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Recommended: Essays about gothic literature
Misguided Gothic Authors
In many ways the fascination with the gothic style of art, represented by music, literature, film, and others, is nothing more than a way for the observer to escape from real life and its many responsibilities. Gothic art claims to be profound and contain great esoteric meaning with life changing impact, yet the characters and the message are more often weak, unproductive, crippled, or even mad. Examples of this flaw in the argument in favor of the gothic imagination are given in the works by Beethoven, Goethe, Rice, and Gilman. It will be revealed that these authors have been misguided often by their own escapist nature to create a false reality and promote it as meaningful. In truth, the gothic imagination is the imagination of those who are looking for an excuse for their laziness and purpose behind their protective depression.
There is no question that the work of Beethoven are tremendous and phenomenal. His talent as a composer has rarely been closely met. The maturation of his compositions show a growth of important musical literature that admitted have changed the world within and without the realm of music. This fact has been a powerful tool carried by those promoting the gothic imagination for far too long. It is true that Beethoven was deaf and that he had difficult relations with his family as well as various women in his life. This gives no call for belief that he was any different than any of the other millions of people in the world that have been in the same situation. It is suggested that his great works were due to his suffering and gothic mind. It is suggested that he struggled and transcended because he was a gothic hero. The abuse of the contributions of such a remarkable musician is almost in excusable. In attempts to justify their own suffering and to give excuse for their inability to operate within normal human society, the gothics will say that Beethoven was misunderstood, suffered, and died miserably, and so will they. They have given up to the world and now feel justified in doing so.
Beethoven was a man with a great amount of talent and influence in his world which does set him apart somewhat from others. He also had a great deal of pain in his life which sets him apart from very few others in this world.
Holmes, Thomas. “The hero’s journey: an inquiry-research model. Jun 2007, vol 34 issue 5, p19-22.4p. 1 Diagram
Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the hero will fulfill the prophecy and find his/herself, realizing his/her full potential. This rubric may be easy to spot in epic action films, but if upon close inspection is found in a wide array of genres, some of which are fully surprising.
Every hero goes through multiple stages accompanying many obstacles on his or her journey. Although the journeys may differ in detail, structurally, they resemble a sound format. Along the designed adventures, the heroes come into contact with characters that possess fixed personalities or “archetypes.” The stages and archetypes of stories are somewhat predictable, but may take shape in peculiar forms. Both exemplifying heroic characteristics, Sir Gawain from Sir Gawain and the Green Knight by J.R.R. Tolkien and Thomas Becket from Murder in the Cathedral by T.S. Eliot structurally go on the same archetypical journey, but diverge in the lessons they learn and where the characters start and end in their journeys.
The first phase of a hero’s journey, as outlined by Joseph Campbell, is the Departure. In this
Gothic literature, such as The Night Circus, “The Devil and Tom Walker”, “Dr. Heidegger’s Experiment”, and “Masque of the Red Death”, are known for incorporating gothic elements such as the supernatural, death, and fascination with the past.
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.
During the course of this World Literature class, several stories have been covered that accurately describe Joseph Campbell's mono-myth, or basic pattern found in narratives from every corner of the world. The Hero's Journey in it's entirety has seventeen stages or steps, but if boiled down can be described in three; the departure, the initiation, and the return (Monomyth Cycle). Each stage has several steps, but the cycle describes the hero starting in his initial state, encountering something to change him, and this his return as a changed person. To further explain this concept, there are a few stories covered in this class that can be used.
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).
Joseph Campbell defines a hero as “someone who has given his or her life to something bigger than oneself ” (Moyers 1). The Hero’s Journey consists of three major parts: the separation, the initiation and the return. Throughout a character’s journey, they must complete a physical or spiritual deed. A physical deed involves performing a daunting and courageous act that preserves the well-being of another person. A spiritual deed calls for action that improves another individual’s state of mind. While fulfilling their journey, a hero must undergo a psychological change that involves experiencing a transformation from immaturity into independence and sophistication.Campbell states that these events are what ultimately guides a hero into completing
The raw data which I have been given is in list form and provides me
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...
...cal and romantic eras. He is one of the most well-known composers of all time. By the last decade of his life, Beethoven was almost completely deaf. He gave up conducing and peforming for audiences, and instead took to composing.
The Hero’s Journey is a pattern of narrative that appears in novels, storytelling, myth, and religious ritual. It was first identified by the American scholar Joseph Campbell in his book A Hero with Thousand Faces. Campbell also discussed this pattern in his interview to Bill Moyers which was later published as a book The Power of Myths. This pattern describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds. Campbell detailed many stages in the Hero’s Journey, but he also summarized the pattern in three fundamental phases: Separation, Ordeal, and Return that all heroes, in spite of their sex, age, culture, or religion, have to overcome in order to reach the goal. Alice in Wonderland, written by Lewis Carroll, provides a good example of the Hero's Journey. This story describes the adventures of Alice, a young English girl, in Wonderland. Although she lacks some of the stages identified by Campbell, she still possesses many of them that are necessary for a Hero to be considered a Hero.
Beethoven was born on December 17, 1770 in Bann, Germany. From a young age Beethoven was involved with music because he came from three generations of musicians. He received instruction from his father on the piano and violin. One of his earliest concerts was in front of his father’s peers against his will. Beethoven had a fiery temper and was somewhat introverted in his school years. Beethoven went to school until the age of ten. At this time his family’s finances prevented his family from affording the education that he needed. In July of 1787, Beethoven’s life was further thrown into disarray with the death of his mother. Despite Beethoven’s misfortune he would still achieve monumental amounts of success while in Vienna. His success can be attributed to the fact that he crafted relatio...
By investigating the emotional resonances of historical narratives, the Gothic novel questions how we as readers might arrive at a particular version of history. If the Gothic novel locates authentic historical representation in the archive, however, the act of interpreting the archive is almost never fully realized; interpretation in the Gothic novel is always a partial, interrupted, obscure process. This tendency indicate...