Gothic literature, a movement that focused on ruin, decay, death, terror, and chaos, and
privileged irrationality and passion over rationality and reason, grew in response to the
historical, sociological, psychological, and political contexts of the late eighteenth and early
Although Horace Walpole is credited with producing the first Gothic novel, The Castle of Otranto, in
1764, his work was built on a foundation of several elements. First, Walpole tapped a growing
fascination with all things medieval; and medieval romance provided a generic framework for his
novel. In addition, Edmund Burke’s 1757 treatise, A Philosophical Enquiry into the Sublime and
Beautiful, offered a philosophical foundation. Finally, the Graveyard School of poetry, so called
because of the attention poets gave to ruins, graveyards, death, and human mortality, flourished in
the mid-eighteenth century and provided a thematic and literary context for the Gothic.
Walpole’s novel was wildly popular, and his novel introduced most of the stock conventions of the genre:
an intricate plot; stock characters; subterranean labyrinths; ruined castles; and supernatural occurrences.
The Castle of Otranto was soon followed by William Beckford’s Vathek (1786); Ann Radcliffe’s The
Mysteries of Udolpho (1794) and The Italian (1797); Matthew Lewis’s The Monk (1796); Charles Brockden
Brown’s Wieland (1797); Mary Shelley’s Frankenstein (1818); and Charles Robert Maturin’s Melmoth the
While it may be comparatively easy to date the beginning of the Gothic movement, it is much harder to
identify its close, if indeed the movement did come to a close at all. There are those such as David Punter
in The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day and Fred Botting in
Gothic who follow the transitions and transformations of the Gothic through the twentieth century.
Certainly, any close examination of the works of Edgar Allan Poe, Bram Stoker’s Dracula, or Robert Louis
Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde in the nineteenth century demonstrates both the
transformation and the influence of the Gothic. In the twentieth and twenty-first centuries, the ongoing
fascination with horror, terror, the supernatural, vampires, werewolves, and other things that go bump in
the night evidences the power the Gothic continues to exert.
In its attention to the dark side of human nature and the chaos of irrationality, the Gothic provides for
contemporary readers some insight into the social and intellectual climate of the time in which the
literature was produced. A time of revolution and reason, madness and sanity, the 1750s through the
1850s provided the stuff that both dreams and nightmares were made of.
Gothic fiction (sometimes referred to as Gothic horror) is a genre of literature that combines elements of
both horror and romance. As a genre, it is generally believed to have been invented by the English
author Horace Walpole, with his 1764 novel The Castle of Otranto.
The effect of Gothic fiction depends on a pleasing sort of terror, an extension of Romantic literacy
pleasures that were relatively new at the time of Walpole's novel. Melodrama and parody (including self-
parody) were other long-standing features of the Gothic initiated by Walpole. Gothic literature is
intimately associated with the Gothic Revival architecture of the same era. In a way similar to the gothic
revivalists' rejection of the clarity and rationalism of the neoclassical style of the Enlightened
Establishment, the literary Gothic embodies an appreciation of the joys of extreme emotion, the thrills of
fearfulness and awe inherent in the sublime, and a quest for atmosphere. The ruins of gothic buildings
gave rise to multiple linked emotions by representing the inevitable decay and collapse of human
creations—thus the urge to add fake ruins as eyecatchers in English landscape parks. English Gothic
writers often associated medieval buildings with what they saw as a dark and terrifying period,
characterized by harsh laws enforced by torture, and with mysterious, fantastic, and superstitious
rituals. In literature such Anti-Catholicism had a European dimension featuring Roman Catholic excesses
such as the Inquisition (in southern European countries such as Italy and Spain).
Prominent features of Gothic fiction include terror (both psychological and physical), mystery, the
supernatural, ghosts, haunted houses and Gothic architecture, castles, darkness, death, decay, doubles,
madness, secrets, and hereditary curses.
The stock characters of Gothic fiction include tyrants, villains, bandits, maniacs, Byronic heroes,
persecuted maidens, femmes fatales, madwomen, magicians, vampires, werewolves, monsters, demons,
angel, fallen angel, the beauty and the beast, revenants, ghosts, perambulating skeletons, the
Wandering Jew, and the Devil himself.
“Mummy! You had me and I ever have you. I don’t
know who is my father, neither you. I’d like to meet
him only to say goodbye. Mummy! You don’t know
how to walk and try to run. You know I love you
although you are a whore. Mummy! Please don’t go
Every morning when I wake up
as I comb my hair
I can hear my daddy saying
It’s a big big world out there
While putting on my make-up
His words clinger in the air
Just use much love I gave you
That you can make it anyway
I’m so glad that I’m a woman
I and know I wouldn’t trade
I know I got it make
I’m so glad that I ...
REMEMBER, FIND OUT FOR A
NIGHT OF SEX YOU MAY FIND
GOODBYE BLUE SKY
“THERE ARE NO STARS
UP IN THE SKY.”
“THERE ARE NO STARS
UP IN THE SKY.”
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The author holds a BA in Letter (English and English Literature) from the Catholic University
of Campinas and posting graduating on MA in Applied Linguistic And Psychopedagogy Psicanalist
Institutional and Clinic in Education by UNESP
He has a large experience about cram schools (vestibulares) and he is engaged on studies of
didactic books (English for secondary students; writing and reading in Portuguese – in the area
of Applied Linguistic / Foreign Language Teaching and Learning and Linguistic / Acquisition
Competence of Writing and Reading.
Moreover, he is engaged on gothic literature.
(see: www.katcavernum.com.br) in the area of Literary History and Theory and his main work in
this area is related to the universe of short stories.
His short stories are a combination of gothic romance and horror romance that incorporate the
dark atmosphere on description and narrative from Middle Age. The obscure of Nature, mind,
fear, mystery, imagination, darkness and death are presented on our context as castles, roads
and knights. The stories bring fiction, romance, interest subjects and true reports through a
cultured vocabulary within three basic elements of literary gothic: terror: the physics mutilation
and death; horror: the power of evil and the supernatural; and the mystery: the disturbance
of mind. Following the statements of Clara Reeve (1729 – 1807) disciple of Walpole – the
supernatural are presented on dreams, nightmares, the darkness of mind and mysteries dins as
groan and murmur.
◊estudo aplicado – redação: (a redação no vestibular da Unicamp e
a redação dissertativa) – 2004 3ª Edição 2010
◊mapa monográfico :
(a construção do projeto de pesquisa em educação) - 2005
◊contornos projetivos das dificuldades de aprendizagem: uma abordagem
psicopedagógica psicanalítica winnicottiana - 2009
Brazilian Literature: ◊te conto no ônibus - 2006
◊vertigoes of the soul - 2004
◊1968 – the driver - 2004
◊window to the sky waiting for the rain - 2004
◊hell’s bells - 2005
◊goodbye blue sky - 2005
◊devil’s pan - 2006
◊ashes of death - 2006
◊yesterday farewell fears - 2007
◊the darkness before the dawn - 2007
◊valgrind - 2010
Outro trabalho de sucesso desenvolvido pelo autor é sua pesquisa no âmbito
da pós graduação pela Unesp/Araraquara. Cujo título contornos projetivos das
dificuldades de aprendizagem – uma abordagem psicopedagógica psicanalítica
de corrente winnicottiana tem como propósito demonstrar que é possível,
preventivamente, identificar, no início da pré-adolescência, alunos que
possam apresentar sintomas de possível problema no contexto da
aprendizagem que poderá se desvelar na evolução de sua vida acadêmica,
pela aplicação do procedimento de desenhos-estórias. Desta forma, com o
diagnóstico em mãos a escola pode elaborar um projeto pedagógico que possa
incluir esses alunos no contexto ensino-aprendizagem de forma natural de
acordo com seu nível cognitivo.
O trabalho foi desenvolvido com 119 alunos (sujeitos participantes) de uma
escola estadual pública e foram analisados 587 desenhos.
No contexto de alunos pré-universitários, o livro estudo aplicado -redação (a
redação no vestibular da Unicamp e a redação dissertativa) há cada ano bate
recordes de venda e sucesso daqueles que utilizaram o material para elaborar
as redações do vestibular da Unicamp.