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A sourcebook 1700–1820
Editors: E.J. Clery and Robert Miles

The aim of this book is to make available a body of texts connected with the cultural phenomenon known as Gothic writing. The book includes many of the critical writings and reviews which helped to constitute Gothic as a distinct genre, by revisions of the standards of taste, by critique and by outright attack. Together, this material represents a substantial part of the discursive hinterland of Gothic. The chapters on supernaturalism, on the aesthetics of Gothic, and on opposition to Gothic contain a number of the standard references in any history of the genre. They are juxtaposed with other more novel items of journalism, religious propaganda, folk tradition, non-fictional narrative, poetry and so on. The book also includes chapters on the politics of Gothic, before and after the French Revolution. Therefore, it includes extracts from Tacitus and Montesquieu, the authorities that eighteenth-century commentators most often referred to. The story of Britain's Gothic origins, although implicitly progressivist, was to be re-fashioned in the cultural and sociological theories critical of modern society: that vital eighteenth-century trend known as primitivism. The book also broadly covers the period from the height of the Gothic vogue (in the mid-1790s) to the mid-nineteenth century. The author hopes that the book will encourage students to follow new routes, make new connections, and enable them to read set works on the syllabus in more adventurous and historically informed ways.

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E.J. Clery and Robert Miles

repetitions of the restitution of social hierarchy on the other, could not be free of revolutionary resonances. This is not to say that the popular terror fictions of the time are coherent polemics. But they undeniably form part of a general socio-cultural problematic regarding Gothic manners and institutions, with pressing contemporary relevance. The last chapter broadly covers the period from the height of the Gothic vogue (in the

in Gothic documents
Cultural misappropriation and the construction of the Gothic
Terry Hale

that this reception continued for some time after the Gothic vogue had fallen into decline in Britain. From France, the Gothic flame would appear to have passed to Italy, where it continued to shine long after its moment had passed in more northern climes. Finally, by the turn of the century, probably at least in part as a result of the importation of cheap reprints of earlier Italian translations, local Maltese authors

in European Gothic