Representation Of The Feminine Of Select Ghost Stories Of Ruskin Bond

An evil spirit is an essential element in gothic horror as they help to create a story. ‘The Woman in Black’ uses the element of an evil spirit to add a supernatural theme to the events throughout

This essay will attempt to discuss the two gothic tales ‘Carmilla’ and ‘Dracula’ in relation to cultural contexts in which they exist as being presented to the reader through the gender behaviour and sexuality that is portrayed through the texts. Vampire stories always seem to involve some aspect of sexuality and power.

When the book The Strange Case of Dr. Jekyll and Mr. Hyde by Robert L. Stevenson and the play, Trifles by Susan Glaspell were written both literary pieces dealt in depravity. The two main genres engage in violent acts with no remorse. Both genres reveal emotional turmoil, that’s the battle within their mind and soul, taken pleasure in immoral behaviors. Although The Strange Case of Dr. Jekyll and Mr. Hyde and Trifles are genres depicting male and female depravity, they are alike and different in social issues, such as violence, murder and justice for all.

Black Widows bare similarities to the unnecessary evil in our world. Showing excessive violent tendencies, these creatures represent a broader inspection of our society. Through many examples of literary devices in Gordon Grice’s essay “Caught in the Widow’s Web”, black widow spiders are compared to these evil tendencies in our world..

The presented paper aims to discuss the elements of spectrality and ghostliness while analyzing the social context entitled as Outside the Bones and Delirium. Moreover, the paper signified the role of women and their mystical powers based on their personal reflections.

These three brides represent the femme fatale, the fatal woman. The over sexualised women whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. These women serve as monstrous reminders of what happens if the boundaries of proper behaviour and traditional gender roles are crossed. These women, although beautiful, possess the wrong type of beauty, one of which brands them as evil, openly sexual and seductive women. Who, in addition lack the chaste passivity and fragility of the ideal Victorian lady, thus making them deserving of some form of punishment in order for them to be returned to their pure, innocent, albeit dead, human form.

“How could it feel so good when it should be disgusting and painful?” (Butler 75) These words spoken by Theodora, an elderly white woman, about her symbiotic and sometimes sexual relationship with Shori, a black “elfin little girl” (Butler 75), express the societal fear that Octavia Butler exposes in her characterization of Shori as a monster. Shori is a monster because her very existence is a testament to the blurring of historically concrete lines. She is androgynous, vampire and human, black and white, a child with adult strength and urges. Shori’s relationship with her human symbionts and other Ina usually defies normal standards of behavior and acceptance by using pleasure instead of pain as a mechanism of control and abandoning

An analysis of the novel which will answer the questions like, what elements of the gothic genre are found in the book ‘The Women In Black’? Considering the characters, settings and imagery, tone and symbols.

In Dracula, Stoker illustrates some women as overtly sexual beings and other women as pure, chaste creatures. These depictions are represented through the different female characters. The characterization of the women who show the varying representations are reflections of the ideal

Within My Last Duchess, The Bloody Chamber and Dracula, there is evidence to suggest that women within the gothic genre as portrayed as victims of male authority, as well as evidence to disprove this argument, instead suggesting that it is the women within the Gothic genre which makes themselves victims. ‘Angela Carter is particularly interested in the portrayal of women as victims of male aggression as a limiting factor in the feminist perspective of the time’[i] Carter, with her modern twist on traditional fairytales places a

Unexplainable singularities are inevitable. Society does not have the solution to every dilemma or anomaly that transpires. Undeniably, two fields of study that still has unidentified surfaces are the human psyche and supernatural activity. Scientists and researchers, regarding the psychology of the mind and supernatural happenstance, uncover new data and statistics every day. A psychological disorder can develop at any junction in a person’s life and encompass peculiar behavior in the way a person feels, thinks, and acts. In the novella, “The Queen of Spades” by Alexander Pushkin there are several key elements that provide the reader with enough data to formulate that the main character’s mental stability triggers the manifestation of the late Countess. Conversely, Stanley Kubrick’s movie adaptation of Stephen King’s novel, “The Shining,” demonstrates strong indications of the supernatural.

In contrast, there is a fear of becoming the “Other.” In Bram Stoker’s Dracula, the charismatic figure seems benevolent; however, his deceiving appearance turns out to be a creature that corrupts mankind – his attractiveness acts as a lure to display vice in people. Dracula targets virgins to become his lamias – so that innocent women

"Ghost." What images does this word conjure up in the average American mind? Perhaps you think of little kids draped in white sheets begging for candy on Halloween. Perhaps you imagine transparent versions of dead people wandering the earth for eternity. Perhaps you are reminded of a person who just saw something especially scary; they are "pale as a ghost".

Dracula is a novel that indulges its male reader’s imagination, predominantly on the topic of female sexuality. When Dracula was first published, Victorian women’s sexual behaviour was extremely restricted by social expectations. To be classed as respectable, a women was either a virgin or a wife. If she was not either, she was considered a whore. We begin to understand once Dracula arrives in Whitby, that the novel has an underlying battle between good and evil, which will hinge on female sexuality. Both Lucy Westenra and Wilhelmina “Mina” Murray embody two-dimensional virtues that have been associated with female. They are both virgins, whom are innocent from the evils of the world and that are devoted to their men. Dracula’s arrival threatens those virtues, threatening to turn Lucy and Mina into the opposites, noted for their voluptuousness, which could lead to an open sexual desire.

subject of social ostracism, and the New Woman, the advent of which was feared by the majority of the British Victorian patriarchy, was a prominent aspect of much mid-to-late Victorian era literature. Supplementary evidence to support the compelling Victorian era literary connection between the vampire and the New Woman can be extrapolated from the unique gender role standards that defined that socially complex era. As Catherine Siemann suggests in her essay, “Darkness Falls on the Endless Summer: Buffy as Gidget for the Fin de Siecle,” the Victorian New Woman’s “personal