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Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

. Examinations of the development of the Gothic genre and its critical reception undertaken by scholars such as James Watt are particularly helpful to my argument that Gothic scholarship’s ongoing adherence to gendered paradigms is grounded in its contemporary reception. Watt uses critical receptions of the Gothic and its changing conventions to argue that the genre is far from cohesive and displaces Walpole

in Gothic incest
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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

elements rigidly to the past. 31 What we see in gothic literature, Hoeveler contended, ‘is not a simple forward-moving trajectory that we would recognize as the Enlightenment project’, but, instead, ‘an oscillation in which the transcendent and traditional religious beliefs and tropes are alternately preserved and reanimated and then blasted and condemned’ – a wavering strikingly present in the Monthly Review 's appraisal of Otranto as well. 32 As is clear from the contrasting critical reception of the first and second

in The gothic novel in Ireland, c. 1760–1829
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Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

situated Irish gothic fiction at the centre of a newly understood transcontinental and transatlantic gothic literary production – an enduring cultural activity that spanned international borders and concomitantly contributed to, just as it was shaped by, transnational and cross-cultural exchange. The first part of this chapter accordingly offers a brief contextual consideration of Roche's career in London as well as the contemporary critical reception of her works. Despite rivalling in popularity Ann Radcliffe (1764–1823) and Isabella Kelly (c.1759

in The gothic novel in Ireland, c. 1760–1829