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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott

1763, 1766, 1775, and 1790, and twice adapted for the stage as The Countess of Salisbury . 2 Yet, the novel remains little read today. In its twinned contemporary approbation and current neglect, Longsword stands in direct contrast to Walpole's The castle of Otranto (1764), which famously provoked controversy, especially on the publication of its revised second edition, and now enjoys the relatively uncontested reputation as the first British gothic novel. However, it is worth remembering that Walpole's tale and its self-description as ‘a Gothic story

in The gothic novel in Ireland, c. 1760–1829
Re-examining paradigms of sibling incest

exist are incomplete in part due to their reliance on Romantic and sentimental modes of understanding such relationships in the Gothic. 11 Romantic models of narcissistic love presume a heightened self-love often not present in Gothic heroines, while sentimental models of incest rely frequently on a post-coital discovery of kinship or an implicit didacticism that is rarely present in the genre. The

in Gothic incest
Father– daughter incest and the economics of exchange

Freudian theory that claims girls develop incestuous desires for the fathers who raise them is not applicable to the many Gothic novels in which girls are not raised by their fathers. Its application can thus lead to misreadings that diminish the importance of incest to the narrative and position heroines as victims of fantasies rather than threats. For incest to be a result of children desiring the

in Gothic incest
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Romances, novels, and the classifications of Irish Romantic fiction

detail and imaginative fictional narrative. The tale recounts the various escapades of the eponymous John of Gaunt (1340–99), the younger brother of Edward, the Black Prince, as he accompanies his sovereign brother, first to Wales, and then to Scotland, where they become embroiled in a war between that nation and England over the ransom of the imprisoned King of Scotland, David II. Describing the battle in which the English triumph over the Scottish as well as the hasty war council that precedes it, White inserts a footnote containing a barbed observation on the

in The gothic novel in Ireland, c. 1760–1829
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Disrupting the critical genealogy of the Gothic

praised, the reviewer summarises the narrative as morally ‘unexceptionable’. The difference between the responses to these Gothic works lies in the type of incestuous relationship depicted. Parsons’s novel depicts the growing romantic love of an uncle, Mr Weimar, for his niece, Matilda, who recounts: ‘“[my uncle] was for ever seeking opportunities to caress me, his language was expressive of the utmost

in Gothic incest
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Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction

suggests, her experiences have provided her with ‘so complete a tale of wonder’ with which to amuse her friends that she cannot ‘much regret them’ ( The discarded son , vol. 4, p. 22). In its self-conscious comparison of narrative romance – the manuscript – and the romance of real life – the Raymond family's adventures with the banditti – The discarded son situates itself amongst texts discussed in Chapter 2 of this book: The convent (1786), The Irish heiress (1797), More ghosts! (1798), The heroine (1813), and Strathallan (1816

in The gothic novel in Ireland, c. 1760–1829
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Female sexual agency and male victims

removing the maternal from the narrative until the heroine can reclaim her mother as she simultaneously locates her own sexuality. The Gothic as written by authors such as Beckford, Lewis and Horace Walpole responds to the mother by relocating her as the sexual centre of the text as victim or perpetrator, making the chaste maternal monstrous through mother–son incest. Representing mothers as capable of

in Gothic incest
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Thefts, violence and sexual threats

, who uses other male figures as proxy sexual threats to force compliance. In The Italian Radcliffe explicitly unites incestuous sexual desire and murderous desire, deploying the uncle as a figure conflicted over whether to rape or kill his niece, whom he has already left without property or title. When the common threads of legality and sexuality that are apparent within these different Gothic narratives by

in Gothic incest
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Cousins and the changing status of family

self-assertion and individual rights; that Emmeline is only freed of Delamere when he dies; and that Smith is ‘unable to imagine a narrative conclusion in which self-assertion, a claim to individual rights, or reason can release the heroine from her obligations’. 47 But, in fact, Emmeline is freed before Delamere dies in a duel, when Montreville returns her signed promise to marry his son. Emmeline

in Gothic incest