More handpicked essays just for you.
Fear and tension in gothic literature
The importance of Gothic literature
Social changes due to gothic literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Fear and tension in gothic literature
In the essay, In Defense of Masks, Kenneth Gergen’s view on a identity (mask) is that people do not develop a single identity. He explains how people’s masks modify in order to gain approval from a specific group of people. Individuals use masks to create a false identity. In over time, those masks become reality. Gergen sees an identity as a way to develop a unique mask.
Throughout literature the constant theme of identity has been explored, with Northrop Frye even suggesting “the story of the loss and regaining of identity is, I think, the framework for all literature.” For characters, true identity isn’t always apparent, it needs to be searched for. Sometimes the inner struggle for identity stems from ones need for belonging. Whether one finds their sense of identity within friends, family, or in a physical “home”. It’s not always a place that defines identity.
Cherry Zheng English Writing 4 Tim Ballard February 6, 2023 “Masks” Are Needed In his essay, “In Defense of Masks,” Kenneth Gergen argues that people cannot be one’s true self at all times due to the fact that we all carry multiple masks and multiple identities, and we change our masks depending on the social situations and pressures. Gergen believes that “masks” are quite common to today’s world and our personas are influenced based on the environment and others around us. More to add, Gergen also thinks that it is impossible to have “a coherent sense of identity”, and it is not a bad thing. On the other hand, it is quite healthy in a way that it helps to enhance human relationships.
Tim burton, renowned for his incorporation of gothic styling into many of his films, throughs characters and themes to establish his noticeable signature in his films. In, Frankenweenie and Edward Scissorhands, the use of socially incompatible characters, unique identity traits, and contrasting a life of one that has conformed gives the both film a gothic identity with a sense of german expressionism tim burton autuer. Burton does this in order to communicate his thoughts on conformity and to
Scout's Evolving Perspectives in To Kill a Mockingbird In the book To Kill a Mockingbird, Harper Lee tells us the story of a small town in Alabama through the eyes of young Jean Louise Finch, better known as Scout. Scout has her different perspectives and opinions on the people in her life. She faces many different reality checks, such as how prejudice and racism are extremely prominent problems in Maycomb, Alabama. As she matures, her perspectives mature with her.
In John Knowles’s novel A Separate Peace Identity is shown as what defines us and makes us be placed in other peoples perspectives. An author can use identity to place characters in the readers mind to portray them a certain way, just as John Knowles did in A Separate peace. An identity can be defined as who a person is inside and out.
Edgar Allan Poe’s frightening gothic style poetry and short novels about fear, love, death and horror are prominent to Gothic Literature and explore madness through a nerve-recking angle. The incredible, malformed author, poet, editor and novelist is recognized for his famous classical pieces such as “The Raven”, “Berenice” and “The Tell-Tale Heart”, pieces of work that mystically yet magnificently awakens readers with a gloomy spirit. Awakening the subject of madness through written work was viewed as insane during Poe’s times. Yet Poe published some of the worlds most magnificently frightening pieces of literature throughout history. In the following essay I will examine and cautiously analyze
Later, the cultural critic Stuart Hall has opined about the changing nature of identity. He says that there is no fixed identity that can be attributed to an individual for his life period; it evolves through several changes in each phase of life. So it can be understood that formation of identity involves several steps: construction, reconstruction and deconstruction. The politics behind this formation may depend on the nature of identity that an individual tries to hold. Indeed, the cultural critic Kobena Mercer reminds us: “One thing at least is clear - identity only becomes an issue when it is in crisis, when something
In gothic literature, the elements used by the author depicts how the piece of work is going to unfold. Authors such as Edgar Allan Poe and Washington Irving depict the themes of psychological issues and entrapment through the short stories: “Black Cat”by Edgar Allan Poe, “The Raven”by Edgar Allan Poe, and “The Devil and Tom Walker” by Washington Irving. The gothic theme of entrapment is commonly used across various pieces of literature. Entrapment is the idea of being contained by something either physically, mentally, or emotionally.
Derek Parfit is a British philosopher who specialises in problems of personal identity and he proposes that we separate the notions of identity and survival. He is one of the most prominent philosophers in the struggle to define the self. Parfit’s 1971 essay “Personal Identity” targets two common beliefs which are central to the earliest conversations about personal identity. The first belief is about the nature of personal identity; all questions regarding this must have an answer. Between now and any future time, it is either the case that “I shall exist or I shall not”.
Why does gothic horror even matter in literature? Gothic horror can create numerous ideas found within a novel more interesting or suspenseful about what will happen next. These stories use different characteristics to create a gothic atmosphere in the story. During the Victorian era, the idea of gothic literature grew in popularity. It is influenced by countless ideas, including religious themes around this time period, and usually reflects on the characteristics of the people living in the Victorian era.
Rita Felski’s view of tragedy being the failure “to master the self and the world” is at the heart of Nella Larsen’s Quicksand and Mary Shelley’s Frankenstein. Both texts are concerned with the incapacity of defining and accepting one’s identity and the characters’ attempts to resolve this identity crisis by isolating themselves. This essay will argue that the fundamental cause for this tragedy is the lack of emotional connection from one’s family, which in turn prohibits one to sympathize with anyone, including oneself. In Quicksand, Helga Crane’s inability to become truly happy stems from her feelings of being an outsider.
Author Joyce Carol Oates ' discovery of the stories of Edgar Allen Poe and Ann Radcliff “sparked her interest in Gothic fiction”. These Gothic elements typically include gruesome or violent incidents, characters in psychological or physical torment, and strong language full of dangerous meanings. Oates herself is citied as saying that "Horror is a fact of life. As a writer, I’m fascinated by all facets of life". “Where is Here?" This story is sort of eerie and tells the tale of a grown-up man who goes back to visit his childhood home.
In the article ‘The Complexity of Identity - Who am I?’ , the author Beverly Tatum argues that the definition of identity for a person is laid down by the societal norms and not by one’s own conscious understanding of her or his existence. And these societal norms are the ones that are acceptable to the dominant group of the society. Any aspect of one’s identity that sets her or him apart from others is targeted by the dominants. Tatum has used the terms ‘dominants’ and ‘subordinates’.
She points to the deficiency of the Bakhtinian theory that fails to establish dialogism between the grotesque body and the female one. While explaining that although he relates the grotesque body to the images of womb, pregnancy and childbirth, he fails to recognize their close affinity to “to social relations of gender” (The Female Grotesque: Risk, Excess and Modernity 63). She condemns the Bakhtinian contradictory treatment of the female body, which simultaneously celebrates its generative and subversively debasing potential and abbreviates it to be a mere vessel to give new birth (RW 240). While trying to explain what “remains repressed and undeveloped” in her male counterpart, Russo points to the subversive potential of the female grotesque to overthrow the normative constraints on female actand look (Russo 63). “[D]efined […] in relation to the ideal, standard, or normative form” of the twentieth century, this work tends to argue that the female grotesque in contemporary age still has the power to create horror as it plays a fundamental role “to identity formation for both men and women as a space of risk and abjection” (Russo 12, Miles
