04144nam 22008292 450 991045508410332120160331093330.01-107-11611-20-511-00518-01-280-15357-10-511-11723-X0-511-15011-30-511-31001-30-511-48467-40-511-05146-8(CKB)111004366730684(EBL)142402(OCoLC)50848442(SSID)ssj0000129890(PQKBManifestationID)11142511(PQKBTitleCode)TC0000129890(PQKBWorkID)10079930(PQKB)11542783(UkCbUP)CR9780511484674(MiAaPQ)EBC142402(Au-PeEL)EBL142402(CaPaEBR)ebr2000785(CaONFJC)MIL15357(EXLCZ)9911100436673068420090226d1999|||| uy| 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierContesting the Gothic fiction, genre, and cultural conflict, 1764-1832 /James Watt[electronic resource]Cambridge :Cambridge University Press,1999.1 online resource (x, 205 pages) digital, PDF file(s)Cambridge studies in Romanticism ;33Title from publisher's bibliographic system (viewed on 05 Oct 2015).0-521-02481-1 0-521-64099-7 Includes bibliographical references (p. 186-200) and index.Origins : Horace Walpole and The castle of Otranto -- Loyalist gothic romance -- Gothic 'subversion': German literature, the Minerva Press, Matthew Lewis -- The first poetess of romantic fiction: Ann Radcliffe -- The field of romance: Walter Scott, the Waverley novels, the Gothic.James Watt's historically grounded account of Gothic fiction, first published in 1999, 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.Cambridge studies in Romanticism ;33.English fiction18th centuryHistory and criticismHorror tales, EnglishHistory and criticismEnglish fiction19th centuryHistory and criticismGothic fiction (Literary genre), EnglishHistory and criticismPolitics and cultureGreat BritainLiterary formHistory18th centuryLiterary formHistory19th centuryRomanticismGreat BritainGothic revival (Literature)Great BritainEnglish fictionHistory and criticism.Horror tales, EnglishHistory and criticism.English fictionHistory and criticism.Gothic fiction (Literary genre), EnglishHistory and criticism.Politics and cultureLiterary formHistoryLiterary formHistoryRomanticismGothic revival (Literature)823.087290909033Watt James835606UkCbUPUkCbUPBOOK9910455084103321Contesting the Gothic2477580UNINA