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“The Gothic Quest - A History of the Gothic Novel” is a 1938 treatise by Montague Summers on the subject of the Gothic novel, looking at its origins, evolution, and role in contemporary literature. Augustus Montague Summers (1880 – 1948) was an English clergyman and author most famous for his studies on vampires, witches and werewolves—all of which he believed to be very much real. He also wrote the first English translation of the infamous 15th-century witch hunter's manual, the “Malleus Maleficarum”, in 1928. Contents include: “The Romantic Feeling”, “Notes to Chapter I”, “The Publishers and the Circulating Libraries”, “Notes to Chapter II”, “Influences from Abroad”, “Notes to Chapter III”, “Historical Gothic”, “Notes to Chapters IV”, “Matthew Gregory Lewis”, etc. Other notable works by this author include: “A Popular History of Witchcraft” (1937), “Witchcraft and Black Magic” (1946), and “The Physical Phenomena of Mysticism” (1947). Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.
Offers an introduction to British Gothic literature. This book examines works by Gothic authors such as Horace Walpole, Matthew Lewis, Ann Radcliffe, William Godwin and Mary Shelley against the backdrop of eighteenth-and-nineteenth-century British social and political history.
One of the central images conjured up by the gothic novel is that of a shadowy spectre slowly rising from a mysterious abyss. In The Rise of the Gothic Novel, Maggie Kilgour argues that the ghost of the gothic is now resurrected in the critical methodologies which investigate it for the revelation of buried cultural secrets. In this cogent analysis of the rise and fall of the gothic as a popular form, Kilgour juxtaposes the writings of William Godwin with Mary Wollstonecraft, and Ann Radcliffe with Matthew Lewis. She concludes with a close reading of the quintessential gothic novel, Mary Shelley's Frankenstein. An impressive and highly original study, The Rise of the Gothic Novel is an invaluable contribution to the continuing literary debates which surround this influential genre.
"Written with an undergraduate audience in mind, this text offers a synthesis of the main topics of Gothic interest and clearly argued summaries of critical debate. It signals its difference from recent psychoanalytic readings of Gothic and argues instead for a more complex, multilayered approach via an historicist reading of gothic fiction. Illustrated with ten black and white plates and including an up-to-date bibliography, this will be an ideal text for all those with an interest in the Gothic."--BOOK JACKET.
This first volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in Western civilisation, from the Goths' sacking of Rome in 410 AD through to its manifestations in British and European culture of the long eighteenth century. Written by international cast of leading scholars, the chapters explore the interdisciplinary nature of the Gothic in the fields of history, literature, architecture and fine art. As much a cultural history of Gothic as an account of the ways in which the Gothic has participated within a number of formative historical events across time, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From writers such as Horace Walpole and Ann Radcliffe to eighteenth-century politics and theatre, the volume provides a thorough and engaging overview of early Gothic culture in Britain and beyond.
Neo-Gothic Narratives defines and theorises what, exactly, qualifies as such a text, what mobilises the employment of the Gothic to speak to our own times, whether nostalgia plays a role and whether there is room for humour besides the sobriety and horror in these narratives across various media. What attracts us to the Gothic that makes us want to resurrect, reinvent, echo it? Why do we let the Gothic redefine us? Why do we let it haunt us? Does it speak to us through intertexuality, self-reflectivity, metafiction, immersion, affect? Are we reclaiming the history of women and other subalterns in the Gothic that had been denied in other forms of history? Are we revisiting the trauma of English colonisation and seeking national identity? Or are we simply tourists who enjoy cruising through the otherworld? The essays in this volume investigate both the readerly experience of Neo-Gothic narratives as well as their writerly pastiche.