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Gothic terminology (vocabulary) is an adjective, which implies a thing that is related to “Got”. Gothic also is the name of a genre, which has been created from the 1760s to 1820s and correlated with the readers¢ uncommon imagination, dreams, nightmares & inner thaughts. Usually milieu of this genre is closed castle, ruins and dierelict lands. Gothic literature should be numerated as a branch of rheumatism or pre- rheumatism school. Gothic tales usually are dim stories of enigmas, apprehensions and extraordinary matters, which are formed around a hidden & trightfull mystery. Apprehension, frighty & deeth are three important elements of them. Indeed, Gothic was an architectural & sculpture style about Goth tribe that, in addition to the art of architecture, has entered into the story literature. Nowadays, Gothic literature is an important part in the word literature, which we can not understand the modern literature without understanding it. The present research tries to survay the elements, structure and content of Gothic stories through descriptive-analytic way and with the use of library sources.  

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Fereshteh Rostami
 
Abstract:
Since some time ago researchers discovered that the link between the artist’s art and spirit is mutual and through encoding an artistic work, one can find his way into the artist’s essence and intrinsic world.
This report means to show how the author’s mentality leads to his insight and then describing an image in his writing. It intends to show how each selected image reveals part of a writer’s mysterious and complex inner world and the question raised in here is; ‘is there really a distance between the literary domain and the artist’s mind?’
Bijan Najdi’s short stories- the contemporary writer- enjoys many beautiful pure images, and therefore they are analyzed and studied from this perspective in here. How does Najdi view the events and what inside him causes him to reflect the images as he does?
The methodology is based on gathering and exploring information. The data covers the research in five basic branches; imagination and image; symbol and archetype, dark image, sympathy with objects, childlike view in the description of images, and finally the outcomes are explained and elaborated.
 
 

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Influenced by the avant-gardism of his time, especially Expressionism and Surrealism, Hedayat in the Blind Owl chooses the horror genre, internal monologue, and a poetic structure to represent the psychology of the narrator. In this genre, the sense of fear and impending violence is often conveyed through the atmosphere of the story. The dominant ambience of the story is enhanced through not only direct description but also, and especially, the rhetorical figures such as simile and metaphor. In this article, I discuss what role these rhetorical techniques play in creating a suspenseful atmosphere of terror and emptiness the Blind Owl. This paper employs a formalist approach.

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TThe Woman Behind the Bronze Door" is one of the stories in the "Doors and the Great Wall of China" collection written by Ahmad Shamlou. From the reading of the story, it appears that in writing this story, Shamlou has used the features of the Gothic and Surreal schools, in a way that it can be said, he has turned the characteristics of the Gothic school towards the Surrealism school with a kind of artistic transformation. This research aims to show the most important effects and dimensions of these two schools in the story with an analytical method. The findings of the research show that on the one hand, using an atmosphere full of ambiguity and mystery, otherworldly events with anxiety and fear, fearful place, fluidity of time, morbid and chaotic characterization, nightmare, superstitious beliefs and boundless fantasy of a full-fledged Gothic story. has created and on the other hand by creating something wonderful and extraordinary, subconscious mind, illusion, dream and surrealist objects, automatic writing and surreal love, he has written a surreal story. The content of the story is a mixture of dreams and reality in an inflammatory and melancholic atmosphere, and at the same time, the border between the two is not clear. Based on this, it can be said that Shamlou has reached Surrealism from the Gothic passage and has reached the peak of the connection between these two schools, and his innovation in creating a work that is a combination of the two mentioned schools is a remarkable experience in the tradition of Persian story writing.