Of narpay faculty the department of the english language and literature course paper

The actuality of the course work: Gothic fiction is characterized by an environment of fear, the threat of supernatural events, and the intrusion of the past upon the present. Gothic fiction is distinguished from other forms of scary or supernatural stories, such as fairy tales, by the specific theme of the present being haunted by the past.
The subject of my course work. The gothic novel was invented almost single-handedly by Horace Walpole, whose The Castle of Otranto (1764) contains essentially all the elements that constitute the genre. Walpole's novel was imitated not only in the eighteenth century and not only in the novel form, but it has influenced the novel, the short story, poetry, and even film making up to the present day.
The aim of the course work: is not only the appearance of ghosts or ghostly creatures, but also to directly create fear in the mind of the reader, not to make the "scare" so predictable, but on the contrary. began to form in the form of turns. , situations, etc. They evoke a sense of anxiety... to the point of feeling wrapped in an aura of mystery and wonder.
The tasks of the Gothic - Art personality society is the criterion of consciousness. The influence of the development of society on art Art of the Neolithic period. The difference between the works of art and the works of the previous period. Bronze Age Art. Architecture of the Bronze Age. Art of Central Asia in Neolithic, Eneolithic and Bronze Age.During the course of the lesson, new pedagogical technologies ("Discussion") are used
Cource work structure
It is desirable that the coursework should be composed of the following components:
- title page of the course work;
- content;
- general description of the course work;
- entrance part;

I.Definition of Gothic
1.1. Origins of Gothic Fiction.
The Gothic novel, also called the Gothic story, is a literary genre. Some experts consider it a subgenre because it is closely related to terrorism, and they believe that the two are difficult to separate, even confusing. In fact, one of the most frequently made claims is that the horror novel as we know it today would not exist without Gothic horror.
The history of the novel La Gothic takes us to England, in particular, at the end of the XNUMXth century, where stories, fairy tales and novels with their own characteristics began to appear: magical elements, horror and ghosts were introduced into the same environment, where they made the reader unable to distinguish the truth from the truth.
Considering that the eighteenth century was characterized by the fact that man was able to explain with the help of reason everything that he did not understand, when literature tried to explain what happened with reason, it was difficult (and often impossible).
Exactly, the Gothic novel is from 1765 to 1820, the years when many authors began to look at this literary genre and took their first steps (many surviving ghost stories belong to that period).
The first Gothic novelist was Horace Walpole, author of The Castle of Otranto, published in 1764. This author decided to combine elements of the medieval romance with the modern novel, because both were highly imaginative and realistic, respectively.
So he created a novel based on a medieval Italian romance, full of secrets, threats, curses, hidden passages and characters who could not withstand that environment (which is why they always fainted, another feature of the novel).
Many subgenres make up the Gothic writing style, including the Southern Gothic, a unique element of American literature. Like its parent genre, the plot structure of Southern Gothic writing relies heavily on irony, unusual events, or the supernatural. Unlike its predecessor, Southern Gothic uses the aforementioned tools to portray a cultural identity as well as explore social issues relevant to the American South. Common anti-antebellum euphoric stereotypes, such as the compliant slave, the chivalrous gentleman, the brave Southern belle, or the righteous preacher, are presented in a more realistic and modern style—often with malicious and malicious intent. Above all, the grotesque—a mental/spiritual deformity as opposed to a physical one—is very much part of the Southern Gothic style in terms of characters, situations, and situations. Disgusting traits like selfishness, racial bigotry, etc. are common traits of the characters. Despite these irritating features, the characters retain some level of interest for the reader. Through the lens of these deeply flawed/grotesque figures, Southern authors—without being overly moralizing and literal—take the opportunity to highlight greater narrative range and disturbing aspects of Southern culture. William Faulkner, Erskine, Caldwell, Carson McCullers, Eudora Welty, Tennessee Williams, Truman Capote, Harper Lee—to name a few—are notable Southern authors whose works reflect this genre. Among these prolific writers was the American novelist, short story writer, and essayist Flannery O'Connor.
Born Mary Flannery O'Connor, O'Connor was born on March 25, 1925 in Savannah, Georgia - the only child of Edward F. and Regina Cline O'Connor. Author of two novels, 32 short stories, and numerous reviews/essays and commentaries, he was an important voice in American literature. Like his Southern contemporaries, the South is the setting for O'Connor's text, with the issue of race in the background and his characters usually morally flawed and/or grotesque. "...Anything that comes out of the South," commented O'Connor, "is called grotesque by a northern reader unless it's grotesque, in which case it's called realistic." Blunt prediction, o' letting the reader know the end result in advance was his trademark.
Although O'Connor begs to differ, critics have generally attached adjectives to his works such as brutal, lewd, sarcastic, and even macabre. Defending his works, O'Connor said: "Stories are difficult, but they are difficult because there is nothing more difficult or less sentimental than Christian realism ... I always get excited when I see these stories described as horror stories, because the commentator always behaves. about false horror. For O'Connor, Christian realism was rooted in Catholicism. Living in the "Bible Belt" of the Protestant South, O'Connor was a devout Catholic.
His great faith, as well as his struggle with lupus (a debilitating blood disease that eventually killed his father and himself) also profoundly shaped his writing.
Discussion and Results-Wise Blood was O'Connor's first novel. Originally, the first chapter was a short story that was part of O'Connor's master's thesis for a writing workshop sponsored by the University of Iowa. The beautiful and episodic structure of the novel suggests that it was a collection of short stories and vignettes that were eventually transformed into linear form or a finished novel. Four chapters were published in Mademoiselle, Sewanee Review, and Partisan Review in 1948 and 1949, respectively. Wise Blood, published in its entirety by Harcourt Brace, debuted in May 1952.
Set in Taulkinham, the main character of Wise Blood is Hazel Motes, an isolated and haunted young man who throughout the novel tries to lose/deny his passion for Christian redemption and Jesus Christ. Hazel is Christ-influenced as opposed to Christ-centered. His name, an allegory of his own spiritual blindness, is itself a biblical allegory, taken from the teachings of Jesus in Matthew 7:3 and Luke 6:41. Like many of O'Connor's characters, he fell victim to radical Southern Calvinism—more or less a misunderstanding.
Hazel's early views on salvation, sin, redemption, etc. were based on the teachings of her evangelical grandfather.
Like many others, he was taught that Jesus Christ died for the sins of mankind, and therefore he was taught to take vengeance. Sinners are at the mercy of an angry God, and salvation is essentially a form of punishment. Hazel felt destined to become a minister like her grandfather. Hazel concludes that the only way to avoid such a fate and save her soul is to not have one. His wartime experience of serving in the military for several years during World War II reinforces his nihilism. He returns from war to find his town in ruins and family members dead or missing.
Her faith shattered, Hazel decided to start a new church with a new Jesus/Gospel. "The only way to the truth is disbelief," he insists. As a result, he travels to Taulkinham and discovers a "Christless Church" that preaches humanitarian self-reliance in contrast to God, who says, "The deaf cannot hear, the blind cannot see, the lame cannot walk, the dumb cannot walk." constitutes Don't talk and the dead will stay." Hazel, opposed to the new priest, sets out to save people from salvation. Although she hates preachers in her heart and does not want to be recognized as one - her bright blue and his 'spy suit and black hat suggest otherwise. Throughout the novel, he encounters a strange group of villains in Taulkinham who challenge his new godless/atheist faith. All the characters in Wise Blood are paradoxical. Linda Rohrer Page has her In the article "White Trash, Low Class, and No Class at All: Flannery's Perverted Portraits of the Phallic Force in O'Connor's Wise Blood," he comments that most of O'Connor's characters represent "the front of perfection. They seem like walking paradoxes."
Hazel spends her first night on the town with a random prostitute, Mrs. Leora Watts. He then meets Hoover Shoats aka Onnie Jay Holly, who immediately adapts his new gospel.
Shoats wants to use it as a money-making scheme where new followers have to pay a dollar to join a new church. Shoats offers to join forces, but Hazel refuses. Shoats hires a man, the Prophet, who not only dresses like Hazel, but looks a lot like Hazel.
Through its paradoxical characters, Wise Blood explores a number of common themes. O'Connor paints a scene of sin, judgment, and guilt through his violent, depraved, and horrific imagery. With its comedic and grotesque elements, it can clearly be read as a grotesque comedy. Philosophically, opposing views of reality are presented, and it is up to the reader to resolve the conflicts. As a social/historical text, Wise Blood represents a turbulent time in the post-World War II South, when there was great tension between rural and cosmopolitan populations, as well as benefiting from big-city marketing.
the tent-evangelist describes the rise of hidden preachers. Through a religious lens, Wise Blood is a strange tale of redemption and heresy.
It explores the consequences of denying the existence of the soul with a desperate measure. O'Connor's characters are often victims of spiritual confusion and are irreligious by nature. The psychological and spiritual crisis that created the state of grotesqueness exhibited by Hazel Motes and many others is usually explained by O'Connor. O'Connor creates a fictional world in which her characters truly, and sometimes pretend, search for faith. "O'Connor's characters in Wise Blood reveal important truths about themselves and others despite their tendency to embark on perilous journeys in search of the opposite of reality, demonstrating a visionary ability (Page)." O'Connor's spiritual world was a reflection of the spiritual world, and he felt at times that he was becoming increasingly worldly and needed a new flow of faith.
CHaracteristics of the Gothic novel in the modern English novel
CHaracterizes the Gothic novel-we are talking about the medieval period or places that give off an abandoned, ruined, gloomy, enchanted air, such as castles, palaces, abbeys ...
But they are not the only places. Forests, dungeons, dark streets, puzzles... In short, the author managed to create an environment that gives real fear anywhere.
Supernatural elements
Another main characteristic of Gothic literature is undoubtedly the supernatural elements, such as ghosts, undead, zombies, animals... They would be fantastic characters, yes, but always on the side of terror, meeting them is very difficult for you. dances In that case, vampires could also fit the genre.