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David Annwn Jones

constants’ by Heinrich Klüver; one such vivid riverine hallucination is suffered by Gus Lorrimer, a libertine in George Lippard’s Gothic novel The Monks of Monk-Hall : A Romance of Philadelphia Life (1845) (Klüver, 2011 ). Gothic to postmodern Gothic writers, from Matthew Lewis to Stephen King, have always exhibited a keen interest in the physiology of terror, the way in which fears play upon the

in Gothic effigy
The Gothic, death, and modernity
Carol Margaret Davison

abuses, exemplified by the spectacular excesses and violations perpetrated during the September Massacres, 3 led to a revitalised brand of Gothic that radically transformed its established tropes, as Ronald Paulson has shown ( 1983 : 221), and positioned its necropoetics and necropolitics more centre stage as illustrated in Matthew Lewis’s The Monk (1796) and the works of Ann Radcliffe

in The Gothic and death
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The family destabilized in The Monk (1796), Zofloya, or the Moor (1818), and Her Fearful Symmetry (2009)
Joanne Watkiss

not what is unfamiliar and unknown. This is clearly the case in Matthew Lewis’s The Monk where the uncertain origins of a family have disastrous consequences for the villain of the title, Ambrosio. As narrated by Don Christoval: ‘The late Superior of the Capuchins found [Ambrosio] while yet an Infant at the Abbeydoor. All attempts to discover who had left him there were vain, and the Child

in Gothic kinship
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Monstrous media/spectral subjects
Fred Botting and Catherine Spooner

types of change, as well as introducing another medium. Praising the work of Matthew Lewis and Ann Radcliffe, Sade observes that their fictions were the ‘inevitable result of the revolutionary shocks which all of Europe has suffered’ and goes on to explain that, having become ‘monotonous’ in comparison to a reality that was all too exciting, fiction needed to find more extravagant ways of engaging its

in Monstrous media/spectral subjects
Neil Cornwell

were many of the early translations into English of Russian works). Ann Radcliffe’s novels appeared in Russian in the early 1800s, leading a wave of Gothic translations, along with certain works of others falsely attributed to her (a not uncommon ‘convention’ of the time). These included Matthew Lewis’s The Monk (no less!), and The Romance of the Pyrenees, by a certain Catherine Cuthbertson

in European Gothic
Representations of ritual violence in English and Spanish Romanticism
Joan Curbet

sacrifice. There are some major moments in the English Gothic tradition that recreate this same sense of sacrifice as ceremonial, organized precisely according to a pattern of escalating tension and final culmination in the central sign of the tortured body. One of the final scenes of Matthew Lewis’s 1820 novel The Monk, showing Ambrosio waiting for the moment of his execution at the hands of

in European Gothic
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Angela Carter and European Gothic
Rebecca Munford

moves to expand understandings of the genre beyond the canon of established writers associated with the Gothic ‘heyday’ (e.g. Horace Walpole, Ann Radcliffe, Matthew Lewis, Mary Shelley and Charles Maturin, etc.) and the ‘shopping list approach to a definition of Gothic Romance’ that dominated early criticism (DeLamotte, 1989 : 5). In turn, Gothic criticism has responded readily to the genre’s overtures

in Decadent Daughters and Monstrous Mothers
Andrea Stuart

the mid-seventeenth century was invaluable in showing how this unfamiliar terrain worked on the new arrivals, as well as how they thought about their black slaves and the region’s indigenous peoples. I later focused on contemporaneous accounts of the period provided both by professional historians and other observers. Particularly significant in understanding the planters’ perspective were The Letters and Diary of Pierre Dessalles, Planter of Martinique 1808–1856 (1996), Douglas Hall’s account of Thomas Thistlewood, In Miserable Slavery (1989) and Matthew Lewis

in Emancipation and the remaking of the British imperial world
Serena Trowbridge

, particularly in the form of a romanticised medieval past, provides a staple backdrop to which Gothic persistently returns. Yet in, for example, Matthew Lewis’s The Monk (1796), the distance in time and place allows Lewis to be extremely critical of rigid religious practices. Ann Radcliffe’s novels, although set contemporaneously, are steeped in the past and in antiquated beliefs and

in The Gothic and death
The ecoGothic sensibilities of Mary Shelley and Nathaniel Hawthorne
Jennifer Schell

those in Matthew Lewis’s The Monk (1796). Of one of the plague’s victims, Verney says, ‘he lay on a heap of straw, cold and stiff; while a pernicious effluvia filled the room, and various stains and marks served to shew the virulence of the disorder’ (Shelley, 2004 : 206). In the next chapter, he describes a village whose ‘paths were deformed by

in The Gothic and death