Why would they dress differently than us if it was not for attention?
They wear black clothes, sometimes even wear make-up to make their skin look pale.
Some have interests in vampires and some have interests in death. Now IMO I think they're not much different than the old youthgroups. Let's take hippies for example. Everybody knows them. Long hair, weed, and they called themselfs a culture or subculture as well. They protested about the war in Vietnam if I remember correctly.
Now for 1, Hippies tried to look different from others because they wanted to be seen for a reason (the war).
Hippies were 'all for' the peace, love, happiness and freedom beliefs.
Where lies this reason for goths? I see nothing they need to be protesting against. Or what they believe in.
Until today I'm still looking for a universal definition of Gothic.
Now I found this on some site, See what you think of it. Personally I think it's a load of crap.
[H3 align=center]WHAT IS THE GOTHIC?[/H3]
--"the darker side" of life; a world of pain and destruction/ fear and anxiety which shadows the daylight world of love and ethereality
--gothic fiction consists of a set of analyzable displacements about what it means to be a human being and gendered;
--it strains at the limits of mortality/immortality; morality/immorality; reason/emotion; order/disorder; mind/body; masculine/feminine
--gothic fictions are structured as case histories of types of insanity
--we as readers are asked to adjudicate various diagnostic accounts
--pleasure/pain dichtomy: why do we enjoy reading these fictions?
--the fiction as essentially a regressive fantasy: we peer back over our own personal history because all psychotic states are simply perpetuations of landscapes that we have all inhabited at some stage in our early infancy (we all outgrow our "madness")
--accounts of cultural and psychic dislocation
--Barthes' enigmatic code: we identify with parts of the text whose primary function is to keep us peristing in our reading by focusing our minds on unanswered questions, upon a certain pattern of hiatus and expectuancy, unpon a continually postponed hope for a resolution of the uninterpretability of change
--fiction of fear arises at times of great social and economic upheaval;
gothic fiction introduces a prolonged contemplation of the objects in the individual's internal world at the same time there is a repeated vindication of the individual's ability to survive despite threat
--landscapes of childhood: narcissism; incest; violence and vampirism; androgyny and sexual anarchy; the oedipal triangulation; the family romance; projective identification (I am the Other) and splitting are the two dominant psychological defenses
--like other romantic texts, the gothic deals with interruptions in the maturation process; they are tales of recuperation or reparation; resistance to loss
--the gothic exposes the essential instability of the domination and submission patterns in the fantasy; creation of doubled characters; self-other relationships revealed when we realize that the hero never shares the stage with a heroine; if the text focuses on a heroine, then the male has to be a split figure: villian or weak "hero"
--in their quest for identity as masculine or feminine, all the characters appear to be enthralled to fragmentation or disintegration
Robt Hume distinguishes between two sub-genres of gothic:
1. novel of terror = Radcliffe (female)
2. novel of horror = Lewis, Monk (male)
conventional trappings = heroine, hero and villian, clouds, castles, mystery, inevitable travel sequence that transports the characters from everyday life, educates the reader about foreign lands, and casts a general aura of mystery about the proceedings
adult fairy-tale; immersion in "enchanted castle"; woman's body
assault on the castle gates, room = metaphorical rape
heroine leaves the known (childhood) to venture into unknown (adulthood); pauses in a sterile wasteland (pre-sexuality) and then moves through a never-never land (courtship, magic, illusion, dream) to arrive at full sexuality (adulthood and chaste marriage).
inherent ambiguity and ambivalence lies at the core of the genre's appeal
orphaned heroine searches for surrogate parents, only to find her parents by finding her self; her most sinister enemy is her own awakening sexuality; heroine's task is to destroy the mythic beast within, for the wages of passion are madness, disease, and death; virtues are repression and sublimination
orphans are social outsiders; they seek social approval and kinship
(Foucault on kinship and alliance)
values of silence, rectitude, balance (mind of a man and heart of a woman); restrained emotions and strength of character; century's idealization of Virgin Mary
heroine plays role of aetherialized maiden, brave young detective, symbolic quester of her own and others' identities
theme of female powerlessness; motherhood was source of women's greatest power
"The posture of romantic victim concealed thwarted dreams of power"
EDIT : I'm going to make a list, which is ready by the weekend to try and counter whatever they're saying, Half of it really doesn't mean a thing.
[Edited by Jinxz at 5:30 AM on 3/9/2004]