Postmodersm In Gothic

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In his seminal study Gothic, Botting compares Gothic literature in the eighteenth, nineteenth and twentieth centuries with respect to their different ways of addressing terror and horror. He notes that the novel of terror dominated the eighteenth-century gothic writings for its transgressive efficacies. Female Gothic writers examine the terrors of patriarchal oppression while verbalizing the heroine’s anxiety about her entrapment into the confines of domesticity. In other words, the gothic heroine is plunged into a state of terror stimulated by her own imagination yet, reflected her social reality. Although the heroine engaged herself in a subversive journey to flee the terrors of the social order, the gothic genre at that period espoused a restoration and revitalization of the normalised order through the exorcism of the threatening and vicious characters, as Botting writes: “[V]illains are punished; heroines well married” (Gothic 10).
The nineteenth-century female gothic witnessed a shift towards the
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Firstly, while investigating it practicality, postmodernism revisits the belief in objective reality. It cuts with the consistent oneness and uniformity of Truth/Reality which is stripped of its hierarchical stance, giving much leeway for the proliferation of multiples realities and the plurality of new stories, new texts and new fictional worlds constructed by the characters. These nascent narratives uncover the laden discourse behind the creation of history which is constructed on the exclusion of the peripherized and inclusion of the dominant for the sake of homogeneity. Postmodernism thus, while interrogating the tenability of objectivity, divulges the unreliability of authentic representations. Accordingly, as the centre no longer holds, Reality is relativized Truth is

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