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Stephen King fascination with horror
Stephen king on gothic literature
The influences that gothic literature
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Naturalist writers of the early 20th century convey the notion that persons are fated to whatever station in life their biological heredity and social environment prepare them for. Those who profess to be proponents of the naturalist perspective see literature as a means to understand the nature of man. Since “the naturalist found in scientific discovery only a confirmation of humankind’s helplessness in the face of indifferent and inscrutable forces,” their writings usually generate an uninspiring idea of humanity’s frailty (Strengell 11-12). While the deterministic worldview is logical, it is difficult for many to resonate with powerless and doomed characters. Thus, the only way for the naturalistic frame of mind to reach a wider audience is to present it in a different and less monotonous way.
“[O]ne of the signature traits of Naturalism seems to be the ease with which it combines in hybrids with other forms” (Crow 123). Master of Horror Stephen King illustrates this concept in his novel, The Shining (1977), by intertwining the deterministic elements of Naturalism with Gothic and Horror. Combining these genres may seem to be a marriage of complete opposites, but what lies dormant on its own thrives in the pairing. Unlike most naturalist writers, King presents a character’s strength along with his or her faults. Although their deterministic traits imply that failure is imminent, the Gothic elements provide the backdrop for developing sympathy and even understanding for a character’s actions. By using these techniques, King transforms a genre that has been mainly sought after for entertainment into insightful literature.
In The Shining, King explores the triumphs and failures of naturalism, as he illustrates the mor...
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... effective method of understanding the deterministic forces that drives action.
Works Cited
Crow, Charles L. "Jack London's The Sea Wolfe as Gothic Romance." Gothick Origins and Innovations. By Allan Lloyd. Smith and Victor Sage. Amsterdam: Rodopi, 1994. 123-31. Print.
King, Stephen. The Shining. Ed. William G. Thompson. New York: Pocket, 2001. Print.
Magistrale, Tony. ""The Truth Comes Out": The Scrapbook Chapter." Discovering Stephen King's The Shining: Essays on the Bestselling Novel by America's Premier Horror Writer. 2nd ed. Tuscaloosa: Borgo, 2008. 39-46. Print.
Norris, Frank, and Donald Pizer. McTeague: A Story of San Francisco: Authoritative Text,
Contexts, Criticism. 2nd ed. New York: W.W. Norton, 1997. Print.
Strengell, Heidi. Dissecting Stephen King: From the Gothic to Literary Naturalism. Madison: University of Wisconsin, 2006. Print.
Gothic writing is a style of literature that relies upon the evocation of moods, feelings and imagery for impact. This style of writing was developed during an age of great scientific discovery – such literature marked a reaction against the prevailing ‘Age of Enlightenment’. Many Gothic authors opposed the new-found faith and enthusiasm placed in these discoveries, believing that they restricted freedom of imagination. Consequently, Gothic writers inhabited areas where no answers are provided – exploiting people’s fears and offering answers that are in stark contrast to the otherwise scientific explanations.
Morgan, J. The biology of horror: gothic literature and film. Carbondale, IL: Southern Illinois University Press, 2002.
Throughout the story, Malamud uses all types of imagery to display important events, Roy’s accomplishments, and characters relationships. The imagery takes hold of the reader and makes the story appealing and tasteful. The Natural, by Bernard Malamud, uses beautiful and colorful imagery that makes the overall story an interesting and enjoyable read.
He used rhetorical techniques such as allusion, irony and metaphors. These were all ways of connecting to his reasoning’s by using an element of life or something that we are well aware of. He also used different types of appeals, which were pathos, logos and ethos. Each of these appeals had drawn us into his reading in different ways to connect to our emotions and the most affective was the common logic he brought and his credibility of being a well-experienced person in horror. Common logic is the best way to catch your readers attention because if they understand what you are proclaiming then they can grasp onto your argument. For Why We Crave Horror Movies, King gave both visible common logic and hidden. The hidden had to do with the psychological reasons to why we desire horror movies and how it can release our hidden, evil emotions that we normally keep inside of us. Also, it relieves us of stress to not be in the real world even if it is just for an hour or more. These hidden logic is more of a realization for the readers and come into sense these are the reasons why we truly do crave horror
Romantic literature, as Kathy Prendergast further claims, highlighted things like splendor, greatness, vividness, expressiveness, intense feelings of passion, and stunning beauty. The Romantic literary genre favored “parts” over “whole” and “content” over “form”. The writer argues that though both the Romantic literary genre and the Gothic art mode were medieval in nature, they came to clash with what was called classical conventions. That’s why, preoccupations with such things as the supernatural, the awful, the dreadful, the repulsive and the grotesque were the exclusive focus of the nineteenth century Gothic novel. While some critics perceived the Gothic as a sub-genre of Romanticism, some others saw it as a genre in its own right (Prendergast).
Spignesi, Stephen J. The Essential Stephen King : A Ranking Of The Greatest Novels, Short
Punter David, ‘The Literature of Terror’, in A History of Gothic Fictions from 1765 to the Present Day, The Modern Gothic. Harlow, eds. (UK: Pearson Education, 1996)
Word by word, gothic literature is bound to be an immaculate read. Examining this genre for what it is could be essential to understanding it. “Gothic” is relating to the extinct East Germanic language, people of which known as the Goths. “Literature” is defined as a written work, usually with lasting “artistic merit.” Together, gothic literature combines the use of horror, death, and sometimes romance. Edgar Allan Poe, often honored with being called the king of horror and gothic poetry, published “The Fall of House Usher” in September of 1839. This story, along with many other works produced by Poe, is a classic in gothic literature. In paragraph nine in this story, one of our main characters by the name of Roderick Usher,
Many of the great Romantic authors wrote gothic literature at some point in their literary careers and some even created their literary legacies, perhaps unintentionally, with their tales of horror and suspense. One of the most notable authors during the Romantic period that is well known today for creating one of the greatest literary ...
Throughout the years, Gothic literature has developed to be a mirror representation of what the beliefs and thoughts of the time were. The Gothic has a tendency to express beliefs towards the socioeconomic, political and religious situations and grievances of the time. Many texts express this, some including Edgar Allen Poe’s The House of Usher and Mary Shelley’s Frankenstein, to then allow for the general public – at least those who were literate – to, subconsciously, understand the environment around them without being too direct. This gave the writers of the time a new channel, through this ge...
Richard Matheson, an acknowledged writer of the 20th century, may seem as a simple horror artist who creates stories to scare his target audience. However, many of Matheson’s stories contain meaningful topics that relate to modern day issues. This can be seen through the works “Button Button”, “Nick of Time”, and “No Such Thing as a Vampire”.
King owes his success to his ability to take what he says are “real fears” (The Stephen King Story, 47) and turn them into a horror story. When he says “real fears” they are things we have all thought of such as a monster under the bed or even a child kidnapping and he is making them a reality in his story. King looks at “horror fiction...as a metaphor” (46) for everything that goes wrong in our lives. His mind and writing seems to dwell in the depths of the American people’s fears and nightmares and this is what causes his writing to reach so many people and cause the terror he writes about to be instilled in his reader.
Gothic imagery and themes include castles, coffins, monsters and strange lands and pose the background of the classic Gothic novel. The Gothic element is synonymous with the horror and uncanny- a feeling rather than form, in which transgression is the central topic (Wisker 7). The vampire is a figure that transgresses society’s limits to form the central dynamic of the Gothic. “We enjoy seeing the limit transgressed- it horrifies us and reinforces our sense of boundaries and normalcy” (Halberstam 13). Assuming that Bram Stoker’s Dracula sets the archetype of the vampire, it is clear that modern vampires have demonstrated a decrease in the Gothic horror despite similarities in the Gothic imagery
Life is a serious of events. Each person comes and goes from one activity to another, a run to the Starbucks on the corner for a morning brew or the boarding of the evening commute back home. In the genre of realism, these every-day monstrosities are explored. This concept, combined with the “scientific principles of objectivity and detachment” (Campbell), creates the style of naturalism in literature. Through his detailed usage of realism, the author Stephen Crane is often portrayed as one of the leading founders of naturalism in American literature. Having been raised in a religious family during the rise of Darwinist ideals, Crane uses the trends of the times and the world around him to create works that are celebrated by critics as some
Even though the modern era has produced new forms of expression, movies and television still rely on timeless literary styles. The gothic plays a particularly strong role. In fact, UC Berkeley professor Dr. Jones criticizes, “film, as a medium born with the twentieth century, is both a latecomer to and an avid, unabashed plagiarizer of earlier literary forms of the Gothic.” A modern audience might associate gothic with a moody teenager clad in black and full of angst. However, Lilia Melani from the English Department of Brooklyn College defines what a work needs to be considered gothic. It must showcase “its remote setting, its use of the supernatural, and its medieval trappings, all of which have been so frequently imitated and so poorly imitated