Biologically impossible, morally offensive and aesthetically dichotomous, vampires epitomise transgression. They are life and death; repulsion and magnetic attraction in one.
Horror from the Soul: Gothic Style in Allan Poe’s Horror Fictions
There is no other passion than fear that can effectively deprive people from actions and thoughts. In Poe’s works, we have profound comprehension that all the terrifying souls were fully immersed in the atmosphere of the Gothic horror Poe had depicted for them.
Gothic Infections: Storytelling as Therapy in Dark Narratives
Much like the modern pathography (Frank: 2013; Hunsaker Hawkins: 1993), one goal of the Gothic is to provide a voice for those who have been silenced, by either societal, familial, physical or mental causes.
‘Vampirella’ Radio Plays as a ‘Sleeping Beauty’ Metaphor
Angela Carter’s radio play ‘Vampirella’ (1976) opens with a chorus of birdsong, with doves cooing and a lark singing in the musical accompaniment of the title character’s long and sharp nails against the bars of a birdcage. The melancholic vampire asks herself, “Can a bird sing only the song it knows or can it learn a new song…”, only to be interrupted by the screech of a bat.
Hawthorne’s Romantic Chronotope of the Gothic Home
Nathaniel Hawthorne states in the preface to ‘The House of the Seven Gables’ that he hopes “the book may be read strictly as a Romance, having a great deal more to do with the clouds overhead, than with any portion of the actual soil of the County of Essex” (Hawthorne 3).
Introduction to the Supernatural Victorian Gothic Literature
According to Janles Hogg’s ‘Romantic Reassessment of the Gothic Novel’ (1986), there are three essential components of the Gothic aesthetic: horror, suspense and shock (Hogg 4).
Development of the Gothic Heroine from Innocence to Experience
Janice Radway asserts that ― each romance is, in fact, a mythic account of how women must achieve fulfilment in a patriarchal society where fulfilment is engendered by transformation, metamorphosis.