The Reinforcement Sensitivity Theory, first proposed by Gray and later revised, describes three motivational systems: Behavioral Inhibition System (BIS), Behavioral Activation System (BAS), and Fight-Flight-Freeze System (FFFS). Studies have shown that high BIS and FFFS activation are positively related to anxiety symptoms, yet the relationship between BAS and anxiety remains unclear. Research data have also suggested that anxiety symptoms occur with the loss of perceived control. Thus, although studies on the direct effect of locus of control (LOC) on trait anxiety have accumulated for many years, the issue of how LOC may mediate the relationship between BIS/BAS/FFFS sensitivity and anxiety has not been addressed. This study aimed to explore the mediating role of LOC orientation on trait anxiety among young adults in association with these three motivational systems. Cross-sectional data were obtained from 422 volunteers. The BIS/BAS Scale, Trait Anxiety Inventory, and Rotter’s Internal-External LOC Scale were applied. A series of mediation analyses were performed to estimate total, indirect, and direct effects. The results showed that BIS and FFFS positively predicted trait anxiety. In addition, LOC positively predicted trait anxiety and BIS. The results of the mediation analyses indicated that LOC functioned as a partial mediator between BIS and trait anxiety. This finding revealed that a high BIS level, one of the motivational systems, was associated with external LOC, which in turn contributed to reporting high trait anxiety in young adults. Hence, BIS and external LOC orientation could be suggested as risk factors for trait anxiety. As the external LOC orientation of individuals with high punishment sensitivity increased, their trait anxiety levels also increased. Therefore, it was suggested that it might be useful to be aware that LOC orientations of individuals with BIS sensitivity may pose a risk for trait anxiety.

Much has been said about Bram Stoker's Dracula (1897), the out-of-tradition exemplar of the Gothic which, perhaps, has had a more pervasive effect on our understanding of life and death, gender roles and identity, and sex and perversity than any other work of the genre. The vampire from the so-called dark ages has become a symbol standing for the uncontrollable powers acting on us and also for all the discarded, uncanny phenomena in human nature and history. The work, however, has usually been taken by the critics of Gothic literature as “a paradigmatic Gothic text” (Brewster 488) representing the social, psychological, and sexual traumas of the late-nineteenth century. Hence, it has been analysed as a work “breaking [the] taboos, [and in need of being] read as an expression of specifically late Victorian concerns” (Punter and Byron 231). The text has also been seen as “reinforc[ing] readers’ suspicions that the authorities (including people, institutions and disciplines) they trust are ineffectual” (Senf 76). Yet, it has hardly ever been taken as offering an alternative Weltanschauung in place of the decaying Victorian ethos. True, Dracula is a fin-de-siècle novel and deals with the turbulent paradigmatic shift from the Victorian to the modern, and Stoker, by creating the lecherous vampire and his band as the doppelgängers of the sexually sterile and morally pretentious bourgeois types (who are, in fact, inclined to lascivious joys), reveals the moral hypocrisy and sexual duplicity of his time. But, it is also true that by juxtaposing the “abnormal” against the “normal” he targets the utilitarian bourgeois ethics of the empire: aware of the Victorian pragmatism on which the concept of the “normal” has been erected, he, with an “abnormal” historical figure (Vlad Drăculea of the House of Drăculești, 1431–76) who appears as Count Dracula in the work, attacks the ethical superstructure of Britain which has already imposed on the Victorians the “pathology of normalcy” (Fromm 356). Hence, Stoker's choice of title character, the sadistic Vlad the Impaler, who fought against the Ottoman Empire in the closing years of the Middle Ages, and his anachronistic rendering of Dracula as a Gothic invader of the Early Middle Ages are not coincidental (Figure 8). In the world of the novel, this embodiment of the early and late paradigms is the antagonistic power arrayed against the supposedly stable, but in reality fluctuating, fin-de-siècle ethos. However, by turning this personification of the “evil” past into a sexual enigma for the band of men who are trying to preserve the Victorian patriarchal hegemony, Stoker suggests that if Victorian sterile faith in the “normal” is defeated through a historically extrinsic (in fact, currently intrinsic) anomaly, a more comprehensive social and ethical epoch that has made peace with the past can be started.

The purpose of this study is to display the transformation in the self and identity of the protagonist Genly Ai in The Left Hand of Darkness (1969). Having spent two years on what he calls as a “damned planet”, Genly (master) has a chance to recognize the other (the slave), namely Estraven closely, thus experiences intersubjective encounter. In the framework of the Hegelian dialectic, Genly comes outside of his own self on Gethen and recognizes the other as a self consciousness that is other than himself. This process makes him transform as a person, develop an attachment to Gethen, and feel at home there. Hence, this study claims that Genly, an alien on another planet, reconstitutes his own self in three stages: journey, intersubjective encounter, and feeling at home on Gethen.