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The Gothic double is a literary motif which refers to the divided personality of a character. Closely linked to the Doppelgänger, which first appeared in the 1796 novel Siebenkäs by Johann Paul Richter, the double figure emerged in Gothic literature in the late 18th century due to a resurgence of interest in mythology and folklore which explored notions of duality, such as the fetch in Irish ...
Also, one cannot ignore the contemporary Gothic themes of mechanism and automation that rationalism and logic lead to. Puritan imagery, particularly that of Hell, acted as potent brain candy for 19th-century authors like Edgar Allan Poe and Nathaniel Hawthorne. [2]
Australian Senior Mathematics Journal. 20 (2): 36– 44; For a selection of mathematical fiction chosen with the teaching of mathematics in secondary school in mind: Janice Padula (2005). "Mathematical Fiction: Its Place in Secondary-School Mathematics Learning" (PDF). Australian Mathematics Teacher. 61 (4): 6– 13
The Graveyard School's melancholy was not new to English poetry, but rather a continuation of that of previous centuries; there is even an elegiac quality to the poems almost reminiscent of Anglo-Saxon literature. [4] The characteristics and style of Graveyard poetry is not unique to them, and the same themes and tone are found in ballads and odes.
Dostoyevsky's works explore the irrational, dark motifs, dreams, emotions and visions. He was an avid reader of the Gothic and enjoyed the works of Radcliffe, Balzac, Hoffmann, Charles Maturin and Soulié. Among his first Gothic works was The Landlady. The stepfather's demonic fiddle and the mysterious seller in Netochka Nezvanova are
Mary Shelley's Frankenstein; or, The Modern Prometheus (1818) has come to define Gothic fiction in the Romantic period. Frontispiece to 1831 edition shown. Gothic fiction, sometimes called Gothic horror (primarily in the 20th century), is a loose literary aesthetic of fear and haunting.
Pierre; or, The Ambiguities is the seventh book by American writer Herman Melville, first published in New York in 1852.The novel, which uses many conventions of Gothic fiction, develops the psychological, sexual, and family tensions between Pierre Glendinning; his widowed mother; Glendinning Stanly, his cousin; Lucy Tartan, his fiancée; and Isabel Banford, who is revealed to be his half-sister.
The great Gothic wave, which stretches from 1764 with Horace Walpole's The Castle of Otranto to around 1818-1820, features ghosts, castles and terrifying characters; Satanism and the supernatural are favorite subjects; for instance, Ann Radcliffe presents sensitive, persecuted young girls who evolve in a frightening universe where secret doors open onto visions of horror, themes even more ...