![]() ![]() ![]() Although both Gothic literature and Magical realism have characters whose lives are disrupted by supernatural forces, the genres are fundamentally different in the darkness of the setting and the pathway of characters’ relationships. Gothic author Edgar Allan Poe and Magical realist author Julio Cortázar successfully demonstrate similarities and differences between the genres throughout their short stories, The Fall of the House of Usher and House Taken Over. Gothic literature is a style of writing that emphasizes elements of fear, horror, death, gloom, and high emotion, while Magical realism uses fantastic or mythic elements in a realistic style. Gothic literature and Magical realism highlight these two contrasting reactions by creating similar situations for characters, while showing different reactions to the established conditions. Why did I react with fear when, since bugs are such a basic part of nature normal part of life? Everyone responds to elements of fear differently thus,, and for some people, bugs pose no threat at all. I immediately got scared and started to panic. Finally, it will conclude by defining Twilight according to its Gothic and fairy tale characteristics, trying to explain why this book has reached such a success both among teenage and adult readers.Last week when I was in my English class, a bug flew onto my computer screen. Likewise, it will show those features which resonate with an updated version of a traditional fairytale in which a vampire, considered hideous monster, becomes a handsome hero who falls in love with a damsel in distress. With regard to this, it will highlight which Gothic attributes are present in Twilight. In order to do so, this thesis will start with background information about the definition of Gothic fiction and its characteristics, putting Horace Walpole's The Castle of Otranto as its most significant example. The aim of this project is to analyze to what extent contemporary best-seller Twilight (2005) by Stephenie Meyer complies with the characteristics of a work of Gothic fiction and can be considered a Gothic text, or could be better described as a contemporary fairy tale with similar traits to Beauty and the Beast. They will also help us to understand how contemporary writers employ diverse of the stylistic and conceptual elements of the forms Gothic, Science Fiction and Fantasy to new political and aesthetic ends in the contemporary world, through humour, irony and the transformation of earlier formulations of the fantastic such as the Weird. The texts under consideration will take us from the early 1800s to the contemporary moment, to undertake contextual exploration of historical genres and examine what they mean to us today. It will encourage students to engage with the stylistic and conceptual content of the Gothic through extracts from key Gothic texts, and move forward to show how this informs the development of what become the tap-root texts of the Science Fiction and Fantasy canons. ![]() ![]() This course will begin from the premise of Brian Aldiss' seminal critical works Billion Year Spree and Trillion Year Spree that we can trace a direct line of descent from the Gothic fictions of the eighteenth century into the Science Fiction and Fantasy of the twentieth by beginning with Mary Shelley's Frankenstein. Course on the development of contemporary genre from the Gothic to Science Fiction and Fantasy, concluding with the appearance of the New Weird and the post-New Weird moment. ![]()
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