Other features include confinement, doubling, the hero-villain, metonymy, poor weather, unnatural desires, violence, wild nature and women in distress. The origins and social context of the Gothic are also examined. Examples from well-known Gothic novels are included to illustrate the features discussed.
Rosalind Scourti
The origins and conventions of Gothic literature, such as castles, extreme emotions and the supernatural. Subscribe today and check out my blog at litcritvidz.wordpress.com for exclusive resources and more.
Other features include confinement, doubling, the hero-villain, metonymy, poor weather, unnatural desires, violence, wild nature and women in distress. The origins and social context of the Gothic are also examined. Examples from well-known Gothic novels are included to illustrate the features discussed.
Other features include confinement, doubling, the hero-villain, metonymy, poor weather, unnatural desires, violence, wild nature and women in distress. The origins and social context of the Gothic are also examined. Examples from well-known Gothic novels are included to illustrate the features discussed.
updated 8 years ago
Other features include confinement, doubling, the hero-villain, metonymy, poor weather, unnatural desires, violence, wild nature and women in distress. The origins and social context of the Gothic are also examined. Examples from well-known Gothic novels are included to illustrate the features discussed.
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In this video, I explore three iconic gothic characters and unpack their appeal to readers both old and new. I explore aspects such as 'bad boy behaviour', emotional and physical violence, melancholy moods as well as the remote or intimidating settings Gothic Villains are most at home in.
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From pre-gothic texts such as Shakespeare's Macbeth to more modern interpretations such as Stephen King's 'The Shining', the setting chosen for a gothic story has an integral impact on the mood and atmosphere it conjures.
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Many writers fall into the trap of using the same sentence structures, which may cause readers to get bored and disengaged. An easy way to improve your writing is to vary your sentence types by using a variety of structures, such as the burger sentence, the de:de sentence, the adverbial phrase sentence and more. By varying your sentence types, you not only engage the reader but score higher on assignments and overall, become a better writer b challenging yourself to try different techniques.
Let’s begin with a definition of what a flashback is. A flashback is a literary technique in which a writer begins a narrative in the present and at a specific moment or moments, takes his or her reader back into the past. This is a popular technique among film writers too.
Flashbacks usually occur early on in the story, so that the reader knows something, but not everything, about a character or situation. However, the reader needs to feel invested in the narrative in order to care about what a flashback reveals.
So, why use a flashback?
A flashback allows the writer to provide essential context or background information about a character or situation. As mentioned earlier, a flashback occurs when a reader is already invested in the story, but doesn’t have the full picture.
Therefore, one reason writers use flashbacks is to ‘fill in the gaps’ in a more interesting and efficient way than the usual chronological approach.
For example, instead of spending pages and pages recounting a character’s childhood, a flashback to a specific moment or incident allows the writer to convey important information quickly, particularly if a character’s backstory is complicated.
As a result, the reader gets to know the character a little bit better, especially if the flashback is told from the protagonist’s point of view, though this may raise questions about narrative reliability, like Gene Forrester in ASP by John Knowles, which I review on this channel.
In addition, a flashback can create sympathy or even empathy for a certain character who has so far been unlikeable or difficult to relate to.
For example, if we find out that a certain character had a difficult childhood, we might be more forgiving towards him or her and understand them a little bit better.
Examples of novels that use this device include ASP, and if you’d like to watch my review of this novel, click the card in the top right-hand corner now. Other books that make use of flashbacks include The Book Thief by Marcus Zusak, and one of my all-time favourites, Brideshead Revisited by Evelyn Waugh.
Some potential drawbacks of using flashbacks is that they take the reader away from the story happening right now, which may cause us to lose interest in the main plot.
Moreover, if the backstory gets too complex or irrelevant, it may confuse the reader and leave us unable to distinguish between what’s happening now and what happened in the past.
Lastly, too much information in a backstory can feel like an ‘info dump’, thereby breaking one of the rules of successful fiction: to show, rather than tell.
Nevertheless, flashbacks are enduringly popular and do have their place if used purposefully and not at the expense of the present narrative.
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Para empezar: castillos. Desde la melancólica mansión de Macbeth hasta las torretas transilvanas del conde Drácula, un castillo, esté o no en ruinas, es un ingrediente indispensable en la literatura gótica. El encierro. Ya sea estando atrapados en una habitación secreta o encarcelados en un ático como la esposa del Sr. Rochester en Jane Eyre, los personajes retenidos contra su voluntad son tópicos frecuentes en la ficción gótica. Los dobles son otro recurso muy común en la literatura gótica. “Cumbres borrascosas” de Emily Bronte, presenta personajes con el mismo nombre, pero la duplicación puede referirse a temas e ideas recurrentes, así como a personas y lugares. Emociones extremas. De hecho, los extremos de cualquier tipo son otra característica gótica clave. Terror, rabia, pasión.; Podemos encontrar sentimientos intensos en los textos góticos. Los dicotomía héroes-villanos, llamados así por su curiosa combinación de atractivo y crueldad, a menudo infligen angustia física y emocional a la heroína. Para hacernos una idea, pensemos en la pasión de Heathcliff por Catherine en Wuthering Heights. Ningún texto gótico está completo sin un fantasma o dos, lo que hace de lo sobrenatural otro elemento clave del género. Espíritus malignos, poltergeists, brujas: todos ellos habitan en las casas de la literatura gótica. ¿Alguna vez has leído una novela gótica ambientada en verano? Seguramente no. En cambio, el mal tiempo, como tormentas, tormentas de nieve y aguaceros, son escenarios habituales en los cuentos góticos.
La naturaleza salvaje es otro aspecto importante de la literatura gótica, que está llena de lugares remotos y peligrosos, desde los yermos territorios del Ártico en Frankenstein hasta los páramos azotados por el viento de Cumbres Borrascosas. Tradicionalmente, las novelas góticas presentaban a mujeres amenazadas y/o dominadas por personajes masculinos superiores, lo cual no es sorprendente, dado el machismo imperante en la era durante la cual surgió la novela gótica. Y por último, pero no por ello menos importante, ¿qué es una novela gótica sin una pizca de violencia? Los actos violentos e incluso el asesinato, son los pilares del género, junto con la tortura mental y emocional.
Caliban is often described as a slave or monster, but as this analysis shows, this assessment is both simplistic and inaccurate. Cursed with the need to subjugate himself to a master, Caliban bounces between Prospero and Stephano, until towards the end of the play, he appears to see the error of his ways. Despite his ugly exterior, Caliban has mastered the art of Prospero's language, and some of the play's most beautiful lines belong to him, when, with remarkable eloquence, he describes the enchanting sounds of the island. As the ship departs for Italy, Caliban is left, once more, as the sole inhabitant of the mysterious island, and the audience - and perhaps Caliban himself - is left to wonder whether it was all a dream.
From Banquo's ghost in Macbeth by William Shakespeare to Susan's ghost in 'The Little Stranger' by Sarah Waters, supernatural apparitions are a central element of every ghost story. Macbeth, for example, is terrified when the spirit of his best friend Banquo, recently murdered at his behest, appears at a feast, visible only to him. In Horace Walpole's 'The Castle of Otranto', the origin of gothic literature in English, the portrait of the protagonist's grandfather comes to life, along with many other supernatural occurrences. Wuthering Heights features the pitiful ghost of heroine Catherine Earnshaw, who scratches at narrator Lockwood's window on windy nights begging to be let in, while Susan Hill's 'The Woman in Black' features the evil spirit of a woman forced to witness the death of her child, whose desire for revenge drives her own murderous impulses. Sarah Waters' The Little Stranger explores the supernatural goings-on at the house of the Ayres, a once-noble family fallen on tough times, who are haunted by the ghost of Susan, a younger sister determined to take revenge on her relatives.
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The first real gothic moment occurs early on in Chapter 3, with the appearance of Catherine's ghost at Lockwood's window. Terrified, he grabs the spectre's wrist and rubs it against the window pane until bloody. Later on, after Heathcliff overhears Catherine declaring she would not marry him, he runs away, prompting Catherine to search for him on the moors in the middle of a heavy storm. More gothic emotion is stirred up when Catherine falls ill, brought to physical and emotional exhaustion by Heathcliff's surprise return and her pregnancy. Tragically, Catherine dies during childbirth and a distraught Heathcliff is left to face life without his beloved. At her graveside, he asks the sexton to remove the lid of her coffin, an oblique reference (perhaps) to necrophilia, though this is never made explicit by Bronte. Following Heathcliff's own death, a local boy claims to have seen the ghostly lovers roaming the moors, a sighting that marries various elements of the gothic, such as the wild setting of the moors, the supernatural and the fear that this report gives rise to in Lockwood, visiting the region after a year away.
Unlike most novels, The White Tiger begins in the present - Balram, the protagonist, is a Bangalore-based business and is writing to the Chinese Premier, Mr. Jiabao, to offer him advice about encouraging entrepreneurship in his own country, China.
In the first chapter and throughout the rest of the novel, Balram bounces back to the past to fill the reader in on his childhood in Laxmangarh and later on, as a driver in Delhi for Mr. Ashok, the master he brutally kills.
This technique may be used for several reasons. First, most of the exciting and important events have occured in Balram's past: his present seems quite settled. Second, in order for the reader to fully appreciate the scope and scale of Balram's success, we need to learn about the key experiences that shaped him and his outlook. It also allows Adiga to give us details about places and people that do not feature in the present, such as Delhi or Kusm, Balram´s grandmother. This is in turn gives Adiga the opportunity to explore themes such as globalisation or the role of the Indian family in society.
Let’s start with definitions. Duality refers to the idea that something can possess two aspects or sides that while different, do not necessarily contradict each other.
The clearest example of duality can be seen in Balram’s depiction of two Indias, the Light and the Dark. The light side of India refers to the developed, urbanized coast while the Darkness is used to talk about the impoverished rural areas further inland such as Laxmangarh, Balram’s village. The divide is both literal and figurative: a lack of investment keeps village without electricity, and the lack of education means its residents often demonstrate unenlightened views, including own Balram’s own superstitions. Conversely, the Light parts of India benefit from more developed infrastructure that quite literally illuminates them, and its citizens tend to be more open-minded or at very least, more exposed to new ways of thinking and being.
This device allows Adiga to highlight the social inequalities in India as well as present Balram’s view of the world around him to us, the readers.
Within these two Indias, there are many aspects of life that possess two aspects. For example, there are exclusive malls for the wealthy and shabby street markets for the poor; expensive prostitutes with real blonde hair versus cheap bottle blondes for the likes of Balram; luxury apartments as opposed to the squalid, cockroach-ridden rooms of servants and private versus public hospitals: the list goes on.
Although Balram is a multi-faceted character rather than one with only two aspects, nevertheless one of the central questions revolves around two different ways of looking at the single act that comes to define him: the murder of Mr. Ashok. The reader can condemn Balram as an immoral, cruel killer or exonerate him as an ambitious man who takes the only way out available to him. Right and wrong, Adiga seems to suggest, cannot be neatly separated and in some ways, are two different sides of the same coin: morality, which we will explore in the next video.
To conclude, duality or the idea that something can possess two aspects is a major theme of the novel. It obliges the reader to reconsider comfortable assumptions about India, morality and human nature amongst others. In addition, it works to highlight the complexity of the changing India depicted in the novel and suggests that in times of flux, traditional binaries or ways of thinking must be rethought, revised or discarded altogether.
Thank you for watching this video exploring the theme of duality in The White Tiger by Aravind Adiga. If you found it useful, please consider subscribing to EnglishExpertz now to be the first to know of new videos and uploads. Remember, next week we’ll look at the theme of morality in the novel.
Wuthering Heights, with its wild, windswept moors and gloomy houses exemplifies the gothic setting. Next is extreme emotion in the novel, such as passion, fear, love and revenge. We also consider Heathcliff as the archetypal gothic hero-villain and how this differs from traditional Romantic heroes. Supernatural elements such as ghosts, imps, goblins and devils are also considered along with the theme of confinement and imprisonment, typical gothic elements. Unnatural desires is examined, including the arguably incestuous relationship between Heathcliff and Catherine and Heathcliff's implied necrophilia. Lastly we explore the social context of the times, including the roles and restrictions of women, the French Revolution, alcoholism and the poor's lack of education and opportunities during this period.
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Featuring a wild, windswept landscape, a quintessential hero-villain in the form of Heathcliff and a famously unhappy ghost, Wuthering Heights has captured readers' imaginations since its publication.
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