Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The Gothic has always been fascinated with objects carrying with them a sense of horror　– the decomposing body, the rigid corpse, the bleeding statue, the spectral skeleton　– capable of creating a sublime form of beauty. Gothic Remains: Corpses, Terror and Anatomical Culture, 1764–1897 offers an exploration of those Gothic tropes and conventions that were most thoroughly steeped in the anatomical culture of the period　– from skeletons, used to understand human anatomy, to pathological human remains exhibited in medical museums; from bodysnatching aimed at providing dissection subjects, to live-burials resulting from medical misdiagnoses and pointing to contemporary research into the signs of death.　The historicist reading of canonical and less-known Gothic texts proposed throughout Gothic Remains, explored through the prism of anatomy, seeks to offer new insights into the ways in which medical practice and the medical sciences informed the aesthetics of pain and death typically read therein, and the two-way traffic that emerged between medical literature and literary texts.

Gothic fiction (Literary genre), English --- Medicine in literature. --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Gothic fiction (Literary genre), English. --- English literature --- English literature --- Dead in literature. --- Human body in literature. --- Medicine in literature. --- History and criticism. --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Between 1790 and 1820, William Lane’s Minerva Press published an unprecedented number of circulating-library novels by obscure female authors. Because these novels catered to the day’s fashion for sentimental themes and Gothic romance, they were and continue to be generally dismissed as ephemera. Recently, however, scholars interested in historicizing Romantic conceptions of genius and authorship have begun to write Minerva back into literary history. By making Minerva novels themselves the centre of the analysis, Minerva’s Gothics illustrates how Romantic ‘anxiety’ is better conceptualized as a mutual though not entirely equitable ‘exchange’, a dynamic interrelationship between Minerva novels and Romantic-era politics and poetics that started in 1780, when Lane began publishing novels with some regularity. Reading Minerva novels for their shared popular conventions demonstrates that circulating-library novelists collectively recirculate, engage and modify commonplaces about women’s nature, the social order and, most importantly, the very Romantic redefinitions of authorship and literature that render their novels not worth reading. By recognizing Minerva’s collaborative rather than merely derivative authorial model, a forgotten pathway is restored between first-generation Romantic reactions to popular print culture and Percy Shelley’s influential conceptualization of the poet in A Defence of Poetry.

Gothic fiction (Literary genre), English --- English fiction --- 028-055.2 --- 655.41 <41> --- English gothic fiction (Literary genre) --- 655.41 <41> Publishing in general. Publishing houses. Publishers--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- 655.41 <41> Uitgeverij--algemeen--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- Publishing in general. Publishing houses. Publishers--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- Uitgeverij--algemeen--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- 028-055.2 Vrouwelijke lezers --- Vrouwelijke lezers --- History and criticism --- Women authors --- E-books --- History and criticism. --- Minerva Press.