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Towards the making of The Mysteries of Udolpho
Robert Miles

located in the present (the entombed mother); in The Romance of the Forest, it is displaced into the equivocal world of the past, with only a fragmented manuscript (it has many ellipses), and an accompanying phantom, to offer uncertain testimony. Simple romance is built on a genealogy of untroubled idealization; belated, Gothic romance locates within itself possible origins for the need to create ideal

in Gothic writing 1750–1820
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Chris Bundock and Elizabeth Effinger

in Edmund Burke's discussion of the sublime in his 1757 Enquiry. 27 The term, however, acquires a political resonance through the 1790s. As Angela Wright notes, ‘In “The Terrorist System of Novel Writing” [1793], the anonymous “Jacobin Novelist” specifically linked the rise of the Gothic romance with the rise of the tyrannical and over-reaching Robespierre, who, by the late 1790s, had become infamous for his “reign

in William Blake's Gothic imagination
Towards an American ecofeminist Gothic
Emily Carr

’s ecofeminist Gothic romance literally enchants ‘while it explodes in the reader’s face’. 16 The story Williams tells is so unreal, so alarming, so precise really. Some strands of its Gothic imagination and some strands of the contemporary ecofeminist Gothic thus forage into issues of beauty (as agency) versus the beautiful (as thing), desire (how it looks) versus love (what it means), the problem of becoming a

in Ecogothic
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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
Swinburne’s aestheticism, blasphemy, and the dramatic monologue
Sara Lyons

hyperbolises Browning’s penchant for the grotesque by transforming the ‘slight hint of necrophilia in the conclusion of Browning’s poem [into . . .] the six-months dead body adored by Swinburne’s speaker’ (Maxwell 2001 , 181). Swinburne appropriates the Gothic romance premise of Browning’s monologue and escalates it into an experiment in the decadent aesthetics he had absorbed from Baudelaire’s Les

in Algernon Charles Swinburne
The rise of Nordic Gothic
Yvonne Leffler and Johan Höglund

(1999) and Aliide, Aliide (1991) are structured as Gothic romances. Especially in Kandre's stories, the Gothic landscape is used to deepen the psychological portraits of the characters and to endow the text with a symbolic, mythic meaning. In the same tradition of Nordic female Gothic is the Swedish author Maria Gripe, a young-adult writer inspired by Charlotte and Emily Brontë's novels. As has been demonstrated by Carina Lidström, Gripe's Skuggserie (1982–1988; The Shadow series ), where the leifmotif is the shadow, is suffused with Jungian archetypes, as well

in Nordic Gothic
Representations of the past in Clara Reeve’s The Old English Baron (1778)
Jonathan Dent

with Walpole’s use of Gothic romance to focus on the aspects of humankind that Enlightenment historiography represses, Reeve sees it as an opportunity to exhibit the more benevolent aspects of humanity: ‘Romance displays only the amiable side of the picture, it shews the pleasing features, and throws a veil over the blemishes’ ( OEB 2). Utilising tropes such as the supernatural and divine

in Sinister histories
Imagination, originality, terror
E.J. Clery and Robert Miles

thine. The old Gothic romance and the Eastern tale, with their genii, giants, enchantments, and transformations, however a refined critic may censure them as absurd and extravagant, will ever retain a most powerful influence on the mind, and interest the reader independently of all peculiarity of taste. Thus the great Milton, who had a strong bias to

in Gothic documents
Father– daughter incest and the economics of exchange
Jenny DiPlacidi

up by subsequent writers. 48 In relocating Otranto as a hybrid of political parody and Gothic romance by a creator self-consciously playing with the notion of real progenitors, I argue that later works by Radcliffe can be understood as creating, rather than reacting to, configurations of father–daughter incest that function very differently from Walpole’s representation of violent incest. 49

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

: ‘the plot of the Gothic romance is a threat to primogeniture, the arranged marriage gone wrong through the advent of a desire that proves literally unruly’. 51 Miles argues that unnatural sexuality characterised anything that resisted the institutionalised discourses of marriage and procreation in the eighteenth century. In Parsons’s novel the sexuality that withstands marriage is Matilda’s; her

in Gothic incest