Mary Hays and the struggle for self-representation
Susan Civale

identification between heroines and impressionable (female) readers. Moreover, fiction was common fare amongst radical writers like Godwin, Wollstonecraft, Thomas Holcroft and Matthew Lewis but not among Dissenters (especially not Dissenting women).37 Although Emma Courtney shared many of the moral and political concerns of Hays’s earlier writing, her foray into fiction set her apart from other Dissenting women writers, and her transgressive heroine scandalised readers across the political spectrum. Many readers assumed that the story had its basis in the author’s life and

in Romantic women’s life writing
Father– daughter incest and the economics of exchange
Jenny DiPlacidi

. 63 This trope recurs in novels such as Smith’s Emmeline , Radcliffe’s The Romance of the Forest (1791) and The Italian , Parsons’s Wolfenbach , Matthew Lewis’s The Monk (1796), Eleanor Sleath’s The Orphan of the Rhine (1798) and Charles Maturin’s Melmoth the Wanderer (1820), among others

in Gothic incest
Open Access (free)
Thefts, violence and sexual threats
Jenny DiPlacidi

casting writers like Radcliffe in the role of the heroine beleaguered by male critic villains. 56 Such criticism is not unjust; much scholarship has been devoted to repositioning Radcliffe in light of Matthew Lewis and her male critics such as Sir Walter Scott, while even more has focused on ownership, inheritance and property in her novels. 57 Fitzgerald ultimately links feminist criticism’s fixation on property to a desire to

in Gothic incest
Abstract only
Fred Botting

own selfish interests at heart. Matthew Lewis’s ambitious villain, Ambrosio, conceals his violent passions behind a veil of vanity and pious respectability, but, as Michelle Masse notes, is an ‘oedipal figure’: Although he is an orphan (a textual erasure of the past that supports the ‘family romance’ of the individual as

in Limits of horror