LEADER 04144nam 22008292 450 001 9910455084103321 005 20160331093330.0 010 $a1-107-11611-2 010 $a0-511-00518-0 010 $a1-280-15357-1 010 $a0-511-11723-X 010 $a0-511-15011-3 010 $a0-511-31001-3 010 $a0-511-48467-4 010 $a0-511-05146-8 035 $a(CKB)111004366730684 035 $a(EBL)142402 035 $a(OCoLC)50848442 035 $a(SSID)ssj0000129890 035 $a(PQKBManifestationID)11142511 035 $a(PQKBTitleCode)TC0000129890 035 $a(PQKBWorkID)10079930 035 $a(PQKB)11542783 035 $a(UkCbUP)CR9780511484674 035 $a(MiAaPQ)EBC142402 035 $a(Au-PeEL)EBL142402 035 $a(CaPaEBR)ebr2000785 035 $a(CaONFJC)MIL15357 035 $a(EXLCZ)99111004366730684 100 $a20090226d1999|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aContesting the Gothic $efiction, genre, and cultural conflict, 1764-1832 /$fJames Watt$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d1999. 215 $a1 online resource (x, 205 pages) $cdigital, PDF file(s) 225 1 $aCambridge studies in Romanticism ;$v33 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-02481-1 311 $a0-521-64099-7 320 $aIncludes bibliographical references (p. 186-200) and index. 327 $aOrigins : 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. 330 $aJames Watt's historically grounded account of Gothic fiction, first published in 1999, takes issue with received accounts of the genre as a stable and continuous tradition. Charting its vicissitudes from Walpole to Scott, Watt shows the Gothic to have been a heterogeneous body of fiction, characterized at times by antagonistic relations between various writers or works. Central to his argument about these works' writing and reception is a nuanced understanding of their political import: Walpole's attempt to forge an aristocratic identity, the loyalist affiliations of many neglected works of the 1790s, a reconsideration of the subversive reputation of The Monk, and the ways in which Radcliffean romance proved congenial to conservative critics. Watt concludes by looking ahead to the fluctuating critical status of Scott and the Gothic, and examines the process by which the Gothic came to be defined as a monolithic tradition, in a way that continues to exert a powerful hold. 410 0$aCambridge studies in Romanticism ;$v33. 606 $aEnglish fiction$y18th century$xHistory and criticism 606 $aHorror tales, English$xHistory and criticism 606 $aEnglish fiction$y19th century$xHistory and criticism 606 $aGothic fiction (Literary genre), English$xHistory and criticism 606 $aPolitics and culture$zGreat Britain 606 $aLiterary form$xHistory$y18th century 606 $aLiterary form$xHistory$y19th century 606 $aRomanticism$zGreat Britain 606 $aGothic revival (Literature)$zGreat Britain 615 0$aEnglish fiction$xHistory and criticism. 615 0$aHorror tales, English$xHistory and criticism. 615 0$aEnglish fiction$xHistory and criticism. 615 0$aGothic fiction (Literary genre), English$xHistory and criticism. 615 0$aPolitics and culture 615 0$aLiterary form$xHistory 615 0$aLiterary form$xHistory 615 0$aRomanticism 615 0$aGothic revival (Literature) 676 $a823.087290909033 700 $aWatt$b James$0835606 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910455084103321 996 $aContesting the Gothic$92477580 997 $aUNINA