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Gothic literature
Introduction
Some argue that the Gothic is a real effort to understand the challenges that exist in social

and psychological structures, while others argue that it's just another way for readers to avoid

confronting their own fears and anxieties rather than face them head-on. Writers that use gloomy

and gorgeous landscapes, striking narrative tactics, an overall sense of mystery and dread might

be classified as Gothic writers. It's common for a Gothic book or narrative to focus around a vast,

old home that hides a dreadful secret or acts as a safe haven for a particularly terrifying and

menacing character. However, Gothic authors have also incorporated magical aspects, a touch of

romance, well-known historical personalities, and travel and adventure plots to keep their readers

entertained (Carpenter pp. 4-5). Despite the fact that Gothic literature has faded from popularity

in recent years, its features still enthrall readers intellectually, emotionally, and spiritually.

Readers are captivated by the mystery, the gathering darkness of danger and evil, the anxiety,

and the suspense and even lunacy.

While Gothic books and plays offered sensationalist pleasure, they also told tales of

fragility and strife that the new country could relate with, making them a popular choice for

audiences.

Gothic tales are full with recurring motifs

The container of the narrative is one of the most common Gothic literary themes. While

the Gothic figures seek shelter in the container, they also experience a tremendous deal of

tension. Isabella finds sanctuary at the convent in "The Castle of Otranto," where the castle
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serves as both a container and a hiding place for her. Early Gothic castles were the primary

container, but this changed to family manors or hospitals or schools in the later Gothic period.

Castles are no longer acceptable places of shelter and concern as time goes on. When it comes to

Gothic literature, the container evolves throughout time with the pace of everyday life, making it

a better environment for a character to feel comfortable and at ease.

In most cases, the story takes place in or near an ancient castle, house, or estate that has

either been abandoned or is being inhabited. Dark or hidden stairs, secret tunnels, trap doors, and

hidden chambers all add to the gothic feel of these structures. Forested or desolate landscapes

may be found in the surrounding area. The neighboring area also includes moors and heaths.

The protagonist's desire for forbidden abilities frequently leads in the transformation of

the protagonist into a beast/monster. Sometimes the protagonist is seen as becoming degraded

and losing their humanity throughout this metamorphosis (overreaching ambition has caused the

protagonist to fall to the level of a beast).

Gothic stories from the past era

Gothic literature has been a source of inspiration for writers for generations. As a

consequence, the characteristics of Gothic literature have shifted dramatically from generation to

generation. Ancient ruins and distant periods were common settings for early Gothic novels,

where the action took place in crumbling fortresses and torch-lit monasteries, while the

antagonists were dissolute Catholic noblemen and corrupt, sex-crazed monks. Gothic literature is

founded in a mixture of the ancient and the modern, and this is what makes it so appealing

(Margau p, 36). When the medieval age comes to a close and the industrial revolution begins, it

is common to see this phenomenon. Modern technology and science are juxtaposed with ancient

backgrounds to produce a feeling of uncanniness and detachment that characterizes the Gothic
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style of literature and film. "Freedom and democracy which were yet unobtainable in Britain"

was a common refrain for immigrants, as well as citizens, in the United States at the time

(Margau p. 37). He also points out that American residents "found it impossible to reconcile the

image of America the virgin country with the brutality of its past, the horrors of war, the

continued presence of chattel slavery, and the hazardous condition of its indigenous peoples"

despite the nation's young age (Margau p. 38). Across the Atlantic, inhabitants of England and

the United States found themselves in a state of doubt and turmoil that could only be

characterized as Gothic.

Since this was a time of great social upheaval, it is no surprise that Gothic literature and

play emerged. It has been suggested that the Gothic is influenced by the rise of the middle class

in England and America, as well as a desire for safe forms of transgression as a means of

questioning laws and morality that were viewed by many as oppressive and a reaction to the

revolutions and other less violent but nonetheless turbulent changes (Margau p. 34).

Contemporary Gothic Stories

For decades, gothic literature has been a huge source of inspiration for blockbuster films

and novels, which continues to be adapted in new ways. In addition to graphic horror books and

the current social media-fanned cultural phenomena of individuals dressing up as "scary clowns"

to terrify others in public settings for amusement reasons, this includes the rise in popularity of

graphic novels (Parker 333).

Most recently, the idea of haunted or gothic clowns has gained traction on social media,

but its origins can be traced back to gothic literature, which has been adapted to new locations

and circumstances by applying its tried-and-true motifs. Our obsession with creepy clowns is

another illustration of our affinity with creatures that lurk in the shadows. In the end, they serve
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as a reminder that monsters may exist and are still present in our society. Modern horror in

literature and cinema has become one of the most popular genres in recent years, with Stephen

King and Tim Burton among its most prominent practitioners (Snowden p. 173).

Anxiety and disturbance in the home may be noticed in current film work. Because of the

contemporary technological advancements, it is possible that the Gothic has returned as a means

of grappling with difficult concerns that have arisen. The resurgence of the Gothic, which

connects to an earlier age of fast technological progress, contradicts the prevalent belief that

post-internet art is focused on a featureless and faceless present. The supernatural media virus is

causing a resurgence in Gothic literature at the moment. Combination of virus and network with

media concern makes up this trope. In today's world, both "virus" and "network" analogies have

become commonplace. For example, we use cultural metaphors as though they were generally

applicable thinking processes that influence how we see reality.

Conclusion

Gothic literature is both a time period and a literary style, since it was popularized

throughout this time period. Despite the fact that the Gothic style is still prevalent in today's

literature, the Gothic age is passed. While the Gothic era focuses on a few specific fears, the

method remains consistent across many eras of Gothic literature and remarks on various

historical periods' worries.

Works Cited

Carpenter, B. S. "Telling Stories, Telling Tales." Art Education, vol. 58, no. 5, 2005, pp. 4-5.

ProQuest, https://deanza.idm.oclc.org/login?url=https://www.proquest.com/scholarly-

journals/telli ng-stories-tales/docview/199402142/se-2?accountid=38235.

Margau, Paul. "CHANGES OF PERCEPTION IN GOTHIC LITERATURE. AN INQUIRY

INTO THE EFFECTS OF READING GOTHIC." British and American Studies, vol. 21,

2015, pp. 31-38,231. ProQuest,

https://deanza.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/cha

nges-perception-gothic-literature-inquiry-into/docview/1705538423/se-2.

Parker, Joanne. "History of the Gothic: Gothic Literature 1825-1914." Victorian Studies, vol. 54,

no. 2, 2012, pp. 332-334,390. ProQuest,

https://deanza.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/hist

ory-gothic-literature-1825-1914/docview/1020691703/se-2?accountid=38235.

Snowden, Kim. "The Gothic Fairy Tale in Young Adult Literature: Essays on Stories from

Grimm to Gaiman." Marvels & Tales, vol. 31, no. 1, 2017, pp. 171-174,202. ProQuest,

https://deanza.idm.oclc.org/login?url=https://www.proquest.com/scholarly-journals/got

hic-fairy-tale-young-adult-literature-essays/docview/1923968571/se-2?accountid=3823 5,

doi:http://dx.doi.org/10.13110/marvelstales.31.1.0171