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Literature the gothic genre
Modern day gothic literature
Literature the gothic genre
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The Law of the Father: The Appearance of Incest in Gothic Fiction
In her book Deadly Secrets Anne Williams says that "gothic escape fictions provide a virtual reality, and experimental world in which the repressed -- especially the female in all its guises -- might be realized" (96). Society in the eighteenth century operated under staunch patriarchal control which has been dubbed by critics like Lacan as "The Law of the Father". The Law of the father, according to Lacan, is founded on the distinction between male and female and involves the repression of all that is female. Many authors used the experimental world of gothic to explore life under and also life beyond the law of the father. What is woman's role in a world where the female is suppressed? Gothic novelists portrayed the terror women experienced at the hands of a male-dominated culture by creating fictions whereby the institutions of family and marriage are revealed in their most demented form. The family was the seat of sexuality in the eighteenth century. Girls were initiated into womanhood within its protection and received their legacy of powerlessness from their mothers. They learnt that their fathers, and all men, were the "Kings of the Castle" and that they had control of all aspects of their lives. A woman's sexuality was a man's to explore or exploit as he saw fit. The ultimate power that the father could exert over the women in his life resulted in a deep-seated fear of incest, a theme that we see often in gothic novels. In The Castle of Otranto by Horace Walpole the scene in which Manfred confesses his desire to marry Isabella and have sexual relations with her is very incest-like:
I desired you once before, said Manfred angrily, not to name that w...
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...on infused in all sexual relationships where the balance of power between male and female is so one-sided.
Under the repressive Law of the Father, eighteenth century women had few rights of their own. The Gothic genre, with its emphasis on nightmarish unrealities, provided a stage on which both the horrors of life as a woman could be demonstrated and the possibility of living beyond the Law of the Father could be explored.
Works Cited
Heller, Tamar. Dead Secrets. London: Yale University Press, 1992.
Lewis, Matthew. The Monk, ed. Howard Anderson. Oxford: Oxford University Press 1972.
Walpole, Horace. The Castle of Otranto, ed. W. S. Lewis. Oxford: Oxford University Press, 1964.
Williams, Anne. The Art of Darkness. Chicago: U of C Press, 1995.
Wollstonecraft, Mary. Mary and The Wrongs of Woman, ed. Gary Kelly. Oxford: Oxford University Press, 1976.
Born as a free woman in London, England Mary argued for education along with unjust laws for women that subjected them to a form of slavery. As the world around her at the time was facing a political breakthrough with the United States using idea’s formed by philosophers John Locke and Thomas Hobbes theories in the social contract, to break free from England, she hoped the French Revolution would create an era of equality and reason. Wollstonecraft places her opinion that the condition of adult women is caused by the neglect of education for girls. Most of the essay is based on her argument for education of
Puchner, Martin. Mary Wollstonecraft. The Norton Anthology of World Literature. 3rd Ed. Volume D. Ed. Martin Puchner. New York: Norton, 2013. 133. Print.
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
Mary Shelley’s world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
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.
Mary Wollstonecraft Shelley lived in a sexually separated early 19th century Europe when she wrote her classic novel “Frankenstein”, and many ideas of her society reflect in her novel. Mary grew up in an English society where the role of women was primarily limited to the home while their male counterparts were out and about doing whatever such work he did (“Women in the 19th Century”). Much paralleling true society, gender roles in “Frankenstein” are very much different for men as they were for women. In volume I of “Frankenstein”, the main character, Victor Frankenstein, refers to nature as a female – “I pursued nature to her hiding places”(Mary Shelley, 49) – partaking in a gendered segregation whose consequences are everywhere evident throughout the novel; the affects of the separation of genders lead to destruction time and time again in the novel, possibly illustrating the beliefs of Mary Shelley of the consequences of this segregation. “Whether Shelley intended it or not, Frankenstein offers formal and thematic echoes of the revolutionary philosophy that made cultural room, of an ever-evolving shape and nature, for the fictional interventions in political and social realms,” (Batchelor, Rhonda) says Rhonda Batchelor in her essay reviewing feminine voice in the eighteenth and nineteenth centuries. It is quite possible that Shelley had no intention of including her views on male directive, but there is greater evidence pointing to the fact that she did in fact include her beliefs in her novel to include into the newly founded woman's movement of her time. This essay will argue that Mary Shelley adds intimations in her novel "Frankenstein", clearly indicating her perception that men viewed women as a feeble second class in the...
Gothic literature was developed during the eighteenth and nineteenth century of the Gothic era when war and controversy was too common. It received its name after the Gothic architecture that was becoming a popular trend in the construction of buildings. As the buildings of daunting castles and labyrinths began, so did the beginning foundation of Gothic literature. The construction of these buildings will later become an obsession with Gothic authors. For about 300 years before the Renaissance period, the construction of these castles and labyrinths continued, not only in England, but also in Gothic stories (Landau 2014). Many wars and controversies, such as the Industrial Revolution and Revolutionary War, were happening at this time, causing the Gothic literature to thrive (“Gothic Literature” 2011). People were looking for an escape from the real world and the thrill that Gothic literature offered was exactly what they needed. Gothic literature focuses on the horrors and the dark sides to the human brain, such as in Mary Shelley’s book Frankenstein. Gothic literature today, as well as in the past, has been able to separate itself apart from other types of literature with its unique literary devices used to create fear and terror within the reader.
The term ‘Gothic’ conjures a range of possible meanings, definitions and associations. It explicitly denotes certain historical and cultural phenomena. Gothicism was part of the Romantic Movement that started in the eighteenth century and lasted about three decades into the nineteenth century. For this essay, the definition of Gothic that is applicable is: An 18th century literary style characterized by gloom and the supernatural. In the Gothic novel Frankenstein by Mary Shelley, a wide range of issues are explored. Frankenstein represents an entirely new vision of the female Gothic, along with many other traditional themes such as religion, science, colonialism and myth.
In “Frankenstein” penned by Mary Shelley, one cannot help but notice the role of women in the novel compared to men. Even though Mary Shelley is the daughter of Mary Wollstonecraft, a mother advocating for women’s rights in society, she displays the roles of Caroline, Elizabeth, and Justine as passive women. This may be the time period when women were considered inferior to men. Caroline, Elizabeth, and Justine are depicted as possessions by men, admired for their superficial beauty, and do not take action without the permission of men. On the other hand, Shelley illustrates Safie as a woman who speaks up for her own rights when her father forbids her to find Felix. The three points that contribute greatly to the passive role of women are the lower of rank women in society compared to men, women being seen as possessions for men to protect, and women admired for their superficial beauty.
Wollstonecraft, Mary. “A Vindication of the Rights of Women with Structures on Political and Moral
From the beginning of time in history, women have always been portrayed as and seen as the submissive sex. Women especially during the time period of the 1800s were characterized as passive, disposable, and serving an utilitarian function. Mary Shelley’s Frankenstein is a prime example displaying the depiction of women. The women in Frankenstein represent the treatment of women in the early 1800’s. Shelley’s incorporation of suffering and death of her female characters portrays that in the 1800’s it was acceptable. The women in the novel are treated as property and have minimal rights in comparison to the male characters. The feminist critic would find that in Frankenstein the women characters are treated like second class citizens. The three brutal murders of the innocent women are gothic elements which illustrates that women are inferior in the novel. Mary Shelley, through her novel Frankenstein, was able to give the reader a good sense of women’s role as the submissive sex, through the characters experiences of horrific events including but not limited to brutal murder and degradation, which is illuminated by her personal life experiences and time period of romanticism.
For centuries, women have been forced to live life on the outskirts of a male-dominated society. During the 1800’s, the opportunities for women were extremely limited and Mary Shelly does an excellent job portraying this in her gothic novel, Frankenstein. Furthermore, in this novel, Mary Shelly shows how society considers women to be possessions rather than independent human beings. In addition, the female characters rely heavily on men for support and survival, thus proving their inability to do it on their own. Lastly, the female characters in this novel are in many ways victimized by the male characters.
Mary Shelley’s magnificent minor character Justine endures a horrendous death and maintains courage and grace when faced with a daunting trial. The powerful description of this strong young woman magnifies the gross wrongdoings of Victor Frankenstein and belittles his masculinity as he is seen as weak in comparison. Frankenstein is incapable of possessing the qualities inherent to Justine thus supporting the idea of womanly might as a formidable force.Through the representation of Justine’s intense, unwavering courage during her trial and Frankenstein’s absence of masculine bravery and justice, one can see that Shelley’s minor character is an affirmation of the undeniable strength of women.
The objective of this paper is twofold. Firstly, to examine why Wollstonecraft felt this quest into the genre of novel for the politics which she already had discussed at length in A Vindication of the Rights of Woman (1792)? The second strand of inquiry will be into the domestic ideas of despotism which arise from gender discrimination perpetuated by the state machinery, with the legal system, in particular. This second strand will envelope the prevalent issues like the legally disadvantageous position of married as well as maternal women and how the revolutionary bodies of these mothers are confined along with infliction of mental harassment by both private and state systems. The issue of the imprisonm...
Mary Wollstonecraft was a self-educated, radical philosopher who wrote about liberation, and empowering women. She had a powerful voice on her views of the rights of women to get good education and career opportunities. She pioneered the debate for women’s rights inspiring many of the 19th and the 20th century’s writers and philosophers to fight for women’s rights, as well. She did not only criticize men for not giving women their rights, she also put a blame on women for being voiceless and subservient. Her life and, the surrounding events of her time, accompanied by the strong will of her, had surely affected the way she chose to live her life, and to form her own philosophies.