Genral gothic

• • ‘Way of revivifying the past’ Punter 
• • ‘The central mood of the Gothic is fear’ Punter 
• • ‘Gothic is a response to anxieties that the ancient feudal, aristocratic order might return to unsettle bourgeois conventions’ Punter 
• • ‘Gothic is related to the uncertainties of revolution in general’ Punter 
• • ‘The Gothic might be seen as tracing the limits of what is possible for the human’ Punter 
• • ‘The Gothic deals in illicit desires, in what is prohibited by society; it deals in emotional extremes’ Punter  
• • Gothic provides a means of national self-understanding’ Milbank  
• • ‘…emphasis placed on expelling threatening figures of darkness and evil, casting them out and restoring proper limits’ Botting  
• • ‘[Gothic atmospheres/settings] have repeatedly signalled the disturbing return of pasts upon presents’ Botting 
• • ‘[Gothic narratives] subverted rational understanding’ Botting 
• • ‘[Terror and horror] can also [be a] powerful means to reassert the values of society and propriety’ Botting 
• • ‘Gothic texts are ambivalent - they restore and contest boundaries’ Botting 
• • ‘Gothic landscapes are suggested figures of imagined and realistic threats’ Botting 
• • ‘always been involved in constructing and contesting distinctions between civilisation and barbarism, reason and desire’ Botting 
• • ‘characters of the agents, like the figures in many landscapes, are entirely subordinate to the scenes in which they are placed’ Wright 
• • ‘the Gothic building as a symbol of fear and unyielding power is ubiquitous’ Wright 
• • ‘The combination of landscape and ruined castle… provokes meditation… regarding the transient nature of power’ Wright 
• • ‘the embodiment of ‘Gothic’ terror, seems to grow out of the terrifying gothic landscape which surrounds it’ Wright 
• • ‘terror is… the ruling principle of the sublime’ Wright 
• • ‘if we contemplate… an immeasurably vast ocean which exceeds our visual boundaries, then we will experience terror’ Wright 
• • ‘there are serious drawbacks to the standard critical reading which interprets Gothic sublime as merely instrumental’ Wright 
• • ‘Both involve fear and repulsion, but terror is more immediate, more emotional, and less intellectual.  You may be horrified by what your friend tells you but terrified by what you see yourself. . . .  Terror is more potent and stimulating and thus the more Gothic emotion.’ Bayer-Berenbaum 
• • ‘Terror and Horror are so far opposite that the first expands the soul, and awakens the faculties to a high degree of life; the other contracts, freezes and nearly annihilates them .... And where lies the difference between horror and terror, but in the uncertainty and obscurity that accompany the first, respecting the dreading evil?’ Radcliffe 
• • ‘the novel is like the monster itself’ Botting 
• • ‘humanism grown monstrous as a result of excessive and exclusive aspirations to power and ideal unity’ Botting 
• • ‘boundaries are left in question’ Botting 
• • ‘Reality and fiction are not clearly separated, but are tortuously entwined in this self-conscious twisting of distinctions that appears at once serious and silly.’ Botting   
• ‘The reader is invited to participate in the creation of meaning through his or her own imaginative response to the text’ Botting
• 'terror was soul-enriching and subtle, horror claustrophobic and visceral' - reys
• 'in the 20th century gothic is everywhere and nowhere' botting
• 'the gothic has a fascination with strange places' - bowen
• 'the maiden is a major motif of the defenceless, - punter
• 'men are dominating and controlling' cranny-francis
• 'the gothic building is a ubiquitous symbol of fear and power' wright
• 'the vampire is the most terrifying figure in all of literature' king
• 'the novel is the monster itself' botting
• 'the Victorians were obsessed with death' hogle
• 'stokers novel subordinates feminine sexuality to a masculine perspective' botting
• 'horror grows out of suspense, while terror produces disgust' botting
• 'boundaries are left in question' botting