Republic of uzbekistan samarqand state institute of foreign languanges faculty of foreign languages

The Animals at Lockwood Manor is an atmospheric tale of family madness, long-buried secrets and hidden desires. In August 1939, as war looms, Hetty Cartwright is tasked with the evacuation and safekeeping of the Natural History Museum’s mammal collection. But, sequestered in Lockwood Manor with the irascible Lord Lockwood and his resentful servant, Hetty and the animals may still not be safe. Because Hetty is sure she’s being stalked through the darkened corridors of the house by someone – or something . . . 
Set between two fateful summers, The Ophelia Girls is a visceral, heady exploration of desire, infatuation and the perils and power of being a young woman. In the summer of 1973, teenage Ruth and her four friends are obsessed with pre-Raphaelite paintings, and a little bit obsessed with each other. But by the end of the summer, tragedy has found them. Twenty-four years later, Ruth, now a mother of three, moves her family into her now somewhat dilapidated childhood home following the death of her father. Her daughter Maeve is in remission but when Stuart, a handsome photographer and old friend of her parents comes to stay, Maeve finds that there is something about him that makes her feel more alive than all of her life-saving treatments put together . . .

CONCLUSION.

Gothic Literature is an in depth, dramatic genre of writing. It allows the reader to follow a story and be engaged the whole time. It uses setting heavily throughout a novel to set the atmosphere for the events to come. The loneliness of the protagonist is also a sign that it is Gothic Literature. The drama used creates high emotions from the audience and makes the novel more suspenseful. Throughout the novel Frankenstein, all three of these important characteristics were used, some more than others. From a readers perspective, the loneliness of the protagonist was used the least throughout the novel. The other aspects of Gothic Literature were equally used and equally important in creating an excellently executed novel. The novel written by Mary Shelley in the 18th Century, Frankenstein, is a prime example of Gothic Literature.
The Gothic aesthetic and hygienic self gain their particular accents during the latter half of the eighteenth century; during the nineteenth, they become less distinct while others are heard. This chapter addresses the effect this had on Gothic writing during the 1820s and beyond and the genealogical consequences. Byron's Werner; or, The Inheritance: A Tragedy, a dramatic adaptation of Harriet Lee's novella, The German's Tale: Kruitzner, is an instance of rewriting at the margins of the Gothics classic period. The geographical and temporal setting, 'Germany' in 1633, towards the end of the Thirty Years War, highlights the 'Gothic cusp', a period when the feudal and modern eras were understood to overlap. Insofar as Kruitzner sets it out as typical, the house of Siegendorf, like all Gothic houses, is based on 'mystery and blood', violence shrouded by an obscurantist myth of noble origin.
Gothic fiction creates a sense of the past being a terrifying and barbaric place. Isolation of a setting adds to the sense of foreboding and panic for any Gothic protagonist. Gothic fiction uses the past and the setting in order to terrify not only the protagonist but also the reader and films work to scare and to thrill audiences today.
Recent scholarship has begun to rehabilitate Minerva Press publications such as Roche's, arguing for a new academic approach that moves beyond traditional denunciations of these fictions as unoriginal and imitative. In her research, Elizabeth A. Neiman traces the manner in which Minerva authors actively responded in their texts to the accusations of derivativeness so often levelled at them by critics and, in so doing, ‘developed their own model of collective authorship’. Only by reading their novels together, Neiman suggests, will we have a full sense of the impact of Minerva Press publications and their engagement with a wide range of contemporary debates.¹ Elsewhere, Edward Copeland, Jennie Batchelor, and Cheryl Turner have brought attention to the insights afforded by the careers and works of Minerva authors to questions of female authorship in the Romantic period.² Meanwhile, illuminating research by Eve Tavor Bannet, Melissa J. Homestead, and Camryn Hansen has illustrated Minerva's transnational presence by way of the circulation of texts, linking the press's provision of a dispersed readership to the cultivation of successful and financially lucrative international careers by particularly savvy authors.³

1^ Elizabeth A. Neiman, ‘A new perspective on the Minerva Press's “derivative” novels: authorizing borrowed material’, European Romantic review, 26.5 (2015), 634, 635.

2^ See Jennie Batchelor, Women's work: labour, gender, authorship, 1750–1830 (Manchester: Manchester University Press, 2010); Copeland, Women writing about money; and Cheryl Turner, Living by the pen: women writers in the eighteenth century (1992; London and New York: Routledge, 1994).

3^ See Bannet, ‘Charles Brockden Brown and England’, and Homestead and Hansen, ‘Susannah Rowson's transatlantic career’.