Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Gender studies judith butler
Gothic tropes essay
Gender studies judith butler
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Gender studies judith butler
In The Rise of the Novel, Ian Watt underlines the “changed nature” of eighteenth-century mainstream literary production that witnesses a textual revolution since the inception of the gothic genre, which gains its popularity with the publication of Horace Walpole’s The Castle of Otranto (1764) (qtd. in Hock-soon Ng 1). Contrary to the realistic narratives of Daniel Defoe and Samuel Richardson, which mark the outset of the century, gothic writers tantalize their works with fantastic events, breaking with the Enlightenment ideological discourse that values rationality (Botting 3). Yet, the gothic genre has been maligned as a ‘marginalized’ literary form in relation to nineteenth-century realistic literature. Juliann Fleenor, in The Female Gothic, further elucidates this: “The Gothic has generally had a negative critical reception. From the first it has been seen as outside the mainstream of literature […]. [C]ompared to the realistic novel, the critics maintaining that the latter is superior because it is more real” (qtd. in Anna Haningerová 14). In fact, its peripherized position seems “congenial” to that of women in the nineteenth-century patriarchal society (14). Accordingly, women novelists take up this genre that becomes an established mode in their literary texts since the eighteenth-century. Indeed, it is feminized with the literary works of Ann Radcliffe and consolidated by her female successors that participate in ‘the rise of the female gothic novel’ and the inauguration of an autonomous ‘female gothic tradition.’
While examining its nineteenth-century narratives, Anne Williams claims that the female gothic serves a “counter-feminist” aim (qtd. in Greta Olson 13). Its traditional plot upholds the conventional representati...
... middle of paper ...
...strosity of their characters. They centralize their narratives around the story of monstrous women who are neither foils to the heroines nor doubles to female authors. Instead, they are endowed with much leeway to articulate their authorial “I” and verbalize their stories in which they assert their agency and individuality. Through their new gothic monsters, twentieth-century female gothic novelists manage not only to construct a counter-discourse in which they subvert all kinds of binary mechanisms, but also to present a new feminist approach to the traditional female gothic, which suggests the ways that can undermine the conventional perception of identity, gender and sex as fixed and natural categories. Accordingly, I will refer to Judith Butler’s theory of gender performativity in order to read their narratives as stories of gender and sexual construction.
Written in 1818, the latter stages of the Gothic literature movement, at face value this novel embodies all the key characteristics of the Gothic genre. It features the supernatural, ghosts and an atmosphere of horror and mystery. However a closer reading of the novel presents a multifaceted tale that explores
This essay explores the blurring of gender roles within Bram Stoker’s Dracula and Angela Carter’s The Lady of the House of Love, focusing on the presentation of a sexually assertive female and its threat to the patriarchal society, and the duality of the female characters as they are presented as enticing and thrilling, but also dangerous and somewhat repulsive.
Purity in the Gothic genre can be perceived from so many points of view. It involves sex, beauty, perception, and people's position in society. "The Italian" has many characters that behold either one or more of these traits. In this paper, we will explore how Ann Radcliffe uses purity and the deception and destruction of it to enhance her character's role in the Gothic genre.
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.
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.
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.
Moers, Ellen. "Female Gothic: The Monster's Mother." Reprinted in Mary Shelley's Frankenstein. Norton Critical Edition. 1976; New York: W. W. Norton, 1996. 214-224.
Women in the 18th and 19th century were expected to follow the orders of the males in their lives. They were forced into arranged marriages to connect families in a pursuit for social power and they were expected to abide by anything the males in their lives asked of them. Free will was nonexistent. Much gothic literature effectively highlights the women’s expected role of the time. However, another aspect that seems to surface in gothic literature is whenever there is a woman who is not following the social norms, they seem to be the driving conflict behind the plotline and ultimately lead to any present happy ending.
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.
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
on the aid of Hell itself, and to find things familiar in the world of
Brown’s perspective on the European fiction that, while gothic and therefore focusing on “superstition and exploded manners, gothic castles and chimeras”, merely appealed to popular taste and as such held the consensus that reading fiction was an idle pastime (Elliot, ix). Brown’s aim was to change the general consensus of fiction reading and create a genre that challenged readers to use their full intellectual capacity. He did this in Wieland through not only the dialectic, but also through allusions to the climate of the world he was living in. If we are to take Wieland as a representative for the American gothic, then the genre must achieve that goal.
Moglen, Helene. The Trauma of Gender: A Feminist Theory of the English Novel. Los Angeles, CA: U of California P, 2001.
The themes of the gothic and supernatural are two of the main themes in both Jane Eyre and Turn of the Screw. However, there are traits of mental illness or madness found in both protagonists in James’ and Bronte’s novels along with Bertha Mason. Both authors present these themes to the reader in a number of ways.
Michael Gamer, Romanticism and the Gothic: Genre, Reception, and Canon Formation (Cambridge, England: Cambridge University Press, 2000) 15, Questia, Web, 29 May 2010.