Father– daughter incest and the economics of exchange
novel – and many that follow – as part of a Gothictradition distinct from that represented by Walpole’s parodic and
satirical work. The contrast between the depictions of incest, sexuality
and female agency in The Romance of the Forest and Otranto
are marked in that Radcliffe’s representations of
father–daughter incest allow the heroine access to desire, voice
particular type of attack on the patriarchy. While the genre functions
as a space in which writers articulated these views it does so as part
of the wider Gothic genre rather than from within a Female Gothictradition that questions patriarchy by presenting incest as a sexualised
abuse of the power imbalance inherent in the familial and social
structures. When Fred Botting and Dale Townshend state that
incest allow texts to be considered masculine or ‘real’
Gothic, while incest that is averted, non-violent or implied is
considered part of the Female Gothictradition. Such a view is apparent
in James Watt’s argument that Lewis’s deployment of
sexuality ‘amplified the suggestion of impropriety that was only
implicit in the work of a writer such as Ann Radcliffe’. 33 Similarly, Vartan P.
Romances, novels, and the classifications of Irish Romantic fiction
section on ‘Irish gothic and after’ in The Field Day review , though he argues that the novel has no ‘direct link to the gothictradition’. 72 Julia M. Wright nevertheless identifies the novel's use of gothic conventions as significant, contributing as it does to a literary hyper-hybridity as well as an ambivalence towards the cultural nationalism promoted by The wild Irish girl . 73 Raphaël Ingelbien, moreover, links The princess; or, the Béguine (1835) to fin-de-siècle Irish gothic fiction in its ‘[turn] to continental material to write indirectly about Ireland
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Ibid. , p. xxiv.
Piper, Dreaming in books , p. 6.
As Ann Davies writes, ‘Spain does not apparently have a Gothictradition. With the rise of Anglophone Gothic in the eighteenth century, Spain appeared to serve at best as part of a Southern European location for Anglophone encounters with the
Littlewood examines the higher social stigma against
cross-generational incest due to the sexualisation of power and the
erosion of care-giving involved in such relationships (p.
The illness may be what robs Sir Lusignan of his
desire for extramarital affairs; Thomas draws on the Gothictradition