The spectacle of dissection

spectator's reactions of shock and revulsion, and there is a curious sense of Gothic humour in the scenes. I will first look at the use of spectacle through the framed narrative of Quid the Cynic's song in An Island in the Moon (1784–85), and the angel's vision of the apes in plate 20 of The Marriage of Heaven and Hell (1790). These I will compare with scenes from Matthew Lewis's The Monk (1796), Thomas Love Peacock's Nightmare Abbey

in William Blake's Gothic imagination
Open Access (free)
Disrupting the critical genealogy of the Gothic

eighteenth- and nineteenth-century criticism in which female writers such as Ann Radcliffe and Eliza Parsons were set up as delicate and timid counters to the aggressive sexuality depicted in the works of male writers such as Matthew Lewis and William Beckford. As E. J. Clery explains: ‘Novels where spirits are not rationalised, the most famous example in the 1790s being The Monk … are “real” Gothic

in Gothic incest
The medium and media of Fatal revenge

legitimacy of normative gender patterns’. In this way, they could be linked, respectively, to feminism and queer theory, an idea that receives partial support from the homosexuality – overt or covert – of major male Gothicists, including Horace Walpole, William Beckford, and Matthew Lewis; see Miles, ‘Ann Radcliffe and Matthew Lewis’, p. 45. Although there has been some critical

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Surreal Englishness and postimperial Gothic in The Bojeffries Saga

. Gothic’s literary historiography charts a movement from the margins to the centre, both spatially and temporally. The classic Gothic novels of the eighteenth century such as Horace Walpole’s The Castle of Otranto (1764), Ann Radcliffe’s The Italian (1797) and Matthew Lewis’s The Monk (1796) all made extensive use of feudal settings on the Catholic fringe of Europe, but as

in Alan Moore and the Gothic Tradition

convent of Ex-Jesuits […], where an agreement had been made for [his] board and education, and where [he] became an inmate that very day’. 18 This forced noviciation enables the monastery to determine every small detail of his future life – a key characteristic of total institutions. Unlike Ambrosio in Matthew Lewis’s The Monk , Alonzo does not give in willingly to the

in Alan Moore and the Gothic Tradition
Subverting the Gothic heroine?

potential to be corrupted might describe some elements of Stoker’s Mina but, like many Gothic heroines, including those in early Gothic works by authors such as Ann Radcliffe, Matthew Lewis and Charlotte Dacre, Mina retains the capacity for independence and even transgression. As such, the ambiguities of Mina’s position in Stoker’s novel, as well as how these ambiguities are

in Alan Moore and the Gothic Tradition

earliest Gothic texts (for example, Matthew Lewis versus Anne Radcliffe); however, Steven Bruhm identifies an overarching drive towards the corporeal in the Gothic, arguing that it is, above all, a ‘discourse of the body’ as sense perception validates feeling. 5 Walsh’s above summary thereby defines Voice ’s themes as Gothic by merging such opposed elements (‘agonizing

in Alan Moore and the Gothic Tradition
Abstract only
Scopophobia in Renaissance texts
Elisabeth Bronfen and Beate Neumeier

Mary Shelley, Matthew Lewis or Ann Radcliffe, but their conflation of desire with revulsion lies at the heart of the Renaissance macabre. The eroticism of decayed femininity combined with an urge to self-destruction are key Gothic motifs, made most familiar, perhaps, in the stories of Poe and Stevenson, but also notably in Wuthering Heights (1847) where Cathy’s self

in Gothic Renaissance
Tortured Souls and Mister B. Gone’s new myths of the flesh

explained’, and thus, connected to terror) and that of Matthew Lewis, whose The Monk (1796) has become the foremost exponent of horror. For more on this distinction, see Xavier Aldana Reyes, ‘Fear, Divided: Terror and Horror – The Two Sides of the Gothic Coin,’ Emagazine , 68 ( 2015 ), pp. 49

in Clive Barker
Cycles of death and transcendence in Byron’s Gothic

Gothic novel The Monk (1796) by Matthew Lewis, a favourite author of Byron’s, treats torture (of the monk Ambrosio) and death by closing down the possibility of their producing transcendence: the Inquisitors ordered the Monk to be put to the question. . . . Nor was He released till fainting

in The Gothic and death