Horrid shadows
The Gothic in Northanger Abbey
in Gothic writing 1750–1820
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.


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

Redeem token

Northanger Abbey is interesting because it represents the endeavour of a particularly alert consciousness to reduce the Gothic to burlesque, to satire, to a univocal status. It attempts to rescue Ann Radcliffe from the 'horrids', reading her as a 'proto-novelist'. The dominant tone of Northanger Abbey is playful, deftly ironic, sounding serious issues with a light touch. As a work of anti-Gothic, Northanger Abbey has an unavoidable interest for the Gothic genealogist. As with Gothic works, Northanger Abbey has a tendency towards the carnivalesque. It retains a Gothic core when it keeps the conflict between General Tilney's devotion to the values of alliance, and his children's to those of romantic love. Northanger Abbey's narrative of personal development, its cult of 'personality', is ruffled by the disjunctive energies of the Gothic world it seeks to put by, as childish things; there are too many loose ends.

Editor: Robert Miles


All Time Past Year Past 30 Days
Abstract Views 31 8 0
Full Text Views 22 4 0
PDF Downloads 12 6 3