What is meant by the term gothic Essay Example for Free

What is meant by the term gothic Essay Gothic literature, which is sometimes referred to as Gothic horror, is a genre that links horror and romance into one tale of ‘transgressing the boundaries’. Gothicism was unheard of until the late 1700’s, this movement into a new genre of literature. This was pioneered by the English author Horace Walpole, in his famous fictional book ‘The Castle of Otranto’, or as Walpole alternatively titled it ‘a Gothic story’. Horace Walpole himself had transgressed the boundaries slightly; by introducing this new style of writing he had added a whole new genre into literature. Walpole’s style of writing was unique and captivated the readers mind and imagination to let he or she share the act of transgression, or as Robert Kidd, a renowned critic put it, â€Å"The Gothic has somehow seduced the reader so that he or she is complicit in engaging in whatever he or she might encounter†. This is what kept Gothicism alive, the author’s ability to intrigue the reader and give them a thirst to read more gothic literature. The term Gothic has been viewed as very different things over time. Gothicism came about at a very tumultuous time, after the fall of the Roman Empire, a time of raw and uncontrolled exercise of physical power. The Goths were a barbaric tribe of murderers, rapists and thieves, later the term was known as ‘Medieval’. Nowadays the term Gothic is viewed very differently by modern society, when thought about now, one thinks of it as horror. It is in rock bands, the theatre, but mainly in the modern film industry. Gothicism has become somewhat of an obsession to modern film producers and leading film companies in recent years. This acceleration of Gothic themed films started in 1922 with the film ‘Nosferatu’; this was then followed by ‘Rebecca’ in 1940. And the list continues, Sleepy Hollow (1999), Corpse Bride (2005), Sweeney Todd (2007), and one of the more modern examples, the newer version of The Woman in Black (2012). This just highlights the extent of interest in modern society about modern Gothicism. The standard thought of somebody, when they are posed with the question ‘What do you understand about the term Gothic?’ would most likely be fairly predictable. The scene would be set in the heart of a dark, wet forest away from any normal civilisation. The building would be a dark and rundown old mansion in a large empty clearing with large empty  rooms and halls. Gargoyles would be clinging to the exterior of the building, and a decrepit, collapsed roof leaking and dripping in the driving rain. When the innocent traveller knocks on the door hoping to gain refuge and shelter from the storm, he is greeted by an emaciated, gangly butler who invites them in, as they fail to notice the menacing grin as they enter the dark, badly lit and claustrophobic corridor. The scene created is one of fear and horror which is typical of Gothicism. All these features are motifs in Gothic literature. These tools are what all authors of Gothic literature use without exception. This is for the simple reason that these tools are what keep the genre of Gothic literature alive. The author uses the reader’s natural, urge for adrenalin boost and thrill, through suspense and mystery to make the book successful. In almost every Gothic text, the reader is in a position of dramatic irony where he or she can see everything happening and unfolding, without the ability to stop it. Another one of the main reasons, as to why Gothic Literature is such a success is because; Gothic texts allow the reader to think the unthinkable, and to sublimate their innermost desires, psyche and their wildest imaginations. The reader is able to satisfy his or hers innermost desires through the pages of the book. The reader finds refuge through Gothic text. This is no exception with the authors. The author also wants to satisfy their imagination by creatively and articulately channelling their thoughts into a work of art. Robert Kidd writes in his ‘Transgressing the Boundaries’ article, â€Å"The power and passion of Gothic Literature seemed eminently suited to the iconoclasts who wished to challenge the status quo†. There were many famous writers like this, for example, Horace Walpole, Lewis, Godwin and of course Mary Shelley. The authors and readers of Gothic Literature share a very special connection. Both sides gain from books and share the same feelings as one writes and one reads the book, with both satisfying their imaginations. Mary Shelley’s ‘Frankenstein’ or ‘The Modern Prometheus’ is a known as a Gothic text. Although Frankenstein is indeed a gothic text, it does not include every element of Gothic text. However it is impossible to read the book without realising that there are a lot of Gothic techniques within. A major part of Gothic literature is mystery, and this is present from the very beginning of the book. We experience mystery firstly in the letters on  pp. 15-31. The reader at this stage does not know who is writing the letters (He is soon revealed as Robert Walton) and who the Mrs Saville he is writing to is. This is the first mystery; the next is why Robert Walton is writing in such a serious tone, â€Å"Rejoice to hear that no disaster has accompanied†. Already the reader is feeling a sense of danger and mysteriousness in the book. This is an exact example of the reader being driven to read further to satisfy their curiosity. Gothic Literature is not only about horror; romance also plays a very large part in it. And this is also present from the very beginning of the book. In the letters mentioned in the previous paragraph, as well as the mystery and danger sensed by the reader (â€Å"Rejoice to hear that no disaster has accompanied†.), the reader also senses the love between Robert Walton and his sister, Mrs Saville. There are of love and affection in every single letter without exception, for instance â€Å"Farewell, my dear, excellent Margaret.† And the list can continue with numerous examples. The various examples above that contribute to a Gothic text are not lone samples. These various themes and motifs continue throughout the text. Gothic text also has a reputation for not immediately beginning with horror and dark mystery; rather it begins with peace and harmony that gradually changes throughout the text, and again ‘Frankenstein’ is a testimony to this. When Victor completes his pride, his experiment, his son, his reaction is one of ecstasy, â€Å"Beautiful. Beautiful!† which quickly changes to one of disgust and abhorrence, with his words â€Å"the beauty of the dream vanished, and a breathless horror and disgust filled my heart.† This emotion of love changing to disgust is verification of Shelley’s efforts make ‘Frankenstein’ a Gothic text, as many texts do. Mary Shelley, in the book ‘Frankenstein’ or ‘The Modern Prometheus’, went to great lengths to make the book a Gothic text, and indeed it went on to become one of the most famous Gothic texts in history.

A Marxist Reading of Shakespeares Coriolanus Essay -- Coriolanus Essa

A Marxist Reading of Coriolanus      Ã‚  Ã‚   One popular dissecting instrument of any Shakespearean character is the modern tool of psychoanalysis. Many of Shakespeare's great tragic heroes-Macbeth, Hamlet, King Lear, and Othello, to name a few-have all been understood by this method of plying back and interpreting the layers of motivation and desire that constitute every individual. Add to this list Shakespeare's Roman warrior Coriolanus. His strong maternal ties coupled with his aggressive and intractable nature have been ideal fodder for modern psychoanalytic interpretation. This interpretation, however, falls within a larger, political context. For despite the fact that Coriolanus is a tragedy largely because of the foibles of its title character, its first and most lasting impression is that it is a political play. Indeed, the opening scene presents the audience with a rebellious throng of plebeians hungry for grain that is being hoarded by the patricians. When Menenius, a patrician mouthpiece, enters the scen e a dialectic is immediately established, and the members of the audience inexorably find themselves on one side or the other of this dialectic, depending, most likely, on their particular station in life.    The English nobility that viewed this play in Shakespeare's time undoubtedly found Menenius' fable of the belly compelling, in which the belly-representing the patricians-is said to be a distribution centre that may initially receive all the flour (nourishment), but parcels it out evenly to the various limbs, and organs-representing all other classes of the republic-leaving itself only the bran. I doubt the audience in the pit found this body trope very persuasive, especially since this play was initially per... ...bject of our misery, is as an / inventory to particularize their abundance; our / sufferance is a gain to them" (I.i.16-18). By rioting for grain and then banishing Coriolanus, the citizens are taking what limited steps are available to people of their class to effect change and receive recognition of their voices. Their insurrection will indeed throw forth greater themes, one of which will be emancipation.    Works Cited Appignanesi, Richard. (1976). Marx for Beginners. London, England: Writers and Readers Publishing Co-operative (Society Limited). Cavell, Stanley. (1985). Who does the wolf love? Coriolanus and the interpretation of politics. In Parker, P. & Hartman, G. (ed.), Shakespeare and the question of theory. New York: Methuen. Jagendorf, Zvi. (1990). Coriolanus: body politic and private parts. Shakespeare Quarterly, 41(4), pp. 455-469.

William blake-the lamb summary and analysis

William Blake-the lamb summary and analysis THE LAMB Summary The speaker, identifying himself as a child, asks a series of questions of a little lamb, and then answers the questions for the lamb. He asks if the lamb knows who made it, who provides it food to eat, or who gives it warm wool and a pleasant voice. The speaker then tells the lamb that the one who made it is also called â€Å"the Lamb† and is the creator of both the lamb and the speaker. He goes on to explain that this Creator s meek and mild, and Himself became a little child.The speaker finishes by blessing the lamb in God's name. Analysis William Flake's â€Å"The Lamb† is an intricately complex poem written in 1789. The poem takes its central focus the grand question of creation, but it does so in an understated way, opening as a simple question to a sweet, delicate creature: â€Å"Little Lamb, who made thee? † The first half of the two-stanza poem has the speaker ask the lamb who is responsible fo r life and creation of this sweet creature with the â€Å"softest looting† of delight† and â€Å"Gave thee such a tender voice. The lamb functions as a symbol for the connection between humanity and the natural world. Associated with the rural English countryside, the lamb is also a symbol of pastoral innocence, bridging the gap between the urban world of humanity and the natural world of God's creation. Pastoral life also takes a central position in the poem. The collection of work in which this poem appears, â€Å"Songs of Innocence,† includes many Astoria scenes.These idyllic images of life outside of bustling cities firmly establishes a sense of peace and tranquility within these poems, including the â€Å"The Lamb. † This connects the figures of the poem to the natural world, where the figures of the poem can contemplate their existence without the interference of completely human elements. Flake's gentle phrasing lends a reflective, spiritual mood t o the piece, which answers the question in first-person narrative in the second stanza that higher power is responsible.In answering as Jesus Christ, Blake displays his own reverence for God in the phrases: â€Å"He is called by thy name, For He calls Himself a Lamb. He is meek, and He is mild; He became a little child. I a child, and thou a lamb, We are called by His name. Little Lamb, God bless thee! Little Lamb, God bless thee! † By stating the lamb's creator as Jesus Christ, Blake is establishing that everyone is in some sense a little lamb, created by God.

The American Population Is Overwhelmingly Uninformed About

The American population is overwhelmingly uninformed about the inner workings of the justice system. If the average American was privy to the harsh reality of the injustices suffered by the exorbitant prison population and the shortcomings of the justice system, I suspect a large portion of the population would support prison reform. Indeed, recently there has been major public discourse regarding the justice system. This discourse, among other reasons, made me personally invested in the flaws of the criminal justice system. I am aware of America’s mass incarceration, and that there are legitimate arguments to reduce the prison population. One of the most frequently used argument is that it is too expensive to maintain such a high†¦show more content†¦Given the number of individuals imprisoned in America, one would think that U.S. had a disproportionately high crime rate. However, the world’s leading incarceration rate is not matched with the world’s highest crime rate. Additional information reinforces the idea that U.S. creates criminal offenders by creating harsh sentencing for a myriad of light offenses, including nonviolent and drug offenders, and keeps them in prison longer. With the exception of homicide, US crime rates are comparable to other European countries with much lower incarceration rates. I chose this topic because although it s quite broad it is universal in the sense that it affects all Americans. In this country, many feel as though the purpose of the criminal justice system is to punish, not counsel, offenders. Although prisons do exist primarily for the purpose of punishment, the punishment must be equated to the crime. Furthermore, prisons have another important aim: they have to make progress towards reducing re-offending by rehabilitative programs and purposeful work. Many Americans think that putting criminals in prison leads to a safer and more productive society, but there are many fallacies in this argument. 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