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Importance of gothic themes in literature
Literature the gothic genre
Female characters as victims in gothic literature
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One of the corner stones in gothic literature is the characterization of female characters as weak and submissive. This notion can be tracked all the way back to 1764, when Horace Walpole wrote what many assume to be the first gothic novel, The Castle of Otranto. When the sickly Conrad dies, his sister Matilda expresses her apprehension to her attendant Bianca over the increased scorn of Manfred. “No, Bianca; his heart was ever the stranger to me – but he is my father, and I must not complain,” (Pg. 37). Matilda understands what her role in the household is and accepts it, despite of Manfred’s increased scorn. Matilda, as well as the other female characters, exhibits no negative or evil traits or thoughts yet are treated with nothing but contempt. They are submissive for no real reason beside from that was how men expected women to be in the time of the novel. The purpose of this essay is to show that if the reader does not understand the feature of the …show more content…
weak female, then the reader does not fully comprehend the origins of gothic literature. Matilda’s mentioning of the heart is fascinating.
Since ancient times, the human heart has symbolized love and passion, but the heart had many roles that it fulfilled. It was said that the heart contained a person's thoughts, feelings, or memories. So, in essence, the heart still has the meaning that it holds today as the emotional center, but it also houses the reasoning of the mind, and the spirit of the soul. The quote explains that Matilda doesn’t deserve to be confined to the restrictions of the child-like role which her father has cast her. The narrator explains Matilda’s thought processes, demonstrating her empathy and concern for others on multiple occasions. If Manfred’s heart went cold with the thought of Matilda, it means that he harbors some deep resentment over her, a resentment that runs deeper than just feelings. It is Matilda’s acceptance of those feelings that the reader views as a weakness. Matilda fails to understand that all she is to Manfred is a bargaining chip to be used to get another
wife. The relationship between Matilda and Manfred as father and daughter would lead most to assume that there is love between the two and a shared understanding of each other’s feelings. Yet Matilda’s use of the word stranger would suggest otherwise. According to Merriam - Webster dictionary, stranger means “a person or thing that is unknown or with whom one is unacquainted.” The level of neglect that Manfred has laid on Matilda is so great that it was if they were strangers. With the now added bonus of neglect to go with the resentment that Manfred gives to Matilda, it is hard to understand why she remains submissive to his desires in the beginning of the novel. Despite Matilda’s maturity and sensitivity, Manfred cannot accept or approach his daughter outside of the old patriarchal frameworks of an earlier era. To him, it would be better that Matilda be neither seen nor heard.
What was the predominant image of women and women’s place in medieval society? Actual historical events, such as the scandal and subsequent litigation revolving around Anna Buschler which Steven Ozment detail’s in the Burgermeisters Daughter, suggests something off a compromise between these two literary extremes. It is easy to say that life in the sixteenth century was surely no utopia for women but at least they had some rights.
In order to discuss the decline in masculinity (or manhood) and moral values, synonym of religious values in both books, it becomes necessary to define what Late-Victorian society considered them to be. In Dracula, masculinity is defined almost exclusively by contrasting it with femininity. The men in the book are praised when they show the opposite qualities that women are described as possessing. While women are shown as obedient and complacent, men are stern and in command of themselves and situations. Men are expected to protect women while women expect and cherish the protection of men. While men are expected to face the unpleasant facts of life, the darkness and the evil, with integrity and courage, women are to be sheltered from danger to avoid the breakdown of their fragile characters. When the group headed by Van Helsing starts their mission of vanishing the Count and all the dangers he brings for England, the men unanimously decide to hide all the unpleasant facts f...
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
Bram Stoker and Sheridan Le Fanu’s texts, Dracula (1898) and “Carmilla” (1872), use gothic tropes in similar ways to captivate readers with horror and terror. This essay will illustrate how, in comparison, both texts include gothic tropes: the New Woman, sexuality and setting, in order to provoke emotions and reactions from the readers. To achieve this, this essay will focus on the women that challenge traditional gender roles and stereotypes, and deconstruct each text in regards to the very strong undertones of homosexuality; specifically between Carmilla and Laura, and Dracula and Harker. By discussing the harshness and darkness of the environments described, including ruined castles and isolated landscapes; this essay will also explore the
In conclusion to this essay, having examined these 19th century gothic texts, it is fair to say that normative gender behaviour and sexuality pervades them. This element gives the reader a deep insight into the culture context of the time in which these stories are situated. It enables the reader to delve into the darker sides of humanity at that time, that they would not have been able to do otherwise.
Many readers feel the tendency to compare Aphra Behn's Oroonoko to William Shakespeare's Othello. Indeed they have many features in common, such as wives executed by husbands, conflicts between white and black characters, deceived heroes, the absolute vulnerability of women, etc. Both works stage male characters at both ends of their conflicts. In Othello, the tragic hero is Othello, and the villain is Iago. In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance to male-dominated societies, where women are
Within gothic fiction there is a theme of split and opposing sides. The defining ideas of gothic literature are countering society’s ideas of the norm and moral. Good vs. evil, light vs. darkness are equal to the ideas that human doubles with monster and religion faces science. Demonic identity can be found within any person who seeks it out; Mary Shelley’s Frankenstein portrays Viktor as a character who has discovered his other side. The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson also explores the many sides to the human psyche and the capabilities of human transformation. Both characters in many ways are split in two: one part being a natural and moral being that fits into society. The other part is their demonic
As a man fascinated with the role of women during the 14th Century, or most commonly known as the Middle Ages, Chaucer makes conclusive evaluations and remarks concerning how women were viewed during this time period. Determined to show that women were not weak and humble because of the male dominance surrounding them, Chaucer sets out to prove that women were a powerful and strong-willed gender. In order to defend this argument, the following characters and their tales will be examined: Griselda from the Clerk's Tale, and the Wife of Bath, narrator to the Wife of Bath's Tale. Using the role of gender within the genres of the Canterbury Tales, exploring each woman's participation in the outcomes of their tales, and comparing and contrasting these two heroines, we will find out how Chaucer broke the mold on medievalist attitudes toward women.
It is time that we start to look at the changes women have made in the comparison to the events surrounding them. We do not expect the women of today to behave and act submissively as though they were the women of the Medieval Era. Rather than looking at the news or textbooks for the evolution answer, the women of century were depicted in works of literature. The opposition against using media comes from an article from The Journal of Social Psychology Department written by Leslie McArthur and Beth Resko about the selection of men and women for commercials where men were selected more often but women had a better connection with the audience. These sex differences proved highly unfavorable for
Gothic storytelling is a form of writing that usually includes horror, death, and romance. People write gothic style for the thrill of having a little bit of scariness in their story. Gothic style can be shown through the imagery and themes. The Fall of the House of Usher and Crimson Peak are two stories that show gothic writing though the imagery of the houses and supernatural.
In the past, literature for women strove to reinforce the culturally approved ideas of femininity. Tremendous volumes of literature were written to reinforce appropriate female behaviour. By the mid-eighteenth century, the ideological division of women into two classes, the virtuous and the fallen, was well developed (Armstrong, 18). Literature often portrayed both of these women, with the virtuous triumphing at the end and the fallen receiving her appropriate punishment. Chopin followe...
it aspects of the theory of Gothic fiction, fairy tales and the definition of sexual gender.
Every girl dreams of finding her prince charming and having a fairytale wedding. She wants to be rescued from entrapment and saved from death. What these girls fail to realize is that the fairytales are laced with insults to women. All of the desireable women in the stories have long hair, tiny waists, and sparkly dresses. The princess is powerless and patient while the prince is brave and controlling. Each fairytale ends with the marriage of the princess and prince. Similarly, marriage is the ultimate goal for the female characters in Jane Austen’s Pride and Prejudice. Jane Bennet and Charlotte Lucas take on the character of fairytale princesses while Mary Bennet and Elizabeth Bennet act more like modern women and through each character, Austen comments on women’s roles in 19th century English society.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
Some fairy tales are so iconic that they withstand the passing of time. One of those fairy tales is that of Cinderella. The rags to riches story that gives even the lowliest of paupers, hope that they may one day climb the social ladder. While the core message of the story has transcended time, over the years it has been adapted to address a variety of audiences. One of those renditions is Perrault’s Cinderella where the traditional idea of gender is conveyed and therefore associated with good/evil. This idea is challenged by a fellow 1600’s French author, L’heriter de Villandon’s, who’s version of Cinderella brings about a female protagonist who is also the heroine.