1. Gothic “The Fall of the House of Usher”

2. Gothic Originally signified Gothic architecture (pointed arch and vault) Originally signified Gothic architecture (pointed arch and vault)

3. Origins Type of prose fiction inaugurated by Horace Walpole’s The Castle of Otranto (1764) Type of prose fiction inaugurated by Horace Walpole’s The Castle of Otranto (1764)

4. Is the Gothic an inversion of Romanticism? Romanticism/Transce ndentalism Romanticism/Transce ndentalism Associated with the outdoors and nature Associated with the outdoors and nature Looks upward toward goodness, nature, air, sky Looks upward toward goodness, nature, air, sky Being one with nature: “God within” Being one with nature: “God within” Gothic Gothic Associated with enclosed, man-made structures falling into decay Looks beneath a surface reality to evil or turmoil beneath Duality or doubleness Negative emotional states and drives

5. Purposes To create terror To create terror To open fiction to the realm of the irrational—perverse impulses, nightmarish terrors, obsessions—lying beneath the surface of the civilized mind To open fiction to the realm of the irrational—perverse impulses, nightmarish terrors, obsessions—lying beneath the surface of the civilized mind To demonstrate the presence of the uncanny existing in the world that we know rationally through experience. To demonstrate the presence of the uncanny existing in the world that we know rationally through experience.

6. Characteristics An atmosphere of gloom, terror, or mystery. Elements of the uncanny (unheimlich) that challenge reality Mysterious events that cause the protagonist to question the evidence of his or her senses The presence of seemingly supernatural beings.

7. Characters and Actions Events, often violent or macabre, that cannot be hidden or rationalized despite the efforts of the narrator. Focus on death and the events surrounding death; the living may seem half-dead and the dead half-alive. Focus on death and the events surrounding death; the living may seem half-dead and the dead half-alive. Characters act from negative emotions: fear, revenge, despair, hatred, anger. Characters act from negative emotions: fear, revenge, despair, hatred, anger.

8. Characteristics A disturbed or unnatural relation between the orders of things that are usually separate: Life/death Good/evil Dream/reality Rationality/madness Light/dark

9. Characteristics A hidden or double reality beneath the surface of what at first appears to be a single narrative. As Eve Kosofsky Sedgwick explains, a primary feature of the Gothic is that the self is “massively blocked off from something to which it ought normally to have access” (12): air, life, knowledge, the rational self.

10. Setting An exotic setting isolated in time or space from contemporary life, often a ruined mansion or castle. The building Associated with past violence Hidden doors Subterranean secret passages Concealed staircases, and other such features.

11. Narrative Arc Thus the narrative arc of the Gothic story leads to an exposure of what was once hidden. It breaks down the barrier between the surface reality and the turbulent reality beneath the surface.

12. Barriers Often a physical barrier symbolizes a barrier to the information that provides a key to the truth or explanation of the events. Sometimes the truth is revealed through an artifact that breaches the barrier between what is known and what is unknown

13. Examples A document telling a family secret A key that opens a secret room An object or even a creature imprisoned behind the wall What would this be in “The Tell-Tale Heart”? What would this be in “The Tell-Tale Heart”? What would it be in “The Fall of the House of Usher”? What would it be in “The Fall of the House of Usher”?

14. Poe

15. Fuseli, “The Nightmare”

16. Sedgwick on the Gothic Something is going on inside the isolation (the present, the continuous consciousness, the dream, the sensation itself). Something is going on inside the isolation (the present, the continuous consciousness, the dream, the sensation itself). Something intensely relevant is going on impossibly out of reach. Something intensely relevant is going on impossibly out of reach. While the three main elements (what’s inside, what’s outside, and what separates them) takes on the most varied guises, the terms of the relationship are immutable. While the three main elements (what’s inside, what’s outside, and what separates them) takes on the most varied guises, the terms of the relationship are immutable.

17. Sedgwick on Doubling in the Gothic This... creates a doubleness where singleness should be. This... creates a doubleness where singleness should be. Impossibility of restoring the fragmented elements despite efforts to put them back together. Impossibility of restoring the fragmented elements despite efforts to put them back together.

18. Gothic Narrative Strategies Sedgwick: “the difficulty the story has in getting itself told is of the most obvious structural significance.” Sedgwick: “the difficulty the story has in getting itself told is of the most obvious structural significance.” “It has a similar relation to the convention of live burial.” “It has a similar relation to the convention of live burial.” In other words, the buried narrative evokes but conceals the unspeakable truth, as does the convention of live burial conceal the vital human being. In other words, the buried narrative evokes but conceals the unspeakable truth, as does the convention of live burial conceal the vital human being.

19. Gothic Narrative Strategies Interrupted narrative form. Interrupted narrative form. Stories may use multiple starts, frame stories, interruptions of stories, letters or inserted texts, repetition, and omissions of relevant key details. Stories may use multiple starts, frame stories, interruptions of stories, letters or inserted texts, repetition, and omissions of relevant key details. Narrators may have partial knowledge from which they piece together an imperfect explanation of what cannot be rationally explained. Narrators may have partial knowledge from which they piece together an imperfect explanation of what cannot be rationally explained.

20. Thoughts? Questions? Thoughts? Questions? More on the Gothic and quotations from Sedgwick: http://public.wsu.edu/~campbelld/amlit/n ovel.htm More on the Gothic and quotations from Sedgwick: http://public.wsu.edu/~campbelld/amlit/n ovel.htm http://public.wsu.edu/~campbelld/amlit/n ovel.htm http://public.wsu.edu/~campbelld/amlit/n ovel.htm 1928 Avant-Garde version http://www.youtube.com/watch?v=Aav1T 9xqIIY http://www.youtube.com/watch?v=Aav1T 9xqIIY http://www.youtube.com/watch?v=Aav1T 9xqIIY http://www.youtube.com/watch?v=Aav1T 9xqIIY