摘要
“哥特”本来是中世纪的一种建筑形式，随着1764年贺瑞斯•华尔波尔的《奥特朗图堡》的问世而变成一种英语文学流派。它往往以其特殊的哥特式建筑如城堡，英语论文题目，鬼屋等为背景，研讨一些黑色的，恐怖的话题如黑暗，死亡，诅咒，堕落，疯狂等。被认为是浪漫主义和现代恐怖电影的前身。《拧紧螺丝》是亨利•詹姆斯一部较为成功，同时也是备受争议的中短篇哥特小说，自从其1898年问世以来，评论界对它的争论从没停歇过。
本文以充分了解哥特文学体裁为前提，在熟悉《拧紧螺丝》的故事结构及写作手法后，对哥特因素在《拧紧螺丝》中的体现进行了探讨。本文并没有像其他文章一样站在一个固定的视角来探讨这个因素，而是从小说中的各个角度分别阐释了亨利•詹姆斯是怎么把哥特因素体现到故事的叙述中的，这几个层面分别是：布莱庄园，鬼魂昆特和杰西，小孩迈尔斯和弗洛拉，家庭女教师。论文分为四个大的部分，分别是：论文简介，文献综述，英语毕业论文，正文以及参考文献
关键字：哥特小说，《拧紧螺丝》，维多利亚时代，等级制度，体现
ABSTRACT
“Gothic”, which was originally a kind of architectures in the middle ages, became one of the genres on English literature, with the birth of novella The Castle of Otranto by Horace Walpole’s, 1764. Gothic fictions are always set in gothic architectures like castles and haunted houses, to reach some black and terrible topics, such as darkness, death, hereditary curses, degeneration and madness. It is generally considered as the origin of modern romanticism and thrilling movies. The Turn of the Screw is a successful but at the same time controversial gothic fiction by Henry James, which has been favored by literature critics since its birth in 1898.
This paper analyzes the embodiment of the gothic elements in The Turn of the Screw, based on the familiarity with the “gothic” fiction and The Turn of the Screw. In this paper, no specific point of view is taken like other papers do, but that the analysis is made from various angles including the Bly, ghosts Quint and Jessel, children Miles and Flora and the governess. This paper consists of mainly four parts, and they are the introduction, the literature review, the body and the works cited.
Key Words: Gothic fiction, The Turn of the Screw, the Victorian Era, Hierarchy, embodiment
1 Introduction
1.1 A brief introduction to Gothic fictions
“Gothic”, which was originally a type of architectures and art in Middle Ages, carrying a derogatory sense, was developed into an important genre of literature in English literatures in the 18th century, by the birth of Horace Walpole’s 1764 novel The Castle of Otranto. As a genre, gothic fiction combines elements of both horror and romance. The effect of Gothic fiction depends on a pleasing sort of terror, an extension of essentially Romantic literary pleasures that were relatively new at the time of Walpole's novel.
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