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Why we are living in 'Gothic times'

By Hephzibah Anderson

15th March 2021

There is a surge in goth-lit that channels our fears and anxieties.

"We live in Gothic times," declared Angela Carter back in 1974

. The Gothic has always been about far more than heroines in Victorian nightgowns, trapped in labyrinthine ancestral homes, and along with the supernatural, its imaginings probe power dynamics and boundaries, delving deep into disorder and duality

-If the 1970s led readers to be receptive to such elements, it was a decade destined to be far outdone by the start of the 21st Century in terms of horror and upheaval (9/11, the global financial crisis, an intensified fear of climate apocalypse).

The world seems to have grown only more uncertain in the years since, and it's certainly tough to rival the age of Covid for gothic motifs made manifest.

Claustrophobia? Try successive lockdowns spent working, learning, and socialising from home. Isolation? Ditto. Fear of a past that can't be exorcised? Sounds a lot like "long Covid".

Gothic is difficult to define, and has been described by one critic as a 'sensation' rather than a 'genre'.

Gothic literature is as long-lived as any curse or fanged anti-hero. Two-and-a-half centuries have passed since it was born into Britain, and while the genre has never really left Western culture, there's no doubting that this is boomtime for narratives that dare to peer into the darkest corners. As Stephen King puts it, "We make up horrors to help us cope with the real ones."

Gothic's very adaptability heightens its menace – just try to contain this beast.

There is currently a boom in contemporary, Gothic-inflected fiction. The term is amply instructive. It's applied to crime and thrillers, to romance, fantasy, historical adventure and sci-fi. It doesn't describe only novels and stories, either: films, fashion, videogames, music – It's no wonder that literary subgenres like Southern Gothic and Gothic Romance have emerged to counter the generality of a word that often seems to have become a catch-all for "dark".

The Gothic is an intensely psychological form. In the hands of the likes of Edgar Allan Poe, its crumbling architectural features become props in an exploration of fear and other intense mental states.

"I think the Gothic is fundamentally about duality," Craig explains. "If you think about many of those Gothic classics like Dracula or The Woman in White, you always have two people representing things in opposition to each other.

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THE FALL OF THE HOUSE OF USHER correction

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1°FIND PASSAGES AND WORDS WHICH DESCRIBE A DISEASE.
2°FIND PASSAGES AND WORDS WHICH RELATE TO THE GOTHIC.
3°EXPLAIN THE WORD 'FISSURE'

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https://www.theguardian.com/books/interactive/2014/may/09/reading-gothic-novel-pictures (https://www.theguardian.com/books/interactive/2014/may/09/reading-gothic-novel-pictures)

https://www.bl.uk/romantics-and-victorians/articles/gothic-motifs (https://www.bl.uk/romantics-and-victorians/articles/gothic-motifs)

https://www.youtube.com/watch?v=gNohDegnaOQ&amp;amp;t (https://www.youtube.com/watch?v=gNohDegnaOQ&amp;amp;t)

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▶️ Frankenstein - Mary Shelley's Frankenstein

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Home Video Trailer from Columbia Pictures

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https://www.youtube.com/watch?v=x-387NMCR6w&app=desktop

https://padlet-uploads.storage.googleapis.com/92190020/ef1c7c669a366eb37f6450fbf71763ac/Screenshot_20200721_030736.jpg

https://www.cliffsnotes.com/literature/p/poes-short-stories/edgar-allan-poe-biography

https://www.cliffsnotes.com/literature/p/poes-short-stories

https://www.sparknotes.com/author/edgar-allan

https://www.sparknotes.com/lit/poestories/

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Life

Poe was the son of the English-born actress Elizabeth Arnold Poe and David Poe, Jr., an actor from Baltimore. After his mother died in Richmond, Virginia, in 1811, he was taken into the home of John Allan, a Richmond merchant (presumably his godfather), and of his childless wife. He was later taken to Scotland and England (1815-20), where he was given a classical education that was continued in Richmond. For 11 months in 1826 he attended the University of Virginia, but his gambling losses at the university so incensed his guardian that he refused to let him continue, and Poe returned to Richmond to find his sweetheart, (Sarah) Elmira Royster, engaged. He went to Boston, where in 1827 he published a pamphlet of youthful Byronic poems, Tamerlane, and Other Poems. Poverty forced him to join the army under the name of Edgar A. Perry, but, on the death of Poe's foster mother, John Allan purchased his release from the army and helped him get an appointment to the U.S. Military Academy at West Point. Before going, Poe published a new volume at Baltimore, Al Aaraaf, Tamerlane, and Minor Poems (1829). He successfully sought expulsion from the academy, where he was absent from all drills and classes for a week. He proceeded to New York City and brought out a volume of Poems, containing several masterpieces, some showing the influence of John Keats, Percy Bysshe Shelley, and Samuel Taylor Coleridge. He then returned to Baltimore, where he began to write stories. In 1833 his " MS. Found in a Bottle" won $50 from a Baltimore weekly, and by 1835 he was in Richmond as editor of the Southern Literary Messenger. There he made a name as a critical reviewer and married his young cousin Virginia Clemm, who was only 13. Poe seems to have been an affectionate husband and son-in-law.

Poe was dismissed from his job in Richmond, apparently for drinking, and went to New York City. Drinking was in fact to be the bane of his life. To talk well in a large company he needed a slight stimulant, but a glass of sherry might start him on a spree; and, although he rarely succumbed to intoxication, he was often seen in public when he did. This gave rise to the conjecture that Poe was a drug addict, but according to medical testimony he had a brain lesion. While in New York City in 1838 he published a long prose narrative, The Narrative of Arthur Gordon Pym, combining (as so often in his tales) much factual material with the wildest fancies. It is considered one inspiration of Herman Melville's Moby Dick. In 1839 he became coeditor of Burton's Gentleman's Magazine in Philadelphia. There a contract for a monthly feature stimulated him to write "William Wilson" and "The Fall of the House of Usher," stories of supernatural horror. The latter contains a study of a neurotic now known to have been an acquaintance of Poe, not Poe himself.

Later in 1839 Poe's Tales of the Grotesque and Arabesque appeared (dated 1840). He resigned from Burton's about June 1840 but returned in 1841 to edit its successor, Graham's Lady's and Gentleman's Magazine, in which he printed "The Murders in the Rue Morgue"-the first detective story. In 1843 his "The Gold Bug" won a prize of $100 from the Philadelphia Dollar Newspaper, which gave him great publicity. In 1844 he returned to New York, wrote "The Balloon Hoax" for the Sun, and became subeditor of the New York Mirror under N.P. Willis, thereafter a lifelong friend. In the New York Mirror of January 29, 1845, appeared, from advance sheets of the American Review, his most famous poem, "The Raven," which gave him national fame at once. Poe then became editor of the Broadway Journal, a short-lived weekly, in which he republished most of his short stories, in 1845. During this last year the now-forgotten poet Frances Sargent Locke Osgood pursued Poe. Virginia did not object, but "Fanny's" indiscreet writings about her literary love caused great scandal. His The Raven and Other Poems and a selection of his Tales came out in 1845, and in 1846 Poe moved to a cottage at Fordham (now part of New York City), where he wrote for Godey's Lady's Book (May-October 1846) "The Literati of New York City"-gossipy sketches on personalities of the day, which led to a libel suit.

Poe's wife, Virginia, died in January 1847. The following year he went to Providence, Rhode Island, to woo Sarah Helen Whitman, a poet. There was a brief engagement. Poe had close but platonic entanglements with Annie Richmond and with Sarah Anna Lewis, who helped him financially. He composed poetic tributes to all of them. In 1848 he also published the lecture "Eureka," a transcendental "explanation" of the universe, which has been hailed as a masterpiece by some critics and as nonsense by others. In 1849 he went south, had a wild spree in Philadelphia, but got safely to Richmond, where he finally became engaged to Elmira Royster, by then the widowed Mrs. Shelton, and spent a happy summer with only one or two relapses. He enjoyed the companionship of childhood friends and an unromantic friendship with a young poet, Susan Archer Talley.

Poe had some forebodings of death when he left Richmond for Baltimore late in September. There he died, although whether from drinking, heart failure, or other causes was still uncertain in the 21st century. He was buried in Westminster Presbyterian churchyard in Baltimore.

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Edgar Allan Poe | Biography, Poems, Short Stories, & Facts

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Edgar Allan Poe, the master of macabre literature and pioneer of detective fiction, intrigued readers with his haunting tales that explored the depths of human psychology.

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Questions
Gothic

Guess what happens in the trailer?
Who are the characters?
Which book is mentioned?
1 Word is important ?
Gothic elements ?

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https://drive.google.com/drive/mobile/folders/1YTHrUF7KLzz3flJDb5eC7k8jtBESYOXj?usp=sharing

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https://www.youtube.com/watch?v=Lg17y6iz7Xs

https://youtu.be/7pxZxY_Siyc

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https://drive.google.com/drive/mobile/folders/1jWAz0_pvpH70R431bKXUJs4RHVqth5H-?usp=drive_open

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https://anglais-pedagogie.web.ac-grenoble.fr/sites/anglais-pedagogie.web.ac-grenoble.fr/files/vampbis.pdf

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https://docs.google.com/document/d/19boXkodYYkK4wIYo3KN5Xu9uiu7TbuNSL8-fUpWd_DQ/edit

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https://www.bl.uk/romantics-and-victorians/themes/the-gothic#

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https://view.genial.ly/574eeaa81c71d327fcd5b0b8/interactive-content-frankenstein-the-dawn-of-proletariat

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The extract is taken from Mary Shelley’s novel, Frankenstein, written in 1818. In this passage, the narrator – the young scientist Victor Frankenstein – describes the night he succeeded in his experiment to bring life to a dead body.

It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs. How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips. The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room and continued a long time traversing my bed-chamber, unable to compose my mind to sleep. At length lassitude succeeded to the tumult I had before endured, and I threw myself on the bed in my clothes, endeavouring to seek a few moments of forgetfulness. But it was in vain; I slept, indeed, but I was disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her, but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave-worms crawling in the folds of the flannel. I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch—the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs. I took refuge in the courtyard belonging to the house which I inhabited, where I remained during the rest of the night, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound as if it were to announce the approach of the demoniacal corpse to which I had so miserably given life. Oh! No mortal could support the horror of that countenance. A mummy again endued with animation could not be so hideous as that wretch. I had gazed on him while unfinished; he was ugly then, but when those muscles and joints were rendered capable of motion, it became a thing such as even Dante could not have conceived. I passed the night wretchedly. Sometimes my pulse beat so quickly and hardly that I felt the palpitation of every artery; at others, I nearly sank to the ground through languor and extreme weakness. Mingled with this horror, I felt the bitterness of disappointment; dreams that had been my food and pleasant rest for so long a space were now become a hell to me; and the change was so rapid, the overthrow so complete!

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https://drive.google.com/drive/mobile/folders/17GbBlCZCLFIEoAUOXfeRsfS0GqH-epHk?usp=sharing

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http://www.readwritethink.org/classroom-resources/lesson-plans/modeling-reading-analysis-processes-411.html?tab=3#tabs

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https://cartoun.education.fr/portail/share/AP2298

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http://www.fromtexttospeech.com/

https://www.naturalreaders.com/online/

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https://www.facebook.com/groups/2270556013227628/permalink/2970643873218835/

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https://englishpadawans.wordpress.com/premieres-llce/

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https://open.spotify.com/album/6xDmRcD6sgsGbDvBRpyH5H?nd=1&nd=1https://open.spotify.com/album/6xDmRcD6sgsGbDvBRpyH5H?nd=1&nd=1

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https://padlet.com/laetipask/monsters

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https://news.usc.edu/130364/monsters-on-our-minds-what-our-fascination-with-frightful-creatures-says-about-us/

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https://www.quiziniere.com/PartageExercice/AREOMPAWV9

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https://view.genial.ly/5f8312024977856eccca3517/game-breakout-fantasy-escape-game

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https://drive.google.com/drive/mobile/folders/1hmuY9Bus7ohl9-QTmIHXtPDrCdhAYA5o

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https://drive.google.com/drive/mobile/folders/16JRs3VAlWk7BND8G7YHAWUm1S4Nwdp4u?usp=sharing

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https://www.quiziniere.com/Exercice/WLLKAM

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https://nerdist.com/article/classic-horror-books-you-can-read-for-free-right-now/

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https://padlet.com/professorbouteiller/wrigoq5xaqoc

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https://m.youtube.com/watch?v=aAr386m7V-g

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https://anglais-pedagogie.web.ac-grenoble.fr/sites/anglais-pedagogie.web.ac-grenoble.fr/files/sequence_why_is_gothic_immortal.pdf

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https://padlet.com/laetipask/monsters

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https://docs.google.com/document/d/1KDvRBAqagbwdGqcWDmlRCEHKiJDhSSk-DMW8zD4bH-g/edit

https://docs.google.com/document/d/1QOgAXtZFBfDSfThF_MTFWdOnaeW3Ne6tMC9H_EwdWKU/edit

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https://docs.google.com/document/d/1nz5Lhsy-FIb0I_Suw8NxjaSgV7_PEoVlN_qZDXhPrVo/edit

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https://padlet.com/professorbouteiller/lvozl9qkvcbr

https://padlet.com/violetcha/kih3y9b9pu7q5ju4