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E.J. Clery and Robert Miles

for a moment behold with interest or anxiety’ in Samuel Johnson’s paraphrase, echoes and re-echoes as a motto for the assaults of anti-Gothic criticism; the point being that probability, literary decorum, is the vital condition for the ethical usefulness of literature. Source: Horace (l.c. 12–8 BCI 1709), Of the Art of Poetry: A Poem , trans. the Earl of Roscommon, London: H

in Gothic documents
Representations of Lower-Class Voices in Ann Radcliffe’s Novels
Reema Barlaskar

This paper investigates lower-class voices within the context of anti-Gothic criticism, using Ann Radcliffe’s novels and early Gothic critic Joseph Addison’s essays to highlight the ways in which Radcliffe reassigns value to the Gothic aesthetic. It further emphasizes Radcliffe’s reconfiguration of domestic roles as she positions patriarchal figures as anti-Gothic critics, the heroine as reader of gothic narratives, and lowerclass voices and tales as gothic texts. The Mysteries of Udolpho and Romance of the Forest subvert critical discourse and its motif of servants’ contagious irrationality. In Radcliffe’s novels, ‘vulgar’ narratives as superstitious discourse do not spread fear to susceptible heroines, embodiments of bourgeois virtue, but demonstrate the ways in which fear is a construct of patriarchal discourse. Servants and country people, in turn, construct a pedagogy for reading gothic texts that permit heroines to deconstruct metaphors of ghostly haunting embedded in their tales and resist patriarchal hegemony and interpretative authority over gothic texts.

Gothic Studies
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A sourcebook 1700–1820
Editors: E.J. Clery and Robert Miles

The aim of this book is to make available a body of texts connected with the cultural phenomenon known as Gothic writing. The book includes many of the critical writings and reviews which helped to constitute Gothic as a distinct genre, by revisions of the standards of taste, by critique and by outright attack. Together, this material represents a substantial part of the discursive hinterland of Gothic. The chapters on supernaturalism, on the aesthetics of Gothic, and on opposition to Gothic contain a number of the standard references in any history of the genre. They are juxtaposed with other more novel items of journalism, religious propaganda, folk tradition, non-fictional narrative, poetry and so on. The book also includes chapters on the politics of Gothic, before and after the French Revolution. Therefore, it includes extracts from Tacitus and Montesquieu, the authorities that eighteenth-century commentators most often referred to. The story of Britain's Gothic origins, although implicitly progressivist, was to be re-fashioned in the cultural and sociological theories critical of modern society: that vital eighteenth-century trend known as primitivism. The book also broadly covers the period from the height of the Gothic vogue (in the mid-1790s) to the mid-nineteenth century. The author hopes that the book will encourage students to follow new routes, make new connections, and enable them to read set works on the syllabus in more adventurous and historically informed ways.

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The Gothic in Northanger Abbey
Robert Miles

territory of social experience narrative allows the novelist to map out, and the uncharted character of (in this instance, the Gothics) generic discourses. ‘Uncharted’, because such discourses are, for the contemporary observer, not of themselves immediately intelligible. They require apposition -the techniques of the dialogic – to make their articulations discernible. As a work of anti-Gothic, Northanger

in Gothic writing 1750–1820
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Encountering the monstrous in American cinema
Susan J. Tyburski

is especially apparent in a comparison of 2012 and The Happening. 2012 offers a decidedly anti-Gothic perspective on the apocalypse. It takes a tongue-in-cheek approach to the imminent destruction of the world, turning the catastrophe into a special-effects-fuelled amusement park ride. It depicts the breakdown of our natural world first as an entertaining spectacle, and then as a problem to

in Ecogothic
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Eighteenth-century Gothic poetics
Andrew Smith

thus effect the same transition, so that ‘The dead ... must be separated from the poet, partly by the veil of words’ (p. 9). For Sacks, the elegy thus functions as a psychological stage in a process of mourning. These associations with healthy development may appear to be anti-Gothic as they suggest a positive reaction to trauma. The type of symbolism read by a Freudian such as Sacks should not

in Gothic death 1740–1914
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Horace Smith’s Mesmerism
Bruce Wyse

to refute and counteract through his narrative. In certain respects an anti-Gothic Gothic text, Mesmerism: A Mystery obsessively addresses the subject of death to alleviate, if not eliminate altogether, the fear of death. As Fred Botting observes, since ‘Enlightenment rationalism displaced religion as the authoritative mode of explaining the universe’, ‘Gothic works [can be

in The Gothic and death
Open Access (free)
Cousins and the changing status of family
Jenny DiPlacidi

and choice. 31 Cousin relationships in the Gothic frequently subvert the importance placed on blood ties and compliance with familial marital demands and negotiate a focus on individual desires and choice. These themes develop and manifest in the different varieties of the Gothic I examine: the Radcliffean Gothic, the anti-Gothic and the sentimental Gothic. By locating the cousin as either kin, non

in Gothic incest
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Elisabeth Bronfen and Beate Neumeier

) Chris Baldick raises the question of what he calls ‘The anti-Gothicism of the Gothic’ or ‘the distrust of medieval civilization and its representation of the past primarily in terms of tyranny and superstition’ that, he argues, ‘has taken several forms, from the vigilant Protestant xenophobia so strongly evident in the first half-century of Gothic writing, to the rationalist

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

of death and the aesthetics of crowd control’ ( Chapter 4 ), Emma Galbally and Conrad Brunström consider the French Revolution as both a Gothic and an anti-Gothic moment that redeployed the barbaric horrors of mass execution in the name of ‘Enlightenment’. They investigate the guillotine as a symbol of this tension, offering, as it did, the mechanisation of terror while, in the highly popular form

in The Gothic and death