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Chris Bundock and Elizabeth Effinger

patriarchal authority, the haunting of the present by a violent, traumatic past, and frequent obscurity or disjunction in the organisation of visual space and narrative order all find a common root in the Gothic's political rebelliousness. It should be no surprise, then, that Blake's art is dispositionally and aesthetically congruous with the Gothic revival of the late eighteenth century. Blake has long been recognised as a ‘Prophet Against

in William Blake's Gothic imagination
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William Blake's Gothic relations
David Baulch

Arimathea , it transforms the stasis of both biblical history and Enlightenment historiography into the Living Form of the Gothic. The Gothic's Living Form ruptures both biblical history and historical probability, transforming Joseph of Arimathea through its linking of heterogeneous and temporally disparate elements. In his chapter in this volume, Kiel Shaub is doubtlessly right to caution against finding Blake's Gothic politics in this image

in William Blake's Gothic imagination
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

Jonathan Swift's belief, expressed in his correspondence in the 1720s and 1730s, that upon the recovery of ‘the Gothic system’ relied the present and future liberty of British, as well as European, society as a whole. 43 Swift's views on present politics make it clear that the idea of the Gothic political past as something from which Britain had become far too ideologically removed held wide sway from early in the century. The anxiety with which Otranto was met points to a latent fear of acknowledging the kind of social and political regression outlined by Swift

in The gothic novel in Ireland, c. 1760–1829
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Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

) of one drug lord leads to the coronation of his violent successor. The two chapters at the centre of the book make use of the pathos formula of the female ruler to discuss the fascination and anxiety that female sovereignty poses in relation to a crisis in American democracy regarding the question of legitimate and illegitimate power. The crossmapping of a series of first female presidents with a typology of queenship in Shakespeare’s plays begins in Chapter 3 with Beau Willimon’s Gothic political thriller, House of Cards , because of its explicit references

in Serial Shakespeare
The French Revolution, the past and Ann Radcliffe’s The Romance of the Forest (1791)
Jonathan Dent

’ (4). 10 As a dissenter, Radcliffe was a supporter of the Glorious Revolution and her husband, William, had links with a journal that celebrated the anniversary of the French Revolution. 11 The forthcoming discussion argues that The Romance of the Forest can be read as a complex engagement with Burke’s and Wollstonecraft’s ‘Gothicpolitical debates and, in agreement with Norton ( 1999

in Sinister histories