Gilnilmilzde, yalmz yazm alanmda degil, genel olarak sanatta 'Gotik tilriln etkisinin artt1gma ve ge9mi§ten gelen geleneksel zenginligini yitirmeksizin modem toplum ko§ullannda yeni bir kirnlik edindigine tamk oluyoruz. Gotik tilriln akhm1za getirdigi ilk sozcilk 'korku'dur. Korkun9, dahas1, 'grotesk', yani tuhaf, itici ve tiksindirici olan, sanatsal dilzlemde nas1I boylesine anlamh kilmabiliyor? Deh§et ii;inde ya§amlan ai;mazlar nas1l CO§ku ve canhhk yaratabiliyor? Korkunun aym zamanda bir 'zevk' kaynag1 olmas1 nasil ai;1klanabilir? Bu sorulann yamtlan sadizm olgusunun ruhcozilmsel analizlerinde mi aranmahdir? 

   Lecturer Serpil Tunçer: The Feminine Flourishing at the Center of the Gothic. In the present media age, the Gothic still exhibits unchanged vitality, obsessed with incessant stimulation and excitement. Today's globalised entertainment culture is reflected in the emotional trajectory of the Gothic'sviolence, eroticism, and sentimental excess.The early American Gothic writers traced the influences of superstitions, repressed desire, and deep psychological occurrences on human perception. The neo-Gothic American writers still draw upon deep-rooted fears, social taboos, and the modern individual's ineptitude and lack of control of his/her life. The American Gothic has special affinities with the feminine world and exploits the conventional images of femininity and female subjugation. This affinity rests on an objective ground regarding the social-historical background of America.The feminine Gothic texts can be analyzed in three interrelated levels of dynamics which are 'Experience', 'Excess', and 'Escape'. These dynamics are clarified in this paper, through exemplary short stories in the feminineGothic form, of such writers as Joyce Carol Oates, Sara Paretsky, and Angela Carter.