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The study of Gothic literature
The study of Gothic literature
Gothic imagery in literature
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Recommended: The study of Gothic literature
The Monk: A Romance by Matthew Gregory Lewis was originally published in 1796. It was a typical novel of the “Gothic” genre, which was typified by dramatic, convoluted plots, horror, supernatural occurrences, and “damsels in distress.” One frequent element in the Gothic is a chaste, virtuous, noble (but often poor, powerless, or orphaned) young woman whose virginity is threatened by an evil, wealthy, powerful man.
In The Monk, sexuality is deeply intertwined with morality, with “good” women being chaste and immoral women being sexually predatory. Much of the novel revolves around dynamics of sexual control and morality, with virtuous women resisting inappropriate sexual advances, bad women displaying the vice of lust, and flawed but redeemable women partially yielding (albeit passively) to male
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She has quasi-magical powers, seduces the monk Ambrosio, and eventually is fully allied with Satan. From the moment she enters the monastery in male disguise as Rosario, she is portrayed as breaking the boundaries of sexual and gender conventions. The initial attraction of Ambrosio to Rosario flirts with themes of homosexuality. When Rosario is revealed as Matilda, her character continues to break conventions, such as the masculine exclusivity of the monastery and the role of women as subordinate and passive in sexual matters.
Agnes is a typical Gothic heroine and is in love with Don Raymond. Although she transgresses conventional sexual morality of the period by allowing herself to be seduced by her lover, she is redeemable in so far as they were planning to be married before she was shipped off to the convent. Within the plot, she is purified through extensive punishment and imprisonment and the death of her baby. This and her loyalty to her lover allow her to become a “good woman.” She is happily married at the conclusion of the novel without violating the audience’s beliefs about the immorality of
priest, Father Damien Modeste, and plays this part for the remainder of her life. However, even
At the outset, an insightful reader needs to draft the general boundaries of allegory and symbolism in the story. To put it most simple, the problem of distinguishing between good and evil undergoes a discussion. It is not difficult to notice that the Grandmother stands for good and the Misfit for evil. But such a division would be a sweeping and superficial generalisation, for both the characters epitomize good and evil traits. Moral evaluation is a very complex process and it is not the human who is to decide on that. There are rather various degrees of goodness and evil, both interwoven, also in their religiousness. Th...
While Agnes was cleaning her sisters room she found her sister’s journal and her curiosity compelled her to find out more about her and
It was impertinent for a wife to dismiss her husband’s advances, yet Mrs. Pontellier took the risk anyways in order to maintain some possession of herself. However, as a woman, Edna had no asserted authority over her own body, therefore Alceé Arobin had no problem with taking advantage of Mrs. Pontellier during her times of loneliness. Chopin stresses the fact that Mrs. Pontellier has no intention of eliciting an immoral, physical relationship with Mr. Arobin, yet her strikes at her most vulnerable moment: “He stood close to her, and the effrontery in his eyes repelled the old,vanishing self in her, yet drew all her awakening sensuousness.” (81). The intimacy present between Edna and Alceé was not based off of the protagonist’s desire for happiness, but rather her lust for freedom. Alceé makes Edna feel alive; as though her senses finally awakened from the dreariness of her arranged marriage. Mrs. Pontellier does not distinguish her relationship with Mr. Arobin as an affair, yet merely viewed the young playboy as a source of entertainment. Her real awakening, however, was inspired by her the only man she ever truly loved, Robert
Diamant’s magic enables a romance to flower from violence and the formulation of a “voiceless cipher” into an ingenious being transpire (1). She forces the reader see that in the eyes of trial and tragedy, happiness and love, we find reflections of ourselves no matter the age gap. She emphasizes that such a task could not happen if not for the “scolding, teaching, cherishing, giving, and cursing one with different fears (2),” that “summon up the innumerable smiles, tears, sighs and dreams of human life” (321). All this, Diament reminds all females, can be sequestered in the red tent.
As a woman living in the late 1800s, she wants to be free to express herself however she wants, even if that includes pursuing her forbidden love, Robert. Likewise, Ethan Frome is a quiet man living in the early 1900s who feels beleaguered by Zeena, his sick and irritated wife. As the story progresses, he realizes he is falling in love with Mattie Silver, the youthful and energetic girl who moves in with the Fromes to help care for Zeena. The second noticeable similarity between the two novels is that both protagonists attempt suicide at the climax of the story. Whereas Edna succeeds in her attempt, Ethan does not.
Many short story writers have written about the gender and role of woman in society. Some of these stories express what Barbara Walter calls, “The Cult of True Womanhood” meaning the separation of both man and woman in social, political and economic spheres. In order to be considered a “true woman” woman were to abide by the set of standards that were given to her. Women were expected to live by the four main principal virtues - piety, purity, submissiveness, and domestication. In Kate Chopin’s short story, “The Storm,” Calixta the main female character breaks away from “The Cult of True Womanhood” when she has a sexual encounter with her past lover Alcée. The storm goes through many twists and turns that tie with their adulterous actions. Although she breaks away from the four main principal virtues, she in the end is considered to be pure innocent of heart because the action in which occurred happened instantly, and as white as she was, she was taken away from her innocence.
At the centerpiece of this odd and captivating tale stand the embers of Moor's family: a complex web including a ridiculed political activist, a shrew, a homosexual husband, an artist, and a Jewish underworld gangster, among others. Moor's sisters lead lives as abnormal and doomed as their family history would predispose them towards: Ina, a washed-up model, dies in the throes of insanity; Minnie takes holy orders, predicting a great plague washing over Bombay and envisioning talking rats; Mynah, a lesbian, hopelessly infatuated with Moor's lover, dies in an industrial "accident" that m y~be~her~ father's doing. Such is ...
“Edna, like Walt, falls in love with her own body, and her infatuation with the inadequate Robert is merely a screen for her overwhelming obsession, which is to nurse and mother herself” (Modern Critical Views 2). Edna Pontellier is an estimable woman of the tardy 1800s who not only apperceives that she owns many sexual desires, but additionally finds the vigor internally to digress from society’s code of conduct and builds up the nerve to act on them. Breaking through the role appointed to her by society, convivial protocol, and everyone who circumvents her, she finds herself determined to set her own identity, disinterested in both her husband and children. Many of Kate Chopin’s other stories feature zealous, and quite unconventional female
The Christian vision of Human Sexuality compared to many religions is seen as quite restrictive. Religions such as Hinduism and Buddhism do not put near as much effort in restricting human sexuality as Christians do. Particularly in Hinduism, sex is seen as a good thing and is even celebrated. Even more, some Hindu’s practice the teachings of the Kama Sutra “which provides the details of erotic method…presenting the particulars of various types of positions, caresses, and embraces” (LoPresti 25). These views of sexuality in Hinduism are significantly different to the views of Christianity. “How would you characterize the Christian vision of human sexuality, as relatively positive and affirming or more cautious and restrictive?” (LoPresti 137)
Calixta and Alce, the two main characters in the short story “The Storm” by Kate Chopin, are sexual, mature, and knowing adults. By having them discover amazing sex outside their marriages, they return to their own marriages renewed. Chopin openly condones adultery due to the fact that the characters are not punished and in the end “everyone was happy” (paragraph 40) . A common theme of fresh sexuality and desire is seen in this story though symbols and other literary elements. Kate Chopin is an American author that wrote short stories and novels in the 20th century.
Dorothea Brooke is a very bright and beautiful young lady that does not much care for frills or getting ahead in society. She wants more than anything to help those around her, starting with the tenants of her uncle. She desires to redesign their cottages, but Arthur Brooke, her elderly uncle with whom she and her younger sister Celia Brooke lives with, does not want to spend the money required. So Dorothea shares her dream with Sir James Chettam, who finds her fascinating, and encourages her to use the plans she has drawn up for the tenants on his land instead. He falls in love with her, but does not share his feelings for her quickly enough. Edward Casaubon, an older scholarly clergyman asks Dorothea to marry him, she does not accept until she finds out Sir James means to seriously court her, then turns around and tells Casaubon yes. What she does not te...
"Some mothers might have encouraged intimacy from motives of interest...and some might have repressed it from motives of prudence...but Mrs. Dashwood was alike uninfluenced by either consideration. It was enough for her that he appeared to be amiable, that he loved her daughter, and that Elinor returned the partiality" (13).
as brown as is a berry." (P 120 line 211) This shows that the Monk spends
To site a specific incident, Marianne describes her opinion of Edward Ferrars- her sister’s interest- as being very amiable, yet he is not the kind of man she expects to seriously attach to her sister. She goes on to find, what in her opinion are flaws, that Edward Ferrars reads with little feeling or emotion, does not regard music highly, and that he enjoys Elinor’s drawing, yet cannot appreciate it, for he is not an artist (15).