Kamilla Elliott

seems to emanate from and return to his portraits in The Castle of Otranto , so too does the ghost of a murdered matriarch in Matthew Lewis’s The Castle Spectre (1797): ANGELA. ( Kneeling before Evelina’s portrait. ) Mother! Blessed Mother! If indeed thy spirit still lingers amidst these scenes of sorrow, look on my

in Gothic kinship
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Neoliberal gothic
Linnie Blake and Agnieszka Soltysik Monnet

dimensions of the gothic see Byron ( 2013 ), and Byron and Townshend ( 2013 ). 7 From its earliest manifestations, the gothic has displayed highly misogynistic tendencies, both in the form of sexual violence against women (as in Matthew Lewis’s The Monk (1796)) and of a more nebulous sense of threat (as in Ann

in Neoliberal Gothic
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Avril Horner

suggests that we should read such texts as suggestive of possible ‘histories of the Gothic in cultures where it has long been thought the Gothic had no history worth telling’ and in such a way as to ‘challenge our own conception in Britain and America of the nature of the Gothic canon’ (p. 35). The second essay in the volume, ‘European disruptions of the idealized woman: Matthew Lewis’s The

in European Gothic
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David Annwn Jones

magic-lantern-of-fear shows contemporaneous with such publications, especially when these projections involved stock Gothic images such as the Bleeding Nun from Matthew Lewis’s The Monk ( 1796 )? The first time Charles Nodier viewed E.-G. Robertson’s Phantasmagoria magic lantern show in the Capuchin convent in Paris in 1800, he linked them with the novels of Ann Radcliffe. The Citizen (formerly

in Gothic effigy
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David Annwn Jones

bribe her into an unwilling marriage, for helping her escape. In Matthew Lewis’s The Monk , the seductive attraction of gemstones is used as a Satanic ploy by a Daemon to draw Ambrosio to his destruction. A gorgeous youth, a disguised emissary of the devil, beguiles Ambrosio with his splendid panoply of gems: ‘Circlets of Diamonds were fastened round his arms and ankles, and in his right hand He bore a

in Gothic effigy
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Defining the ecoGothic
Andrew Smith and William Hughes

– technology, industry or even society itself). As the attack on nature progresses in these novels, the environments become more frightening. Using the works of Ann Radcliffe, Matthew Lewis and the Marquis de Sade, Kröger’s chapter explores the dual nature of the Gothic environment and how it foreshadows modern ecocriticism, particularly an awareness of wilderness preservation and the fear of an impending

in Ecogothic
Romanticism and Gothic suicide
Lisa Vargo

novel. While Zofloya is more commonly viewed as a revision of Matthew Lewis’s The Monk (1796), the work also can be seen as a reversal of the love triangle of Werther, Charlotte and Albert for Victoria, Lilla and Henriquez. Victoria is helped by a mysterious Moor, Zofloya (the servant of Henriquz), who assists her in poisoning her husband, murdering her rival Lilla and drugging and seducing Henriquez, who then commits suicide. Victoria meets her own end when Zofloya reveals himself to be Satan. The final sentence of the work, even as it draws back from the

in Suicide and the Gothic
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Julia M. Wright

has appeared in dozens of films since, but The Rocky Horror Picture Show (1975) is unabashedly dense in references to art, literature, and horror film, as Rolf Eichler has detailed. 58 This practice goes back to the early decades of the gothic, such as the 1797 play, The Castle Spectre , in which the author, Matthew Lewis, “rel[ies] on the audience’s knowledge of Gothic traditions,” as

in Men with stakes
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David Annwn Jones

showing), and also may display elements of skeletal bone structure. This kind of imagery does, of course, remind us of the English Metaphysical poets’ gorier lines and anticipate ‘Graveyard’ poets who influenced Ann Radcliffe’s writings and Matthew Lewis’s ballad of ‘Alonzo the Brave’: The worms they crept in, and the worms crept out

in Gothic effigy
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David Annwn Jones

Matthew Lewis’s The Monk ), ‘The Bleeding Bride’ and the ‘Head of the Medusa’. It is then no surprise that Charles Nodier, the father of the Classical side of what was to be called the ‘frenetic’ and ‘barbaric’ school of French literature, on viewing Robertson’s show in 1801, immediately identified these projections with the novels of Ann Radcliffe. This close association of

in Gothic effigy