Matthew Lewis’s The Monk and the Marquis de Sade’s La Nouvelle Justine
Angela Wright

This chapter begins by tracing the mutual influences which the texts of the Marquis de Sade and Matthew Gregory Lewis shared. Lewis is rightfully accorded a prominent position in critical surveys of the English Gothic novel due to his notorious production The Monk. The de Sade has also recently been afforded a great deal of critical and biographical attention. In all, The Monk offers the following three core models of femininity that are both indebted to previous literary representations and intended to disrupt them: Antonia, Agnes and Matilda. Besides locational and atmospheric resemblances, there are also clear thematic parallels between Justine, ou les malheurs de la vertu, The Monk, and de Sade's subsequent La Nouvelle Justine. The chapter concludes by charting the reciprocity of themes and ideas between Lewis and de Sade.

in European Gothic
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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.

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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
Mark Lussier

speech acts that communicate the static state of the males and track the maturation and transformation of the female. The dreadful irony that intensifies the horrors of subject formation for the woman is her dual role as an idealised object (the exchange aspect) and as the object of daily presence (the use aspect) into which she is cast: ‘the idealized woman, the Lady, who is in the position of the Other and of the object, finds herself suddenly

in William Blake's Gothic imagination
Marie Mulvey-Roberts

influenced Sade’s rewriting of the third version of Justine . See ‘European Disruptions of the Idealized Woman: Matthew Lewis’ The Monk and the Marquis de Sade’s La Nouvelle Justine’, in Horner (ed.), European Gothic , pp. 39–54. 113 Quoted in Anon., ‘Ristori as Marie

in Dangerous bodies
Robert Lanier Reid

Ruddymane in Book 2 is that even here, on the natural level, Spenser idealizes woman’s role. Her share of the blame is shifted to a false Eve, Acrasia, who displaces her; and in her persistent loving devotion Amavia continues to manifest traces of God’s image, striving to regenerate the whole human image. As with Una in Book 1, Spenser portrays Amavia with impressive cognitive

in Renaissance psychologies