A new Brontë-related scholarly paper:
Contemporary Journal Of Social Science Review, 3(4), 1346-1357 (2025)
The study aims at exploring the psychological aspects of the Gothic fiction by comparing the works of Frankenstein (1818) by Mary Shelley, Wuthering Heights (1847) by Emily Bronté and The Shining (1977) by Stephen King. The researcher explores how each of the novels reinvents the Gothic tradition to expose the frailty of mind to obsession, solitude as well as moral collapse. These works shift towards the modern era, where the horror on the outside is replaced by introspection on the inside. In Frankenstein, Shelley represents the creative and destructive nature of human ambition in the location of the source of terror, and the monster is one representation of this repressed guilt and alienation. The Gothic conflict in Wuthering Heights by Brontë is internalized because passion and violence are combined to make love both ecstatic and destructive, and because the moorland landscape can be compared to the storms of the psyche. The Shining by King is a modernization of the Gothic in that he places the element of madness in the house and the haunted hotel has turned to be a metaphor to the subconsciousness of the mind. Although the context, nonetheless, varies, the three texts turn out to unite around the main psychological lesson of the Gothic, i.e., that it is the workings of the human mind that should be feared, and not something supernaturally-based. Through the deconstructive identification of self, the degrading of sanity and madness, and transferring the inner trauma onto nature and space, the novels prove the timeless effectiveness of the Gothic mode in revealing the invisible models of the psyche. This analysis concludes that Gothic literature as a mirror and as a critic of the dark side of the human mind makes psychological terror the most enduring and universal one.
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