Gothic Violence

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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. Rose Miller, Emma (2019). "Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor" (PDF). Archived (PDF) from the original on 21 May 2022 . Retrieved 1 May 2022. Darlington, Steve (8 September 2003). "Review of My Life with Master". RPGnet . Retrieved 9 July 2019. Bloom, Clive (2007), Gothic Horror: A Guide for Students and Readers, Basingstoke: Palgrave Macmillan

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Although the term graphic violence is commonly used for visual artistic media like film and television, it can relate to literature due to vivid, gory descriptions of death and injury in several stories. Such evocative imagery is the hallmark of fiction in the speculative genre, particularly horror, but not restricted to it. Settings that might exhibit these images include apocalypses, wars, and conquests. This understanding of internal conflict is commonly used in storytelling for character building. Every narrative starts with a problem; an obstacle inhibiting the protagonist's plans and motivations. Such impediment is often embodied by a second character – the antagonist – and presents itself as the stressor that needs to be eliminated. The enmity established between these characters thus becomes the protagonist's main concern, and the way it is resolved (whether peacefully or violently) reflects these characters' inherent qualities. In several tales, the rivalry is settled with violence; a battle or duel between the two sides that claims the life of, typically, the villain. This resolution gives it a happy ending characterized by the protagonist's fulfillment of the initial motivation through the elimination of its inhibitor. [29] [28] Throughout the Harry Potter series, for instance, Harry's main desire is to avenge his parents and keep his loved ones safe. When this desire is constantly challenged by his arch enemy's growing power and the killing of his friends, anger builds up inside him until he extinguishes it by defeating Voldemort in a violent wizarding war. At the end of the narrative, Harry earns the satisfaction of having accomplished his deepest wish by not only having avenged his parents but also building a loving family. [38] Following the definitions of id, ego, and superego mentioned above, critical readings have supposed that Harry's id was unsuccessfully suppressed; his decision to fight and use violence despite the great losses he suffered in the war represents the id's transgression of both the ego and superego. Nevertheless, his uncontrolled desire for revenge revealed, through the course of the series, his qualities of undeterred determination, cunning, compassion, and bravery. [39] Violence therefore is a choice that, if made by a character, can serve to disclose several aspects of their personality.Gilgamesh, Gilgamesh Epic". Brill’s New Pauly. doi: 10.1163/1574-9347_bnp_e424480 . Retrieved 2022-04-20. Walpole, Horace (2021). The Castle of Otranto. Duke Classics. ISBN 978-1-62011-221-2. OCLC 1285939332. De Vore, David. "The Gothic Novel". Archived from the original on 13 March 2011. The setting is greatly influential in Gothic novels. It not only evokes the atmosphere of horror and dread, but also portrays the deterioration of its world. The decaying, ruined scenery implies that at one time there was a thriving world. At one time the abbey, castle, or landscape was something treasured and appreciated. Now, all that lasts is the decaying shell of a once thriving dwelling. Society, National Geographic (2020-04-01). "Storytelling". National Geographic Society . Retrieved 2022-04-18. Hewitt, Natalie A. (2013). Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition (PhD dissertation). Claremont Graduate University. doi: 10.5642/cguetd/77 . Retrieved 29 April 2022.

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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] The components that would eventually combine into Gothic literature had a rich history by the time Walpole presented a fictitious medieval manuscript in The Castle of Otranto in 1764. Salter, David (2009), This demon in the garb of a monk: Shakespeare, the Gothic and the discourse of anti-Catholicism, Vol. 5, Issue 1, pp.52–67 But natural violence is not always authorial, for characters can facilitate or even induce catastrophes. This is relevant, for example, to disasters sent by gods in mythological narratives. Because these gods are active characters in the story, the harm they cause, even if embodied by elements of nature, is instead character-imposed. An example is in Homer's Odyssey; menacing storms are cast at Odysseus by Poseidon as a form of divine justice following the protagonist's stabbing of his son's eye. [9] Hale, Terry (2002), Hogle, Jerrold E. (ed.), "French and German Gothic: the beginnings", The Cambridge Companion to Gothic Fiction, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp.63–84, ISBN 978-0-521-79124-3 , retrieved 2 September 2020Clarke, Micael M. (2011). "Charlotte Brontë's "Villette", Mid-Victorian Anti-Catholicism, and the Turn to Secularism". ELH. 78 (4): 967–989. doi: 10.1353/elh.2011.0030. ISSN 0013-8304. JSTOR 41337561. S2CID 13970585. Horner, Avril (2002), European Gothic: A Spirited Exchange 1760–1960, Manchester & New York: Manchester University Press Killeen, Jarlath (31 January 2014). The Emergence of Irish Gothic Fiction. Edinburgh University Press. p.51. doi: 10.3366/edinburgh/9780748690800.001.0001. ISBN 978-0-7486-9080-0. S2CID 192770214.

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Gothic fiction, sometimes called Gothic horror (primarily in the 20th century), is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels. Freye, Walter (1902). "The influence of "Gothic" literature on Sir Walter Scott" . Retrieved 4 May 2022. Ronald "Terror Gothic: Nightmare and Dream in Ann Radcliffe and Charlotte Bronte", The Female Gothic, Ed. Fleenor, Eden Press Inc., 1983.

Derkenne, Jamie (2017). "Richard Flanagan's and Alexis Wright's Magic Nihilism". Antipodes. 31 (2): 276–290. doi: 10.13110/antipodes.31.2.0276. ISSN 0893-5580. JSTOR 10.13110/antipodes.31.2.0276. Flanagan in Gould's Book of Fish and Wanting also seeks to interrogate assumed complacency through a strangely comic and dark rerendering of reality to draw out many truths, such as Tasmania's treatment of its Indigenous peoples. 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. Shakespeare, William (1997), The Riverside Shakespeare: Second Edition, Boston, NY: Houghton Mifflin Co. 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 ]