The settings presented are also dark and eeire, and Dracula himself lives in solitude with no other companion. The film adaptation of Bram Stoker’s ‘Dracula’ is just as reliant on the conventions of Gothic fiction (a genre that was extremely popular in the early nineteenth century when the book was written) as the novel, making it not only follow nicely in the novel’s footsteps but also proving to be a chilling delight for the viewing audience. Gothic fiction traditionally includes elements such as wild landscapes, eerie castles, darkness, and decay, isolation, security, the supernatural and innocent maidens threatened by unspeakable evil. Stoker has utilized all of the above and consequently, as does this film adaptation. An example of this would be in the theme of isolation as Dracula’s castle is hidden in the recesses of Transylvania, kept away from civilization of any description.
This reversal of gender stereotypes and gothic conventions is used often in Carter’s work. In the Bloody chamber, it seems that although she has adapted gothic conventions into a modern way, presenting females as the more powerful characters than men, she also retains some of these typical roles in some of her stories. The lady of the house of love would be an immediate example of how Carter creates a role reversal that differs from the typically valued places in gender. Carter creates the role of the ‘Femme Fatal’, with this dangerous woman that lives in the castle. This representation of the woman as powerful differs from the original expectation in a gothic novel, as the woman would usually be portrayed as weak, and in need of saving.
Hughes uses his poem, The Minotaur, to try to manipulate the audience to see a different view of their marriage, and to make people feel sympathetic towards him. Hughes portrays his wife Sylvia Plath as violent, irrational, and out of control. This is shown in the way he shows her, in lines such as “The mahogany table-top you smashed”. The onomatopoeia of “smashed” further emphasises her violent personality. Later in the poem, Hughes accuses his wife of abandoning her family.
Washington Irving is identified with the gothic with his “Legend of Sleepy Hollow”, however the gothic mode can also be identified in his story, “Rip Van Winkle”. To begin, both will be compared with their use of the Gothic Mode. Edgar Allan Poe’s writing set the mold for most gothic literature to follow. From “The Raven” to “The Tell-Tale Heart” his writing sets the reader on edge and fills them with unease. “Its style tends to be ornate, unnatural” (Carter 134).
Mary Shelley’s Frankenstein, and Edgar Allan Poe’s short story “The Fall of the House of Usher”, are both excellent examples of Gothic literature and the elements which set this genre apart from others. Each author employs such Gothic elements as metonymy, mystery and suspense, and overwrought emotion to create pieces of writing that have affected the way we tell stories even to the present day. Metonymy is an element that affects the way the reader interprets the scene without knowing it. In Gothic literature, metonymy usually makes for much “doom and gloom.” Blowing winds, howls, moans, sighs, and eerie sounds are all entwined within Frankenstein, illustrating Shelley’s use of metonymy. All of these are used to subtly reference the overall air of darkness and horror apparent in the novel.
Southern Gothic Evaluative Essay Southern Gothic literature is a subgenre of gothic literature found in American literature. Common characteristics that exist in this genre include characters that are outsiders and have a level of freakishness about them. Also, these types of stories take place in the south and display grotesque conflicts and some type of violence. The short story, A Rose for Emily, is classified as a southern gothic read. The story tells of an old woman who is referenced to as Miss Emily.
By Curley’s wife talking to a mentally unstable person Lennie she seemed to take advantage of him by flirting a little bit with him. Lennie seems a little questionable by all that she was doing but he was going along with it until she says, “ I get lonely, you can talk to people but I can’t talk to nobody but curly” (Steinbeck, 87). This quote shows loneliness because even Lennie is having a hard time to communicate with Curley’s wife because she doesn’t seem confortable with him. As they keep talking Curley’s wife lets out all that she had hurting her inside to Lennie, she tells him everything because her husband never wanted to listen to her which made her loos her companionship. As Lennie keeps talking to her in his mind he feels that she is very confused into her self by this entire happening she gets herself into trouble.
The O Word All obsessions, whether moderate or serious, are described by the persistent and disturbing pre-occupation with someone or something. Obsessions, on the rarest occasions, contain the slightest amount of humor, but they oftentimes become so serious that they cross the line of insanity. Such insanity displays itself quite clearly when presented in the case of Victorian gothic literature, specifically in The Picture of Dorian Gray by Oscar Wilde and The Turn of the Screw, by Henry James. In both of these literary works, the insane and obsessive tendencies of both of the protagonists causes them to encounter constant adversity, destruction, and unwanted conflict. In The Picture of Dorian Gray, the protagonist, Dorian Gray, becomes
A common worldwide value that Harwood rejects as the normality in life with her poems. Harwood battles against the traditions that she believes support this downgrading by continually returning to the issue. In “Home of Mercy” there is a line in the poem. Here I believe she is talking about the Magdalene Asylums. It was a place of slave labor laundries from the 18th to the late-20th centuries to house "fallen women", a term used to imply female sexual promiscuity.
This particular poem was very confusing as she often changes how she feels about the issue at hand; she goes from worshipping her father like a god of some kind to hating him and wishing revenge on him and then to saying how he is ideal model figure. She finds this figure in her husband and also labels him a vampire. It was this imagery that shows how Plath was always under the restrictive constrictions of the male figures in her life. The first stanza of the poem shows this confinement through the image of how she was trapped in her father’s shoe in which she lived like a foot and because of this she was unable to complete normal tasks that normal people take for granted such as sneeze of breathe. It was this restriction that was always evident when there was a male figure within her life.