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History and the Gothic in the eighteenth century
Jonathan Dent

part of, rather an influence on, the Gothic tradition and focuses exclusively on the development of the Gothic novel in the eighteenth century. As the various reflections on historical understanding that feature in the novels of Fielding and Smollett suggest, the novel, with its emphasis on narrative, structure, interpretation, and testimony, is useful for critiquing historiography and draws attention to the literary

in Sinister histories
Sherlock Holmes, Count Dracula and London
Andrew Smith

reformations of the Gothic tradition. Mighall also notes how this development of the Gothic influenced Dickens’s Bleak House , because ‘labyrinthine London had already been firmly established as the modern urban equivalent of the Gothic castle or mansion (p. 70). In this way Dickens’s representation of aristocratic decline, as represented by Chesney Wold (the home of Lord and Lady Dedlock), is linked to urban

in Victorian demons
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David Annwn Jones

curiosity produced in northern Europe as the expressions ‘of a local spirit linked to the medieval and “Gothic” […] tradition of marvels and miracles’ (Mauriès, 2002 : 24). One of the earliest of such collections, the treasury of the abbey church of Saint-Denis sought to display a microcosm of a hierarchically ordered world and its wonders and, during the sixteenth and seventeenth centuries, it became a

in Gothic effigy
Rebecca Munford

’, this short story self-consciously situates itself in a European Gothic tradition through its reference, in the opening sentence, to ‘one of those piles of commingled gloom and grandeur which have so long frowned among the Apennines, not less in fact than in the fancy of Mrs Radcliffe’ (Poe, 1986b : 250). Poe’s castles, Carter proposes, are drawn not from ‘the castles of European fact but the castles

in Decadent Daughters and Monstrous Mothers
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Romanticism, the sublime and poetic ignorance
Andrew Bennett

to the Faust narrative, as articulated in Marlowe’s seventeenth-century drama or in Goethe’s early nineteenth-century reworking of the story – as they are in the tradition of the Prometheus myth, which culminates in a novel about the seductions and dangers of hubristic scientific discovery in Mary Shelley’s Frankenstein . And such an anxiety of knowing is central to the larger gothic tradition that is exemplified, for example, in the epistemophobic orientalism of William Beckford’s Vathek (1780), or, rather differently, in the structurally perverse anti

in Ignorance
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Rethinking closure in the Victorian novel
Vybarr Cregan-Reid

‘Bluebeard’ of a husband she mistakenly marries, all draw from preceding and popular forms of fiction from the centuryold suitor of Gothic tradition, through Edgewoth, Burney, and Austen, to the inheritance woes of Dickens, Trollope, and Eliot. The novel’s innovation resides not in its themes, but in the ways that it handles them. The psychologically sadistic husband Gilbert Osmond, for example, does not drown (the usual mode of death in the novel for the heartless aristocratic wastrel – see Steerforth or Grandcourt). Neither does Isabel run away with Caspar Goodwood or

in Discovering Gilgamesh
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Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

section on ‘Irish gothic and after’ in The Field Day review , though he argues that the novel has no ‘direct link to the gothic tradition’. 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

in The gothic novel in Ireland, c. 1760–1829
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Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

Ibid. , p. xxiv. 124 Piper, Dreaming in books , p. 6. 125 As Ann Davies writes, ‘Spain does not apparently have a Gothic tradition. 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

in The gothic novel in Ireland, c. 1760–1829
Alice Munro and Lives of Girls and Women
Susanne Becker

for feminist representation. Munro rewrites this aspect of the gothic tradition, and she does so at a time which strongly emphasises the importance of realist texts for representing, and even for documenting, women’s lives and experience. Dream

in Gothic Forms of Feminine Fictions
Rebecca Munford

inflection of ‘Sleeping Beauty’ is positioned in a much wider network of depictions of sexual violence that can be traced through a European Gothic tradition that comes through Sade, Romanticism, surrealism and psychoanalysis. The second set of peepshow machines that Desiderio visits restages Sleeping Beauty as a series of Gothic set pieces under the title ‘SEE A YOUNG GIRL’S MOST SIGNIFICANT EXPERIENCE IN

in Decadent Daughters and Monstrous Mothers