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People have been living as they believe since the beginning of history of humanity. The believers are turning into rituals with habits as a way of life. In the context of fear, the factor of uncanniness is hidden on the basis of the fact that people transform their beliefs into ritual behavior. Uncanniness spreads by creating a culture of fear and influencing the feelings and thoughts of the people. However, gothic and grotesque aesthetics, with their structure that transforms the culture of fear into an image, conflict with the concept of the sacred, which is the basis of folk beliefs. These aesthetic structures, which emerged when superstitions took the place of the sacred, give rise to the allegorical gothic imagination. Thus, the changes observed in the socio-cultural structure with its structure going from observation to image show how folk beliefs have been shaped in pre-modern, modern, post-modern periods. The fact that superstitious beliefs have taken shape in the outside world as references reveals that although they have established a dominant discourse on women since medieval antiquity, the elements based on women's perception of beauty, beauty-ugliness aesthetics and women's gothic have been dealt with by entering different patterns in Turkish folk beliefs. The images that produce a formal form through women's gothic are in the nature of criminalizing women in terms of jinx. As a universal indicator, "jinx" beautifications appear in the Anatolian geography through women and animals with cultural codes. In the cultural field where the desire to reproduce by reproduction is glorified, the othering attitude made through the ability to give birth coincides with the image of jinx. Just as nature cannot renew itself, it is seen that syntax and stereotyped expressions give birth to gothic in folk beliefs through women both renewing themselves by giving birth to a child. It is seen that allegories and images are reflected as a whole on the metaphorical plane. In addition to the superstitious beliefs that are developing, other qualities that change on the subject-object plane are also images of folk beliefs. It is believed that the part of Turkish folk beliefs filled with gothic images has been formed around superstitions. Superstitious beliefs appear as references and as symptoms on the metaphysical plane. Superstitious beliefs about women are transformed into gothic images and allegories within the scope of body aesthetics, baht openness, pregnancy and fertility. Superstitious beliefs about children stem from the tradition of circumcision. Beliefs related to days and vows are also fear-based examples examined in the superstition group. On the metaphysical context, beings are studied through souls and spiritual beings. The study of the beings considered on the metaphysical plane, where spirits are considered as subjects and spiritual beings as objects, in the personal domain, are the elements that reconcile cultural fear. Beliefs that are in the subject position about the spirit of the dead also include narratives about the object task related to demons in the culture of fear. Beliefs such as protection from them, their impersonation, child abductions have turned into gothic rituals over time. In addition to the rituals performed by folk beliefs embodied through personal and spatial means in cemeteries, shrines and deposits, the communication they establish with people through spirits and spiritual beings reveals gothic and grotesque images. In this study, it is aimed to reflect how superstitions emerging from the culture of fear shape social imagery within the context of Gothic aesthetics and how fear is symbolized in popular culture in a manner parallel to the West. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gothic, appeared in almost all arts, was first used in the middle of the 12th century to describe a style in European architecture, and this style continued its existence until the middle of the 16th century. Gothic, which passed from architecture to painting and sculpture, later became a source of inspiration to literature. Gothic literature, which first emerged in Europe in the second half of the 18th century, has managed to continue its existence until today. English writer Horace Wallope (1717-1797) with his novel The Castle of Otranto published in 1764 gave the first example of gothic literature. In Russian literature, the first examples of this genre were encountered in the works of Nikolai Mikhailovich Karamzin (1766-1826). Karamzin, who is considered to be the pioneer of Sentimentalism in Russian literature, wrote gothic stories such as The Island of Bornholm (Ostrov Borngolm, 1793) and Sierra Morena (Sierra Morena, 1793) besides sentimental stories. The purpose of this study is to examine Karamzin's The Island of Bornholm and Sierra Morena within the context of gothic elements, to emphasize the place and importance of these stories in Russian literature, and to introduce Karamzin's gothic side, who is mostly known for his sentimental stories and historian identity in our country. In the analysis of the aforementioned stories, eclectic method was used. [ABSTRACT FROM AUTHOR]

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Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ahmet Hamdi Tanpınar's short story "Rüyalar" [Dreams] was originally published in 1952 and later included in his 1955 short story collection Yaz Yağmuru [Summer Rain]. Focused on the conclusive scene of the narrative, the story maintains a sense of tension throughout as experienced by the protagonist Cemil and revolves around the pivotal question of what will happen next. Rather than employing a convoluted plot structure (syuzhet), the composition relies on a linear storyline (fabula) that steadily unfolds, adhering to a progressive chronology. This article conducts a close narratological reading of Tanpınar's story to analyze its narrative composition, which is distinctive from Tanpınar's general works of fiction. The examination reveals the story to employ a linear storyline in chronological progression and to utilize dream scenes to guide readers toward an almost expected and conclusive finale. Despite the deliberate deferral of clarifications related to dream-induced uncertainties, the underlying linear causality of the storyline contributes to the narrative's overarching strategy of gradual demystification. While the narrative is presented in the third-person singular, the story's perspective remains firmly rooted in that of the protagonist, Cemil. This literary approach, evocative of the works of Franz Kafka, such as The Trial and The Metamorphosis, serves to uphold Cemil's personal crisis as a potential source for a modernist narrative. However, the anagnorisis involving Cemil's talkative friend in the final stage, along with the abrupt emergence of the ghost at sea, ultimately diminishes the modernist elements that had been progressively unfolding throughout the narrative. [ABSTRACT FROM AUTHOR]

In White is for Witching (2009), Helen Oyeyemi defamiliarizes traditional narratives, subverts the classical doctrines, and inserts recent issues. Although her novels are mostly read within the scope of gothic literature, she introduces ethnic mythology and folklore that provide myriad perspectives. As well as incorporating the traditional gothic features, Oyeyemi draws from cultural motifs of her Nigerian roots to highlight the recurring patterns of immigration, coexistence, and integration in English history. Using the vocabulary and the pattern of gothic narration, the novel constructs a postcolonial story to question the xenophobic tendencies of the English nation as a legacy of the colonial era that endures today through immigration policies. Therefore, this article reads the novel as a postcolonial gothic criticising the xenophobic concerns of pure white Englishness against racial others and immigrants labelled as invaders of English identity through the elements of cultural gothic. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ex Machina (2015) is a postmodern Gothic sci-fi movie by Alex Garland, implicitly illustrating the workings of humanization, dehumanization, and marginalization through its android character Ava. Ava's interaction with people reveals humanity's biased perspectives and problems. She enables the audience to see that inorganic anthropomorphic bodies mimicking human behaviors and cognitive skills converge on humans and become strangely humanized. Yet creating uncanny sensations in humans, these bodies become a new group of "others" who belong outside the boundaries of humanness so much so that they exist on the threshold of monstrosity. Furthermore, due to their anthropomorphic appearance, they cannot avoid human hierarchies of race and gender. However, once they become perceived as humans, they learn to use human methods to survive including the wicked ones. Ex Machina thus demonstrates that the process of dehumanization not only creates injustices to dehumanized groups but results in the dehumanization of those that apply it to Others, for it is they that become "less than human" by their inhumane acts. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to bring the realms of philosophy and literature together to create a link between our quotidian lives and fictional worlds. Absurdity in an existential sense means there is an internal contradiction in one's aspiration to seek meaning in the universe which is destitute of such meaning. The correlation between absurdity and existentialism was asserted by Albert Camus who gained insights into absurdity by contemplating Sisyphus. Nonetheless, the purpose of this study is to blend existential absurdism with gothic genre to explore elements of existential absurdity and gothic echoes in Haruki Murakami's Kafka on the Shore. One's existential angst can be evaluated from a perspective which is also related to gothic, since the universe devoid of rationality, purpose and joy can be likened to gothic fiction whose attributes are also irrationality, gloominess and uncanny. To cope with the absurdity that surrounds us, as though we were characters trapped in manifold absurdities of gothic fiction, we resolutely cling to hope or death. Death is also a theme of gothic fiction from which characters endeavour to escape but mostly fail, like existentialists cannot escape from suicidal desires in nihility called the universe. [ABSTRACT FROM AUTHOR]

The article explores the use of sentimental and Gothic emotionality in William Earle’s epistolary novel Obi or, The History of Three-Fingered Jack (1800). Literature about colonial slavery challenges previous notions of the relationship between the sentimental and the Gothic as literary traditions and modes of writing. The sentimental narrative often involves morally edifying tears and compassionate attempts to alleviate the suffering of others. In Obi’s Gothic passages, however, extreme sensitivity proves powerless or downright dangerous as tears and prayers for mercy overwhelm the senses of the sympathetic protagonists. In Earle’s literary representation of slavery and slave revolt, the Gothic mode demonizes the slave trade and highlights the breakdown of sentimental benevolence and its theatrical codes of emotional display. Thus, Earle’s novel complicates Lynn Festa’s reading of sentimental sympathy and pity as feelings that construct hierarchical relations of empire. In Obi, sentimental emotionality does not support racial inequality but is insufficient, nonetheless, as a model for useful social action. [ABSTRACT FROM AUTHOR]

Fear, which is one of basic emotions, corresponds to the term gothic in art. Throughout the history, the origin of the gothic which faced many changes in its meaning and focusing on "the other" and "the spooky" is based on Cermen tribe Got which caused the collapse of Roman Empire and became famous with looting and destruction. While gothic was defined as anti-civilization in ancient times, in 12th century it points out a different taste and understanding from the architecture of the period. At the age of enlightenment, it reveals its opposition by being against the values of modernity. The aim of gothic, which has turned into a style in various fields starting from an architectural field to painting and literature, is to give a sense of fear and horror in man. Fear and horror in literary products are presented through frightening characters and places, and exhibit the repressions in subconscious of nations. In this sense, the mentioned elements of gothic literature differ in Western and Eastern societies, and reflect the collective fear memory of societies. Gothic style found no place in novels and stories for a long time when Tanzimat accepted the literality as dominant element in Turkish literature. In the Republican period although Enlightenment mentality seems to slow down the progress of this style, it is possible to see that gothic elements were mentioned as a result of the curiosity for hidden and repressed facts. In this study, the gothic elements in the stories of modern Turkish literature writer Izzet Yasar (1951-2018) will be examined, and it will be suggested that Yaşar used the gothic to oppose the values of modernity and to make the modern man confront the fears. [ABSTRACT FROM AUTHOR]

Der Aufsatz behandelt

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I artikeln analyseras Knut Hamsuns novell ”Hemmelig ve” (1897) ur queer-perspektiv. Artikeln argumenterar för att Hamsuns novell skildrar ett samkönat erotiskt begär mellan berättaren och den man som betecknas som ”den främmande”. Den främmande förstås som berättarens dubbelgångare, och i egenskap av dubbelgångare representerar han berättarens förbjudna begär. Denna tolkning tar som utgångspunkt en jämförelse mellan 1897 års text och den tidigare version av samma novell som gavs ut under titeln ”Underlige Sjæle” (1891), samt genom en närläsning av de båda männens möten. Artikeln avslutas med en diskussion kring Hamsunforskningens förhållande till queerteori.

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of METU Journal of the Faculty of Architecture / Mimarlık Fakültesi Dergisi is the property of METU Journal of the Faculty of Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Abstract This article is concerned with Carl Jonas Love Almqvist’s Amorina from 1839 and aims to exemplify how its formal organization relates to the Freudian uncanny. The convergence of the formal and the uncanny is explored in relation to the formalist concept of defamiliarization. I argue that the defamiliarizing potential of form can bring about the convergence of the strange and the familiar that Sigmund Freud identified with the uncanny. This potential overlap of the formal and the uncanny is also shown to be present in the tradition of Romantic irony, to which Amorina has frequently been related. The reading of Almqvist’s text is mainly centred on two of its most prominent aspects: its fictitious “publisher’s preface” and its continual shifts between a dramatic and a narrative form. In both cases the text is shown to stage great contrasts of form, genre and style, which disrupt the reader’s interpretive activity, placing them in an uncanny position of ambivalence and disorientation.

Gothic literature first appeared in Europe. Therefore, it reflects the historical features of this continent. The authoritarian distinctions of the aristocratic past are the most important determinants of gothic literature. It also has a theoretical attitude with its sub-genres defending and opposing modernism. This literary genre is taken to America and has been influenced by the social, historical and economic aspects of the new continent. In the American gothic, the geographical features of the country were reflected. Similarly, Anatolian gothic include the characteristics of the native geography. The elements of fear in the folk culture from the past began to be transferred to the novels of the new era. Thus, the people and geography of Anatolia became the subject of horror novels. [ABSTRACT FROM AUTHOR]

Cathedral Church of St Mary, Erfurt – repair and restoration of the vaulted arches The medieval master builders of Erfurt created two churches that are inseparately linked with the city and its history – the collegiate churches of St Mary and Severus – on the Cathedral Hill, or Domberg, both impressive examples of Gothic church design that are famous far beyond the borders of Thuringia. What is unusual here is the Cathedral Hill, "mons Sancti Severi – mountain of Saint Severus", sloping away steeply to the east and enclosed by massive, multi‐storey substructures in the form of vaulted arches. In addition to the impressive history of the construction, this article also describes the latest repair measures to support the vaulted arches. After an analysis of the structural condition and the formulation of the repair objectives, the stone restoration and the renewal of the upper structure are explained. Finally, the experimental load‐bearing capacity evaluation carried out as part of the building measures is discussed. [ABSTRACT FROM AUTHOR]

Vathek treats the despotic rule of caliph Al-Wathik (842-847), the ninth caliph of the Abbasid dynasty, and by extension, depicts Islamic caliphate and culture as decadent. For Beckford, though exotically absorbing, eastern paradigm has its sinister aura: under despotic, necromantic, and sly rulers, 'good' Muslims are no more than an insipid mass. And this submissive cultural character of the East is shown as the 'other' of the West. Contrary to conventional English gothicists who praise in their works the Protestant moral code against 'decadent' Catholicism, Beckford, due to his acquaintance with European languages and cultures, assumes multicultural tone and style: through a contrastive portrayal of caliph Vathek as the wrathful, proud, greedy, slothful, lustful, envious, and gluttonous ruler of the lands of Islam, he creates the doppelgänger of the idealized enlightenment individual. Yet, this socio-cultural and psychological schematising influenced the first and the second generations of romantic poets, who, by orientalising the Orient like Beckford, further contributed to the distorted image of Islam, Muslims, and the East. [ABSTRACT FROM AUTHOR]