.