To Be or Not to Be Gothic

다국어 초록 (Multilingual Abstract)

Collectively, all Gothic texts include scenes of decay, immorality, and malevolence, which have a destructive impact on main characters. Within Southern Gothic texts, however, traditionally European depictions of dark, moonlit castles are replaced by dilapidated antebellum mansions. Tyrannical despots and sexually immoral religious figures are superseded by psychologically unstable individuals, tormented by real or perceived threats to security. Although imbued with some elements of Gothic works, Flannery O’Connor’s stories do not fit the classic mold. To ascertain the degree to which O’Connor’s work may be classified as Gothic, the following study systematically explores her short stories for literary devices. Results reveal that Gothic elements are utilized, yet they have a distinctly different purpose. Rather than cultivating a sense of fear or depravity, they display a message of God’s grace, designed to elicit introspection from the reader. Secondly, O’Connor’s stories reveal not only internal supernatural mysteries, through the behaviors of individual characters, but external supernatural secrets, through godly manipulation of the environment. A dual purpose of the Gothic mode, as an exemplifier of both internal and external divine influence, makes O’Connor’s work truly unique.

목차 (Table of Contents)

• I. Emergence of the Gothic Genre
• II. Southern Gothic Literature
• III. The Works of Flannery O’Connor
• IV. Conclusion
• Works Cited

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