Translating Mary Shelley’s Valperga into English
Historical romance, biography or Gothic fiction?
in European Gothic
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 manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

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

Redeem token

Mary Shelley's handling of the Gothic ingredients of Valperga seems to suggest that most if not all of this kind of fiction tends to reinforce the power of patriarchy it claims to find so appalling. The historical novel format ought to have ensured commercial success; Shelley's interest and facility in historical research and biography confirmed it as a wise choice. The attribution of 'Modern Italian Romances' to Shelley prompts further speculation as to the extent of Shelley's awareness of Italian revolutionaries in exile in London during the 1830s. The boundary between what was the Shelleys' business and what was the world's business is thus destabilized by Valperga. It fictionalizes historical accounts, appropriates the past as the present, projects a critique of Italian political affairs onto an English scenario, and enrols the author's friends and neighbours in its cast list.

European Gothic

A spirited exchange 1760-1960

Editor: Avril Horner

Metrics

All Time Past Year Past 30 Days
Abstract Views 90 24 3
Full Text Views 41 7 0
PDF Downloads 11 4 0