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According to a 19th-century correspondent in the London journal Notes and Queries, Gothic was a derisive misnomer; the pointed arcs and architecture of the later Middle Ages was quite different from the rounded arches prevalent in late antiquity and the period of the Ostrogothic Kingdom in Italy:

The first work to call itself Gothic was Horace Walpole's 1764 novel The Castle of Otranto, later subtitled "A Gothic Story". Subsequent 18th-century contributors included Clara Reeve, Ann Radcliffe, William Thomas Beckford, and Matthew Lewis. The Gothic influence continued into the early 19th century; works by the Romantic poets, and novelists such as Mary Shelley, Charles Maturin, Walter Scott and E. T. A. Hoffmann frequently drew upon gothic motifs in their works.

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The early Victorian period continued the use of gothic aesthetic in novels by Charles Dickens and the Bront sisters, as well as works by the American writers Edgar Allan Poe and Nathaniel Hawthorne. Later well-known works were Dracula by Bram Stoker, Richard Marsh's The Beetle and Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde. Twentieth-century contributors include Daphne du Maurier, Stephen King, Shirley Jackson, Anne Rice, and Toni Morrison.

In addition to these short Gothic fictions, some novels, drew on the Gothic. Emily Bront's Wuthering Heights (1847) transports the Gothic to the forbidding Yorkshire Moors and features ghostly apparitions and a Byronic hero in the person of the demonic Heathcliff. The Bronts' fictions were cited by feminist critic Ellen Moers as prime examples of Female Gothic, exploring woman's entrapment within domestic space and subjection to patriarchal authority and the transgressive and dangerous attempts to subvert and escape such restriction.[59] Emily's Cathy and Charlotte Bront's Jane Eyre are examples of female protagonists in such roles.[60] Louisa May Alcott's Gothic potboiler, A Long Fatal Love Chase (written in 1866 but published in 1995), is also an interesting specimen of this subgenre. In addition to Jane Eyre, Charlotte Bront's Villette also shows the Gothic influence. Like other examples of the female Gothic, this book employs the explained supernatural. Throughout the book, a ghostly nun haunts the protagonist, Lucy Snowe. Lucy's doctor friend suggests that the nun is a product of her imagination, but the end of the book reveals that the nun was a disguised suitor coming to visit Ginevra, a friend of Lucy's.[61] Another Gothic feature of Villette is an anti-Catholic bias. Like other gothic novels, like Radcliffe's The Italian, is set in a Catholic country. Lucy Snowe consistently says negative things about Catholicism and specific Catholic people. As an English Protestant, Lucy is very out of place in her Catholic setting.[62]

The first Russian author whose work has been described as gothic fiction is considered to be Nikolay Mikhailovich Karamzin. While many of his works feature gothic elements, the first to belong purely under the gothic fiction label is Ostrov Borngolm (Island of Bornholm) from 1793.[75] Nearly ten years later, Nikolay Ivanovich Gnedich followed suit with his 1803 novel Don Corrado de Gerrera, set in Spain during the reign of Philip II.[76] The term "Gothic" is sometimes also used to describe the ballads of Russian authors such as Vasily Andreyevich Zhukovsky, particularly "Ludmila" (1808) and "Svetlana" (1813), both translations based on Gottfreid August Burger's Gothic German ballad, "Lenore."[77]

However, the first recorded use of "gothic" to describe a style of music was for The Doors. Critic John Stickney used the term "gothic rock" to describe the music of The Doors in October 1967 in a review published in The Williams Record.[110] The album recognized as initiating the goth music genre is Unknown Pleasures by the band Joy Division. However, earlier bands such as The Velvet Underground also contributed to the genre's distinctive style. Themes from Gothic writers such as H. P. Lovecraft were used among Gothic rock and heavy metal bands, especially in black metal, thrash metal (Metallica's The Call of Ktulu), death metal, and gothic metal. For example, in his compositions, heavy metal musician King Diamond delights in telling stories full of horror, theatricality, Satanism, and anti-Catholicism.[111]

In role-playing games (RPG), the pioneering 1983 Dungeons & Dragons adventure Ravenloft instructs the players to defeat the vampire Strahd von Zarovich, who pines for his dead lover. It has been acclaimed as one of the best role-playing adventures ever and even inspired an entire fictional world of the same name. The World of Darkness is a gothic-punk RPG line set in the real world, with the added element of supernatural creatures such as werewolves and vampires. In addition to its flagship title Vampire: The Masquerade, the game line features a number of spin-off RPGs such as Werewolf: The Apocalypse, Mage: The Ascension, Wraith: The Oblivion, Hunter: The Reckoning, and Changeling: The Dreaming, allowing for a wide range of characters in the gothic-punk setting. My Life with Master uses Gothic horror conventions as a metaphor for abusive relationships, placing the players in the shoes of minions of a tyrannical, larger-than-life Master.[112]

Various video games feature Gothic horror themes and plots. The Castlevania series typically involves a hero of the Belmont lineage exploring a dark, old castle, fighting vampires, werewolves, Frankenstein's Creature, and other Gothic monster staples, culminating in a battle against Dracula himself. Others, such as Ghosts 'n Goblins, feature a camper parody of Gothic fiction. 2017's Resident Evil 7: Biohazard, a Southern Gothic reboot to the survival horror video game involves an everyman and his wife trapped in a derelict plantation and mansion owned by a family with sinister and hideous secrets and must face terrifying visions of a ghostly mutant in the shape of a little girl. This was followed by 2021's Resident Evil Village, a Gothic horror sequel focusing on an action hero searching for his kidnapped daughter in a mysterious Eastern European village under the control of a bizarre religious cult inhabited by werewolves, vampires, ghosts, shapeshifters, and other monsters. The Devil May Cry series stands as an equally parodic and self-serious franchise, following the escapades, stunts and mishaps of series protagonist Dante as he explores dingy demonic castles, ancient occult monuments and ruined urban landscapes on his quest to avenge his mother and brother. Gothic literary themes appear all throughout the story, such as how the past physically creeps into the ambiguously modern setting, recurrent imagery of doubles (notably regarding Dante and his twin brother), and the persisting melodramas associated with Dante's father's fame, absence, and demonic heritage. Beginning with Devil May Cry 3: Dante's Awakening, Female Gothic elements enter the series as deuteragonist Lady works through her own revenge plot against her murderous father, with the oppressive and consistent emotional and physical abuse instigated by a patriarchal figure serving as a heavy, understated counterweight to the extravagance of the rest of the story. Finally, Bloodborne takes place in the decaying Gothic city of Yharnam, where the player must face werewolves, shambling mutants, vampires, witches, and numerous other Gothic staple creatures. However, the game takes a marked turn midway shifting from gothic to Lovecraftian horror.

Fall is here, and I am excited to find something cozy. In particular, I'd love to read a cozy romantasy set in our world, or maybe a gripping, atmospheric mystery with a fantastic voice. I'm also into gothic stories that feature ghosts/hauntings, vampires, or curses! #mswl

YA: coming of age romance like Last Night at the Telegraph Club or Ari & Dante w/gorgeous prose; coming of gender; atmospheric gothic (like The Handmaiden); historical/nf; mystery/thrillers like Firekeeper's Daughter or Patron Saints of Nothing; character-driven speculative. 4/6

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Early novels in the gothic horror subgenre heavily feature discussions of morality, philosophy, and religion, with the evil villains most often acting as metaphors for some sort of human temptation the hero must overcome. The novels' endings are more often than not unhappy, and romance is never the focus.

The battle between humanity and unnatural forces of evil (sometimes man-made, sometimes supernatural) within an oppressive, inescapable, and bleak landscape is considered to be the true trademark of a gothic horror novel. These are the core elements that separate gothic horror from its cousin, gothic romance. (Check out our brief history of gothic romance here!)

A large bateau bed... silk-upholstered walls... the gothic sights inside rival the medieval views outside, with three windows overlooking The Royal Mile. Reach the Vestry by a stone turret stair up to the second floor.

Most mathematical notation is designed with handwriting in mind in the first place, and typography must then try to follow, not always very successfully. However there is a particular type of notation that is, to me at least, more easily done in print than in handwriting: this is the "gothic" or "fraktur" type, typically used to denote Lie algebras, e.g. $\mathfrak{g}$ or $\mathfrak{h}$, or $\mathfrak{su}(2)$ or $\mathfrak{so}(3)$ etc. So my question is, how do you differentiate these objects in handwriting, e.g. with a chalk on a blackboard? How should one write these types of letters, to distinguish the "gothic" $\mathfrak{g}$ from an ordinary $g$? ff782bc1db