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In the Gothic language, the Goths were called the *Gut-þiuda ('Gothic people') or *Gutans ('Goths'). [ 9 ] [ 10 ] The Proto-Germanic form of the Gothic name is recostructed as * Gutōz , but it is proposed that this co-existed with an n-stem variant * Gutaniz , attested in Gutones , gutani , or gutniskr .
In contrast, the name of the other Gothic people known from this period, the Greuthungi, may mean "steppe-people", with an etymology connected to a word for sand or gravel. Both names are only found from the 3rd century until the late 4th or early 5th. [4] (After these times, Gothic peoples are recording with new names, most notably the ...
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.
The emergence of the "ab-human" in American gothic fiction was closely coupled with the emergence of Charles Darwin's theories of evolution. [5] Ideas of evolution or devolution of a species, new biological knowledge, and technological advancement created a fertile environment for many to question their essential humanity.
[2]: 9–11 [11]: 33 Roh identified magic realism's accurate detail, smooth photographic clarity, and portrayal of the 'magical' nature of the rational world; it reflected the uncanniness of people and our modern technological environment. [2]: 9–10 He also believed that magic realism was related to, but distinct from, surrealism, due to ...
Southern Gothic particularly focuses on the South's history of slavery, racism, fear of the outside world, violence, a "fixation with the grotesque, and a tension between realistic and supernatural elements". [4] Similar to the elements of the Gothic castle, Southern Gothic depicts the decay of the plantation in the post-Civil War South. [4]
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 ...
Berdyaev remarks that "Dostoevsky reveals a new mystical science of man", limited to people "who have been drawn into the whirlwind". [13] 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.