scholarly journals Transatlantic Terror: James Hammond’s Circulating Library and the Minerva Press Gothic Novel

2020 ◽  
Vol 0 (23) ◽  
pp. 109
Author(s):  
Eric Daffron
Keyword(s):  
Gothic Novel

Christina Morin, The Gothic Novel in Ireland, c. 1760–1829

2020 ◽  
Vol 50 (1) ◽  
pp. 243-245
Author(s):  
Nicky Lloyd
Keyword(s):  
Gothic Novel

Gothic and Anti-Gothic, 1797–1820

2018 ◽  
Author(s):  
Robert Miles
Keyword(s):  
Ad Hoc ◽  
The Novel ◽  
Gothic Novel

This chapter discusses the Gothic from 1797 to 1820. The Gothic reached its apogee in the late 1790s, when it secured a third share of the novel market, after which it withered. From 1797 onward, the Gothic seems inseparable from an anti-Gothic shadow that materialized in myriad forms, from ad hoc animadversions found in the reviews mocking the genre's formulaic character, to full-blown parodies. While the quantity of novels advertising themselves as products of the ‘terror-system’ declined during the first two decades of the century, the Gothic migrated downmarket, sustaining itself, post-1820, by embedding itself in other ‘genres’. Putting aside the tale, which the Gothic dominated, one quickly perceives that the Gothic is a variety of the novel—one of its subgenres best labelled ‘romance’. Moreover, one can best and most accurately represent the Gothic novel during the period as the proliferation of several schools, above all, of Radcliffe, Godwin, Lewis, and Schiller.

A screwball property: Love It or List It as postfeminist realty TV

2017 ◽  
Vol 20 (5) ◽  
pp. 543-559 ◽  
Author(s):  
Jean M Bruce
Keyword(s):  
Cultural Critique ◽  
Contemporary Culture ◽  
Modern Life ◽  
Gothic Novel ◽  
Progressive Politics ◽  
The Family ◽  
Television Programme ◽  
Family Home ◽  
Screwball Comedy ◽  
Depression Era

This article argues that the property television programme, Love It or List It (2008–), employs conventions from the classic screwball comedy to both consolidate its position within the lucrative realty TV market – especially in response to the recent (2008) recession – and negotiate modern gender dynamics within the home. Its Depression-era (1930s) financial and aesthetic resonances are not incidental. And, as with much contemporary culture, this modern iteration of the screwball comedy is not discretely contained by medium or genre of influence: Love It or List It also borrows flourishes from documentary, tabloid TV, melodrama and the gothic novel. In keeping with its reference to a kind of baseball pitching style that is difficult for hitters to anticipate, the screwball’s tendency to suddenly switch course has been identified as its central means for engaging in cultural critique. Love It or List It as an exemplar of reality TV’s recombinant style is still very much like its cinematic predecessor: it has the adeptness to say many things to many audiences. This article makes no claims for Love It or List It’s progressive politics; rather, as with some classic screwball comedies, it explores the possibility that equivocating, shifting course or otherwise abandoning narrative logic register a profound ambivalence about marriage, coupledom and the family home as sacrosanct loci of modern life.

Satire and Humour in Jane Austen’s ‘Northanger Abbey’

2020 ◽  
Vol 04 (04) ◽  
pp. 9-11
Author(s):  
Ashok Kumar Priydarshi ◽  
Keyword(s):  
Public Interest ◽  
Gothic Novel ◽  
Northanger Abbey ◽  
Gothic Novels

Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.

De cultuurhistorische waarde van de literatuur

1970 ◽  
Vol 63 ◽  
pp. 163-183
Author(s):  
Lies Wesseling
Keyword(s):  
The Netherlands ◽  
Cultural History ◽  
Literary History ◽  
Literary Works ◽  
Gothic Novel ◽  
The Sixties ◽  
Post War ◽  
Literary System ◽  
Specific Expertise

This article probes the extent to which literary history and cultural history may mutuallyilluminate each other, without neglecting the poetic dimension of literary works. Thispoetic dimension is embedded within the genre repertoires that shape the production andreception of literary works. One should therefore take into close account that the literaryrepresentation of social conflict is always deflected by the prism of genre conventions.Focusing on the case study of the Dutch Gothic novel, I argue that Gothic tales provide aspecific take on the post-war modernization of the Netherlands. As such, they make avaluable contribution to historical debates about the periodization of the sixties andseventies, not in spite of, but because of their specific poetic properties. Thus, it is verywell possible to bring literary works to bear upon the discussion of historical issueswithout either infringing upon the relative autonomy of the literary system or neglectingthe specific expertise of literary studies as a discipline in its own rights.

The Gothic

2021 ◽  
Author(s):  
Bill Hughes
Keyword(s):  
Reference Point ◽  
Intellectual Culture ◽  
Gothic Novel ◽  
Northanger Abbey ◽  
The Enlightenment ◽  
Literary Heritage

This presentation considers the relationships between Gothic and Romanticism between 1764 and 1818. It locates the Gothic within the literary heritage of the Graveyard Poets and the intellectual culture of the Enlightenment. Horace Walpole’s The Castle of Otranto (1764), the first explicitly Gothic novel, is then considered as a reference point for later Gothic stylistics. The presentation concludes by considering the close of the First Phase of Gothic in 1818, not merely through Frankenstein – which had its origins in a meeting of Romantic poets at the Villa Diodati in 1816 – but also by way of Jane Austen’s Northanger Abbey and Thomas Love Peacock’s Nightmare Abbey, which respectively satirised Gothic and Romantic sensibilities.

Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction

2021 ◽  
Vol 23 (2) ◽  
pp. 201-216
Author(s):  
Megan DeVirgilis
Keyword(s):  
Latin America ◽  
Case Studies ◽  
Latin American ◽  
Short Fiction ◽  
Short Form ◽  
Gothic Novel ◽  
To Receive ◽  
American Authors ◽  
Scholarly Attention

The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.

Sign in / Sign up

Export Citation Format

Share Document