Gothic romance

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a romance that deals with desolate and mysterious and grotesque events

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Hogle's comments on the ability of Gothic fiction to remain current and accommodate contemporary terrors is particularly relevant here: "The Gothic has lasted as it has because its symbolic mechanisms, particularly its haunting and frightening spectres, have permitted us to cast many anomalies in our modern conditions, even as these change, over onto antiquated or at least haunted spaces and highly anomalous creatures" (Hogle 2002: 6).
Stevenson's experiences in the islands brought him into close contact with a culture already subjected to the effects of colonialism but, in spite of an overlaying of Christianity, possessed of an epistemology that had been relegated in Western culture to the post-enlightenment fears and anxieties that found clearest and most dramatic expression in Gothic fiction.
See Lizabeth Paravisini-Gebert, "Colonial and Postcolonial Gothic: The Caribbean," in The Cambridge Companion to Gothic Fiction, 229-33.
In The Unicorn Iris Murdoch successfully enriches the traditional features of Gothic fiction with Irish overtones.
15) Gelder and Weaver, 'Introduction', The Anthology of Colonial Australian Gothic Fiction, p.
Cooper is also quick to establish that he has not attempted to publish an overview of Gothic fiction, but a ".
Professor Andrew Smith has introduced young people in South Wales to tales of hauntings and vampires since 1995 and he has wrestled with their questions about the dark and mysterious world of Gothic fiction.
A SICILIAN ROMANCE Ann Radcliffe was one of the first authors of what came to be known as Gothic Fiction.
Feminist scholarship of the last twenty years has redefined how we might read the tradition of the novel in general, as well as Gothic fiction in particular.
While the Gothic as a literary form is typically understood to have begun in eighteenth-century England with Horace Walpole's supernatural tale of usurpation and retribution, The Castle of Otranto (1764), by the end of that century, the enormously popular novels of Ann Radcliffe had done much to establish a non-supernatural form of Gothic fiction, one that depicts human beings, rendered grotesque by their extreme and incongruous passions and obsessions, as the ultimate source of horror.
But the horror and the power of the Gothic abided, and the stage was set for the Gothic fiction in the next century.
It surveys the long-established categories of fictional genres and styles, proceeding from novels of adventure through the novel of development, novels of consciousness, the novel of sentiment, the novel of manners, and Gothic fiction, to the political novel.
Traditional moral objections to anything before 1740 rejected Behn, Manley, and Haywood as well as Defoe from critical appreciation; when Henry Fielding was too coarse for the critics, Frances Burney was rejected for her vulgarity; when realism reigned, overly didactic and Gothic fiction were excluded from critical favour, taking with them Hannah More, Ann Radcliffe, Sophia Lee.
Edgar Allan Poe, who in his Gothic fiction examined alterity in the form of femininity and blackness, was insistent that reality was double and combinational: "Thus the two Principles Proper, Attraction and Repulsion--the Material and the Spiritual--accompany each other, in the strictest fellowship, forever.
The end of the official and ideological structures of apartheid--South Africa's reviled attempt at social engineering--has led a South African writer such as Marlene van Niekerk, in Triomf (1999; translated into English in 2004), to "[rework] the conventions common to Gothic fiction to create a literature of terror that captures the Zeitgeist of Afrikaner anxieties" (Shear 2006: 70).