Andere Kunden interessierten sich auch für
![Shelley and the Revolution in Taste]( "Shelley and the Revolution in Taste")
Shelley and the Revolution in Taste51,99 €![de Quincey's Romanticism]( "de Quincey's Romanticism")
de Quincey's Romanticism49,99 €![Heyer Society - Essays on the Literary Genius of Georgette Heyer]( "Heyer Society - Essays on the Literary Genius of Georgette Heyer")
Heyer Society - Essays on the Literary Genius of Georgette Heyer21,99 €![Romantic Mediations]( "Romantic Mediations")
Romantic Mediations40,99 €![Haunting Realities: Naturalist Gothic and American Realism]( "Haunting Realities: Naturalist Gothic and American Realism")
Haunting Realities: Naturalist Gothic and American Realism35,99 €![The Twilight Symbols]( "The Twilight Symbols")
The Twilight Symbols24,99 €![The International Heyer Society Annual 2021: Nonpareil #7 - #18 and the Weekly Post Vol. II]( "The International Heyer Society Annual 2021: Nonpareil #7 - #18 and the Weekly Post Vol. II")
The International Heyer Society Annual 2021: Nonpareil #7 - #18 and the Weekly Post Vol. II23,99 €
An original re-examination of the historical vicissitudes of the Gothic novel from Walpole to Scott.
James Watt's historically grounded account of Gothic fiction takes issue with received accounts of the genre as a stable and continuous tradition. Charting its vicissitudes from Walpole to Scott, Watt shows the Gothic to have been a heterogeneous body of fiction, characterized at times by antagonistic relations between various writers or works. Central to his argument about these works' writing and reception is a nuanced understanding of their political import: Walpole's attempt to forge an aristocratic identity, the loyalist affiliations of many neglected works of the 1790s, a reconsideration of the subversive reputation of The Monk, and the ways in which Radcliffean romance proved congenial to conservative critics. Watt concludes by looking ahead to the fluctuating critical status of Scott and the Gothic, and examines the process by which the Gothic came to be defined as a monolithic tradition, in a way that continues to exert a powerful hold.
Review quote:
"James Watt argues that generic labels need to be re-examined, with greater attention given to the historical specificity of certain "so-called Gothic" works. This is an exciting historicist study that provides important contextual material for Gothic scholars."
British and American Literatures
"...Contesting the Gothic is impressively researched, well-documented, and convincing in its claims."
Jeffrey Andrew Weinstock, Journal of the Fantastic in the Arts
"The exposition is lucid, the reasoning scrupulous, the tone measured and never polemical. The book can be recommended to anyone as the model of a focused and thoroughly professional investigation that carves out a niche of originality in a very crowded literary shelf."
Eighteenth-Century Studies
Table of contents:
Acknowledgements; Introduction; 1. Origins: Horace Walpole and The Castle of Otranto; 2. The Loyalist Gothic romance; 3. Gothic 'subversion': German literature, the Minerva Press, Matthew Lewis; 4. The first poetess of Romantic fiction: Ann Radcliffe; 5. The field of Romance: Walter Scott, the Waverley novels, the Gothic; Notes; Bibliography; Index.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
James Watt's historically grounded account of Gothic fiction takes issue with received accounts of the genre as a stable and continuous tradition. Charting its vicissitudes from Walpole to Scott, Watt shows the Gothic to have been a heterogeneous body of fiction, characterized at times by antagonistic relations between various writers or works. Central to his argument about these works' writing and reception is a nuanced understanding of their political import: Walpole's attempt to forge an aristocratic identity, the loyalist affiliations of many neglected works of the 1790s, a reconsideration of the subversive reputation of The Monk, and the ways in which Radcliffean romance proved congenial to conservative critics. Watt concludes by looking ahead to the fluctuating critical status of Scott and the Gothic, and examines the process by which the Gothic came to be defined as a monolithic tradition, in a way that continues to exert a powerful hold.
Review quote:
"James Watt argues that generic labels need to be re-examined, with greater attention given to the historical specificity of certain "so-called Gothic" works. This is an exciting historicist study that provides important contextual material for Gothic scholars."
British and American Literatures
"...Contesting the Gothic is impressively researched, well-documented, and convincing in its claims."
Jeffrey Andrew Weinstock, Journal of the Fantastic in the Arts
"The exposition is lucid, the reasoning scrupulous, the tone measured and never polemical. The book can be recommended to anyone as the model of a focused and thoroughly professional investigation that carves out a niche of originality in a very crowded literary shelf."
Eighteenth-Century Studies
Table of contents:
Acknowledgements; Introduction; 1. Origins: Horace Walpole and The Castle of Otranto; 2. The Loyalist Gothic romance; 3. Gothic 'subversion': German literature, the Minerva Press, Matthew Lewis; 4. The first poetess of Romantic fiction: Ann Radcliffe; 5. The field of Romance: Walter Scott, the Waverley novels, the Gothic; Notes; Bibliography; Index.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.