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Spanish Romanticism’, examines the representation of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. Taking a passage from Maturin’s Melmoth the Wanderer as a key reference point, Curbet explores how Gothic writing manages to offer an Enlightenment intellectual perspective on sacrificial acts whilst drawing the reader into

in European Gothic

with Christ. 1 Caroline Walker Bynum, Wonderful Blood (2007) The wounded body is a leitmotif of the Gothic novel and central icon of the Roman Catholic Church, which has perpetuated images of crucifixion, martyred saints, bleeding statues and mystic stigmatics. Sacred art depicts an iconography of suffering

in Dangerous bodies
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Fur, fashion and species transvestism

–animal transformation hinted at in Matthew O’Connor's hairy transvestism is realised in the deeply unsettling climax of the novel, when Nora's lover Robin drops down on all fours and communes with a dog, ‘grinning and whimpering … barking in a fit of laughter’, in a Catholic church. 7 The werewolf does not have to cross gender boundaries in order to constitute a third term (although in some cases it does also invoke gender fluidity, as we shall see). To wear the wolf (or for the wolf to wear the woman) is a kind of species

in In the company of wolves
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A spirited exchange 1760-1960
Editor: Avril Horner

The essays in this book demonstrate the importance of translation and European writing in the development of the Gothic novel. Cross-cultural exchanges occurred with the translation of novels by English writers into French. The book first situates works by British writers and American writers within a European context and legacy. Next, it offers readings of less-known works by Gothic authors. The book introduces the reader to a range of neglected, albeit influential, European Gothic texts which originated in Russian, Spanish, French and German. It argues that the level of ideological manipulation, which occurred as texts were translated, mistranslated, appropriated, misappropriated, altered and adapted from one language to another, was so considerable and so systematic that generic mutations were occasioned. The book suggests that Matthew Lewis's The Monk offers a few models of femininity, all deriving from and intended to disrupt, previous literary representations. It focuses on the automatic and the systematic in Charles Maturin's work in relation to Denis Diderot's contemporary philosophical conceptualizations of consciousness and identity. Gothic treacheries are dealt with through Samuel Coleridge's analysis of misappropriation of Friedrich Schiller's Die Rauber. The book also discusses the representations of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. It talks about the Arabesque narrative technique of embedding tales within tales to create a maze in which even the storyteller becomes lost, reflecting the Eastern notion that the created is more important than the creator.

The Albigenses as historical novel

persecuting the heretics, Pope Innocent III launched a series of crusades against the heretics that endured for twenty years (1209–29). Even with the end of the Crusade itself, however, troubles between the Catholic Church and surviving Cathars continued for several more decades. An obvious continuation of the investigation of religious strife begun in Women and Melmoth, The Albigenses

in Charles Robert Maturin and the haunting of Irish Romantic fiction
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Conflict Gothic

to enlist in the British army was rebuffed. Shock waves from Henry VIII’s fissure with Rome over two hundred years earlier were still resonating, and indeed the Dissolution of the Monasteries can be seen as the unspoken horror in Castle of Otranto . Similarly, The Monk is a response to the desecration of the Catholic Church in France. In many ways, the French Revolution and the Henrician

in Dangerous bodies

parricide’s description of the Catholic Church later in the tale. When Alonzo finally escapes from the monastery, having been imprisoned for the better part of his life, he is betrayed by a treacherous monk who kills his brother – Monçada’s accomplice – and then delivers him into the hands of the Spanish Inquisition. There he conjures up a Kafkaesque vision of the Catholic Church as

in Alan Moore and the Gothic Tradition
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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary

dare to advocate Sacramental Confession, the Sacrifice of the Eucharist, due honour to the Blessed Virgin … Modern Romanism will never do, it is a lying system and does not elevate. 6 This is the definitive ecclesiological position: the contemporary Roman Catholic church was corrupt and the Church of England must rediscover its Catholic roots and preserve the

in Stained Glass and the Victorian Gothic Revival
Having one’s cake and eating it too

, The House of Silk (2011), centres upon paedophilia committed against Victorian London’s rescued street children at a philanthropic institution, a rural residential school for boys. Appearing in the wake of increasing concern about institutional child sex abuse on both sides of the Atlantic, The House of Silk seems less concerned with examining a nineteenth-century societal disgrace than responding to, or even capitalising on, present-day offences. These include high profile Catholic Church abuse scandals in the USA

in Interventions
Matthew Lewis’s The Monk and the Marquis de Sade’s La Nouvelle Justine

virtue to specifically Catholic institutions such as monasteries display a disgust with the artifices and ornaments of the Catholic Church. De Sade’s atheistic castigation of the ritualistic worship of artifices in the Catholic Church is remarkably similar to Lewis’s Anglican-Protestant condemnation of the sensuality of this worship. The trajectory of the unfortunate adventures of Justine

in European Gothic