Mulvey, L. (1975). III Women as Image, Men as Bearer of the Look. In: Mulvey, L 'Visual Pleasure and Narrative Cinema'. London: Oxford University Press. p808-809.
When we refer to the Gothic often we are referring to that of a genre of literature that combines horror and romance into format designed to appeal to a readers darker desires. Generally the term was believed to have been created by Horace Walpole the author of one of the first famed gothic novels "The Castle of Otranto" in 1764 which according to critics such as James Watts "has often been regarded as a manifesto for the modern Gothic romance". However gothic is also associated with the revival of a style of building from the medieval up to 12th century, designed as a backlash against the fashionable buildings of the period within Europe. Gothic buildings (much like the novels ironically) are designed for the purpose of extravagance and to create elaborate emotion amongst those who witness them. Within the Victorian period, the concept of Gothic became a quest for atmosphere, to embody the sublime (beautiful yet terrifying) into every element of their lives. It became fashionable to build decayed ruins just for the creation of atmosphere, these false runes often depicted castles, churches and other 2nd-12th century building styles that had been allowed to fall into decay. Often guests to houses would find pleasure in walking around the runes of their wealthy hosts as part of an entertainment activity. This concept of touring around environments of atmosphere became so prominent within society that middle class children were frequently sent on tours of Europe known as "The Grand Tour" to experience culture. Coincidently it was on such a tour of Europe that author Mary Shelley began writing the infamous gothic novel 'Frankenstein', while trapped indoors during a thunder storm. The Victorian period was a time enforced by torture, law and superstition. Authors used the gothic to address these contemporary fears which in turn moved on to a fear of the body. Early gothic novels such as Anne Radcliffe's 'The Mysteries of Udolphe' (1794) feature both the exotic landscapes of distant times common within gothic writing but also villains of religious and regal background, all for the purpose of disturbing the readers perceptions of the familiar. Later writers such as that of Dickens focused on a modern Britain, targeting the readers society. Commenting on social ills and a heavy criticism of those with power.
Other Late Gothic Writers:
1790 - Bloom of Gothic / One that uses the supernatural
1890 - Modern Classic Gothic / One that explores the new world
All of these writers explore the mutation of the human mind, corruption, decay and the evolutionary medical steps of the period:
Mary Shelley - Frankenstein (1818)
Robert Louis Stevenson - Jekyll and Hyde (1886)
Oscar Wilde - Dorian Grey (1891)
H G Wells - Time Machine (1895)
Bram Stroker - Dracula (1897)
Key Motifs of Gothic
Strange places, clashing time periods, power and constraint, world of doubt, terror vs horror, sexual power, the uncanny, sublime, crisis, supernatural, the real, sexual power, violence and infection.
Dramatic backdrops and areas from a distant time period are often placed next to the modern world or times of social development creating an idea of the past corrupting the present. Often the past is embodied through concepts such as ghosts or phantoms of the past. Women are often the key figurehead of the situation, they are often portrayed as vulnerable and forced into situations of desire. Laura Mulvey's theory of 'The Male Gaze' comes heavily into this concept as it appeals to a male longing to overpower women, however the woman often becomes the object of sexual desire, the femme fatal created to lure in the weak sexual desires of man. A body of temptation, again violating the human moral to resist the sin of lust. In addition to this is the 'Final Girl Theory' by Carol Clover whereby the last woman standing is left to confront the monster. Within the Victorian period this idea would have been a depiction of pure fear as women were still viewed as weak beings in need of protection. Far from the modern interpretations of empowered women conquering evil.
The Uncanny
This is a key feature of the gothic novel as the uncanny is the idea of something new that reaches back to our own conscious, figures that are not entirely human like Miss Havisham who represents a half life of "skeletal waxwork". An unfamiliar being in both body and mind that creates a conscious sense of fear within the reader and those effected within the novel itself.
The Sublime
This refers to the environment in which the novel is set, a feeling of the environment being a place of terrifying, overwhelming emotion but that remains beautiful. Romantic poets such as William Wordsworth were amongst the first to embody this sense of a sublime environment within the descriptions of their work, it became a common place feature within the writing of many 18th - 19th century authors, the goal of each to produce a feeling of upmost ecstasy. Classic gothic is terror not horror, psychological and physical exploring the idea of doubles, madness, secrets and curses.
Other Late Gothic Writers:
1790 - Bloom of Gothic / One that uses the supernatural
1890 - Modern Classic Gothic / One that explores the new world
Mary Shelley - Frankenstein (1818)
Robert Louis Stevenson - Jekyll and Hyde (1886)
Oscar Wilde - Dorian Grey (1891)
H G Wells - Time Machine (1895)
Bram Stroker - Dracula (1897)
Key Motifs of Gothic
Strange places, clashing time periods, power and constraint, world of doubt, terror vs horror, sexual power, the uncanny, sublime, crisis, supernatural, the real, sexual power, violence and infection.
Dramatic backdrops and areas from a distant time period are often placed next to the modern world or times of social development creating an idea of the past corrupting the present. Often the past is embodied through concepts such as ghosts or phantoms of the past. Women are often the key figurehead of the situation, they are often portrayed as vulnerable and forced into situations of desire. Laura Mulvey's theory of 'The Male Gaze' comes heavily into this concept as it appeals to a male longing to overpower women, however the woman often becomes the object of sexual desire, the femme fatal created to lure in the weak sexual desires of man. A body of temptation, again violating the human moral to resist the sin of lust. In addition to this is the 'Final Girl Theory' by Carol Clover whereby the last woman standing is left to confront the monster. Within the Victorian period this idea would have been a depiction of pure fear as women were still viewed as weak beings in need of protection. Far from the modern interpretations of empowered women conquering evil.
The Uncanny
This is a key feature of the gothic novel as the uncanny is the idea of something new that reaches back to our own conscious, figures that are not entirely human like Miss Havisham who represents a half life of "skeletal waxwork". An unfamiliar being in both body and mind that creates a conscious sense of fear within the reader and those effected within the novel itself.
The Sublime
This refers to the environment in which the novel is set, a feeling of the environment being a place of terrifying, overwhelming emotion but that remains beautiful. Romantic poets such as William Wordsworth were amongst the first to embody this sense of a sublime environment within the descriptions of their work, it became a common place feature within the writing of many 18th - 19th century authors, the goal of each to produce a feeling of upmost ecstasy. Classic gothic is terror not horror, psychological and physical exploring the idea of doubles, madness, secrets and curses.
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