History of the Gothic: Gothic Literature 1825-1914

Jarlath Killeen

Description

Examines how themes and trends associated with the early Gothic novels were diffused in many genres in the Victorian period, including the ghost story, the detective story and the adventure story.

Sujets

• Literary Criticism
• Romance
• Gothic

Informations

• Publié par: University of Wales Press
• Date de parution: 01 juillet 2009
• Nombre de lectures: 0
• EAN13: 9780708322444
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

HISTORY OF THE GOTHIC

Gothic Literature 1825–1914

Jarlath Killeen

University of Wales Press

GOTHIC LITERATURE 1825–1914

S ERIES P REFACE

Gothic Literary Studies is dedicated to publishing groundbreaking scholarship on Gothic in literature and film.The Gothic, which has been subjected to a variety of critical and theoretical approaches, is a form which plays an important role in our understanding of literary, intellectual and cultural histories. The series seeks to promote challenging and innovative approaches to Gothic which question any aspect of the Gothic tradition or perceived critical orthodoxy. Volumes in the series explore how issues such as gender, religion, nation and sexuality have shaped our view of the Gothic tradition. Both academically rigorous and informed by the latest develop- ments in critical theory, the series provides an important focus for scholastic developments in Gothic studies, literary studies, cultural studies and critical theory.The series will be of interest to students of all levels and to scholars and teachers of the Gothic and literary and cultural histories.

S ERIES E DITORS

Andrew Smith, University of Glamorgan Benjamin F. Fisher, University of Mississippi

E DITORIAL B OARD

Kent Ljungquist,Worcester Polytechnic Institute Massachusetts Richard Fusco, St Joseph’s University, Philadelphia David Punter, University of Bristol Chris Baldick, University of London Angela Wright, University of Sheffield Jerrold E. Hogle, University of Arizona

HISTORY OF THE GOTHIC

Gothic Literature 1825–1914

Jarlath Killeen

UNIVERSITY OF WALES PRESS CARDIFF 2009

© Jarlath Killeen, 2009

All rights reserved. No part of this book may be reproduced in any material form (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London, EC1N 8TS. Applications for the copyright owner’s written permission to reproduce any part of this publication should be addressed to the University of Wales Press, 10 Columbus Walk, Brigantine Place, Cardiff, CF10 4UP.

www.uwp.co.uk

British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.

ISBN 978-0-7083-2070-9 978-0-7083-2069-3 e-ISBN 978-0-7083-2244-4

(hardback) (paperback)

The right of Jarlath Killeen to be identified as author of this work has been asserted in accordance with sections 77 and 79 of the Copyright, Designs and Patents Act 1988.

Printed by Gutenberg Press,Tarxien, Malta

Series Editors’ Foreword

Acknowledgements

Introduction

1 The Ghosts of Time

C ONTENTS

2 The Horror of Childhood

3 Regional Gothic

4 Ghosting the Gothic and the New Occult

Conclusion: Moving to the Gothic Trenches

Survey of Criticism

Gothic Chronology

Endnotes

Bibliography

Index

vii

viii

1

27

60

91

124

160

166

187

199

219

241

S ERIES E DITORS ’ F OREWORD

The Histories of the Gothic series consists of four volumes: Gothic Literature 1764–1824,Gothic Literature 1825–1914, Twentieth Century GothicandAmerican Gothicseries provides. The a comprehensive introduction to the history of Gothic Literature and to a variety of critical and theoretical approaches.Volumes in the series also raise questions about how the Gothic canon has been received and seek to critically challenge, rather than simply reaffirm, commonplace perceptions of the Gothic tradition. Whilst intended as an introduction to the history of the Gothic they thus also provide a rigorous analysis of how that history has been developed and suggest ways in which it can be critically renegotiated. The series will be of interest to students of all levels who are new to the Gothic and to scholars and teachers of the history of Gothic Literature. The series will also be of interest to students and scholars working more broadly within the areas of literary studies, cultural studies, and critical theory.

Andrew Smith, University of Glamorgan Benjamin F. Fisher, University of Mississippi

A CKNOWLEDGEMENTS

This book was written in a period of personal upheaval during which I transferred from Keele University, Staffordshire to Trinity College Dublin, which entailed moving country as well as house. That it was finished at all comes as something of a surprise to me. My thanks go to Ben Fisher and Andrew Smith for their encour- agement and supervision as general editors of this series and the team at the University of Wales Press for steering me through the process. Many thanks also to the anonymous reader for the Press, who made some extremely pertinent criticisms of the original manuscript and helpful suggestions for revision. I am in great dept to the very large number of critics who have written on the Gothic in general, and nineteenth-century Gothic in particular, from whom I have learned much. The Gothic attracts some of the very best critical minds around, and if this volume is useful it is only because it tries to distil the analyses produced by others in the last thirty years. As always, my family was supportive and I dedicate the book to my brothers: Michael, Peter, David and Paul. My colleagues in the School of English, Trinity College Dublin were immensely encouraging. I particu- larly thank Kate Hebblethwaite (a fellow cloak race enthusiast), Aileen Douglas, Eve Patten, Philip Coleman, and Stephen Matterson. The students in my seminars in Gothic Fiction in Keele University and Trinity College contributed in many ways to this book, and had to endure my endless ramblings on the issues and texts covered here. Particular thanks to my postgrad- uate students Valeria Cavalli and Paul Morrissey, and an undergrad Paula Keatley who contributed some of the ideas contained and acknowledged here. Darryl Jones as always has been a mine of information; he tolerated numerous conversations about the Gothic, and shared with me his wide reading in and theoretical