in William Blake's Gothic imagination
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

In the robust and expanding field of Gothic studies, William Blake remains a spectral, marginal figure. Bundock and Effinger’s Introduction opens by exploring Blake’s prominence in contemporary Gothic art and culture, a fact made ironic given the relative dearth of scholarly work on Blake’s Gothic sensibility. Bundock and Effinger suggest how the Gothic as an historiographical, affective, and aesthetic concept might inform Blake in several substantial ways. The Introduction then expands in four directions. The first considers terror, horror, and the ‘Gothic body’ in Blake. The second considers the intersection of Blake and the Gothic in terms of visual art and iconography. The third surveys extant criticism on Blake and the Gothic to illustrate the hitherto missed opportunity this collection attempts to take. The fourth and final section is a ‘descriptive catalogue’ of the chapters that follow, offering summaries of each contribution and explaining the order of presentation.


All Time Past Year Past 30 Days
Abstract Views 114 28 4
Full Text Views 68 35 0
PDF Downloads 11 7 0