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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

virtuous manners of the Reader’. 21 The terms by which Longsword was assessed are also intriguingly present in the reviews of The castle of Otranto . Even before Walpole appended the subtitle ‘a Gothic story’ to the second edition of his tale, Otranto was concerned with exploring and representing the Gothic past, both as a barbaric, pre-modern era, and as an important phase in the conception of political liberty and virtue. Accordingly, the novel's reception, in its first and second editions, revolved

in The gothic novel in Ireland, c. 1760–1829
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William Blake's Gothic relations
David Baulch

the same time, Jerusalem is one figure for a pervasive and a priori process descriptive of all existence. To appreciate the Gothic in Jerusalem , is only to recognise what we have always been, before, as Blake would have it, the disciplinary regimes of classical and neo-classical thought obscured it. What is revolutionary about the Blakean Gothic's break from the past is also, paradoxically, its return to a pre-modern era that signals

in William Blake's Gothic imagination