Aldana Reyes, Xavier (2017). Spanish Gothic: National Identity, Collaboration and Cultural Adaptation. Palgrave Macmillan. ISBN 978-1137306005. Early and Pre-Gothic Literary Conventions & Examples". Spooky Scary Skeletons Literary and Horror Society. Spooky Scary Society. 31 October 2016 . Retrieved 26 March 2016. Literary violence has been used, over the course of history, as an allegory of the complexities of human communication and relationships – a representation of unresolved social conflicts. Tales of epic poetry, for instance, have demonstrated the extremes people may commit to remain loyal to and defend their community, especially in a war scenario. Gothic literature then revolutionized the purpose of violence by using it to illustrate internal and emotional suffering as well as the imperfections of society and humanity as a whole. [14] Holgate, Ben (2014). "The Impossibility of Knowing: Developing Magical Realism's Irony in Gould's Book of Fish". Journal of the Association for the Study of Australian Literature (JASAL). 14 (1). ISSN 1833-6027. On one level, the book is a picaresque romp through colonial Tasmania in the early 1800s based on the not very reliable reminiscences of Gould, a convicted forger, painter of fish and inveterate raconteur. On another level, the novel is a Gothic horror tale in its reimagining of a violent, brutal and oppressive penal colony whose militaristic regime subjugated both the imported and original inhabitants.

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Gilgamesh, Gilgamesh Epic". Brill’s New Pauly. doi: 10.1163/1574-9347_bnp_e424480 . Retrieved 2022-04-20. a b Greene, Thomas (1961). "The Norms of Epic". Comparative Literature. 13 (3): 193–207. doi: 10.2307/1768997. JSTOR 1768997– via Duke University Press. Cairney, Chris (2018). "Intertextuality and Intratextuality; Does Mary Shelley 'Sit Heavily Behind' Conrad's Heart of Darkness?" (PDF). Culture in Focus. 1 (1): 92. Archived from the original (PDF) on 23 July 2018 . Retrieved 30 April 2018.

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a b Hogle, Jerrold E. (2002). The Cambridge Companion to Gothic Fiction. England: Cambridge University Press. pp.1–20. ISBN 9780511999185. Skarda, Patricia L., and Jaffe, Norma Crow (1981), Evil Image: Two Centuries of Gothic Short Fiction and Poetry. New York: Meridian Krys Svitlana, " Folklorism in Ukrainian Gotho-Romantic Prose: Oleksa Storozhenko’s Tale About Devil in Love (1861)." Folklorica: Journal of the Slavic and East European Folklore Association, 16 (2011), pp. 117–138.

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Psychological violence refers to the emotional harm that results from threats, manipulation, neglect, verbal abuse, harassment, isolation, or intimidation. [50] In fiction, these types of aggression are used to intensify a rivalry between two or more characters; conflicts typically begin with such instances before any physical harm occurs. [28] Mental conditions may also come as sources of a character's psychological pain, but is normally authorial in nature and forms a salient trait that interferes with their decisions and actions. Possibly every work of literature consists of emotional struggles used to depict a character's suffering. In some cases, this aggression can be relational; in the sense that one's relationships or social standing is damaged as a result of the concerned psychological affliction, [51] whether character-imposed or authorial. What distinguishes these "whodunnit" tales is the fact that the violent act and its connotation are usually not the focus of the plot; rather, it is the circumstances leading up to the crime as well as the identity of the culprit that concern the detective protagonist. With the implications of the offence often being ignored, these stories may be said to use violence solely to display the protagonist's intelligence. For this reason, Foster (2003) in his book How to Read Literature Like a Professor considers that violence in crime fiction is mostly meaningless. The victim is killed off early on in the story, which gives the readers no chance to develop a liking or emotional attachment to them. And because these narratives typically end the same way (the guilty found and the crime solved), the initial violence is given no true weight beyond its advancement of the plot. [1] Yet, in dealing with the dark side of humanity, these stories may offer readers a sense of hope that no crime can go unpunished.a b c d e Birch, Dinah, ed. (2009). "Gothic fiction". The Oxford Companion to English Literature (7thed.). Oxford University Press. ISBN 9780191735066. Violence in literature refers to the recurrent use of violence as a storytelling motif in classic and contemporary literature, both fiction and non-fiction. [1] Depending on the nature of the narrative, violence can be represented either through graphic descriptions or psychological and emotional suffering. Historical literary eras have differed in their purposes for employing this thematic element, with some stories using it to symbolize a societal, psychological, or philosophical matter and others for the sole object of entertainment. Epics are known for their acts of grand-scale brutality. Recognized as the most ancient of literary texts, The Sumerian Epic of Gilgamesh (c. 2150 – 1400 BCE), discovered on clay tablets, [5] begins with its protagonist king, corrupted by power, incessantly abusing his people; killing men and assaulting women. Themes of slaughter, sacrifice, rivalry, disease, and natural disasters are described throughout his quest for eternal life. Some acts of violence appear to be committed for the sake of glory and fame, such as the brutal duel between Gilgamesh and Enkidu for kingdom over the Babylonian land, whereas others have a greater significance to the plot. [6] [7]

gothic violence should I binge-watched Time series 2 and its gothic violence should

Generally, violence in epics presents itself as a truth and way of life that a person may follow either for goodness or evil. It is also used as a device to convey the society's cultural value of reverence and respect for their deities; any act of disobedience or offense is punishable by the concerned deity. [10] For instance, in the Odyssey, Zeus destroys the surviving crew, except for Odysseus, when they transgress by slaughtering the sacred cattle of the sun. Another reason for the excessive display of violence, in addition to representing the darkness of human nature and the adversities of social conflicts, is characterization. Since an epic portrays the trials inflicted upon a hero, that these trials include physical and emotional violence serves to demonstrate the strength, control, and resilience expected from him. [10] Religious literature [ edit ] Female Gothic narratives focus on such topics as a persecuted heroine fleeing from a villainous father and searching for an absent mother. At the same time, male writers tend towards the masculine transgression of social taboos. The emergence of the ghost story gave women writers something to write about besides the common marriage plot, allowing them to present a more radical critique of male power, violence, and predatory sexuality. [13] This debate, nevertheless, is ongoing and has extended to include other forms of storytelling, such as film and video games. Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p.2. Various video games feature Gothic horror themes and plots. The Castlevania series typically involves a hero of the Belmont lineage exploring a dark, old castle, fighting vampires, werewolves, Frankenstein's Creature, and other Gothic monster staples, culminating in a battle against Dracula himself. Others, such as Ghosts 'n Goblins, feature a camper parody of Gothic fiction. 2017's Resident Evil 7: Biohazard, a Southern Gothic reboot to the survival horror video game involves an everyman and his wife trapped in a derelict plantation and mansion owned by a family with sinister and hideous secrets and must face terrifying visions of a ghostly mutant in the shape of a little girl. This was followed by 2021's Resident Evil Village, a Gothic horror sequel focusing on an action hero searching for his kidnapped daughter in a mysterious Eastern European village under the control of a bizarre religious cult inhabited by werewolves, vampires, ghosts, shapeshifters, and other monsters. The Devil May Cry series stands as an equally parodic and self-serious franchise, following the escapades, stunts and mishaps of series protagonist Dante as he explores dingy demonic castles, ancient occult monuments and ruined urban landscapes on his quest to avenge his mother and brother. Gothic literary themes appear all throughout the story, such as how the past physically creeps into the ambiguously modern setting, recurrent imagery of doubles (notably regarding Dante and his twin brother), and the persisting melodramas associated with Dante's father's fame, absence, and demonic heritage. Beginning with Devil May Cry 3: Dante's Awakening, Female Gothic elements enter the series as deuteragonist Lady works through her own revenge plot against her murderous father, with the oppressive and consistent emotional and physical abuse instigated by a patriarchal figure serving as a heavy, understated counterweight to the extravagance of the rest of the story. Finally, Bloodborne takes place in the decaying Gothic city of Yharnam, where the player must face werewolves, shambling mutants, vampires, witches, and numerous other Gothic staple creatures. However, the game takes a marked turn midway shifting from gothic to Lovecraftian horror.

Several Gothic traditions have also developed in New Zealand (with the subgenre referred to as New Zealand Gothic or Maori Gothic) [93] and Australia (known as Australian Gothic). These explore everything from the multicultural natures of the two countries [94] to their natural geography. [95] Novels in the Australian Gothic tradition include Kate Grenville's The Secret River and the works of Kim Scott. [96] An even smaller genre is Tasmanian Gothic, set exclusively on the island, with prominent examples including Gould's Book of Fish by Richard Flanagan and The Roving Party by Rohan Wilson. [97] [98] [99] [100] War tales that employ similar violence, however, try to achieve a goal beyond the evoking of excitement. By describing unspeakable war crimes, authors depict the suffering felt by innocent people whose pleas go unheard. It is a means to compel empathy in readers for those affected by the psychological and physical agonies of armed conflict. Aleksander Hemon's short story " A Coin", told through letters sent by a journalist named Aida in Sarajevo to the narrator in Chicago, describes the horrors of the Bosnian 1990s war using explicit violence. In one of its passages, for instance, Aida relates having witnessed a dog chew off her deceased aunt's hand and carry it away in its jaw. Snipers shooting from buildings are characterized as vicious and inhumane, as the following lines describe: [43] Virginia Stoops, Marion (1973). Gothic Elements in Pope's Eloisa to Abelard (MA thesis). Ohio State University . Retrieved 4 May 2022.

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Regardless of genre and period, literary violence has been a subject of controversy as it is often considered unethical and harmful for readers, particularly when it comes to juvenile literature. [2] Historical development [ edit ] Peterson, Dale (1987), The Slavic and East European Journal, Vol. 31, No. 1 (Spring, 1987), pp.36–49 Meyer, Michael (1987). The Bedford introduction to literature: reading, thinking, writing. pp.21–28. ISBN 978-1-319-03465-8. OCLC 1029304382. Jürgen Klein (1975), Der Gotische Roman und die Ästhetik des Bösen, Darmstadt: Wissenschaftliche Buchgesellschafta b c d Hogle, Jerrold E., ed. (29 August 2002). "Introduction". The Cambridge Companion to Gothic Fiction. Cambridge Companions to Literature (1ed.). Cambridge University Press. pp.1–20. doi: 10.1017/ccol0521791243. ISBN 978-0-521-79124-3. Darlington, Steve (8 September 2003). "Review of My Life with Master". RPGnet . Retrieved 9 July 2019. Storytelling is an experience common to all cultures and periods. Having most likely started with cave drawings depicting humans, animals, and elements of nature in the preliterate age as far as 30,000 years ago, it has developed significantly with the use of spoken and written language. [3] Regardless of its form, however, violence has been a prevalent developing theme throughout literary history.