Titlebook: British Identities, Heroic Nationalisms, and the Gothic Novel, 1764-1824; Toni Wein Book 2002 Palgrave Macmillan, a division of Macmillan

anniversary

Injunction

A. B. Leonard (Associate Director) knew that they were neither representative nor represented. How much and in what manner the chapbooks spoke to them forms the burden of speculation in this chapter. These uncertainties brush against a raw nerve of literary history: . has been the question plaguing historians of reading and of the b

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Canopy

,Cadiz 1780–1808: A Corporate Experiment,ly, demotic broadsides against Napoleon sparked by 1803 fears of invasion reproduce the typological extremes of Gothic villain and hero. Philosophically, Gothic ideas and ideals shape up later in the period as Christian Socialism, the radical romantics of Carlyle and Ruskin, and the muscular Christi

勋章

Radcliffe, Revolution, and the Romance of Heroism, 1789–94lings of the characters. Then we find the ‘chequer-work of human life.’. Yet Radcliffe’s character studies, particularly as character traits bear on definitions of heroism, display far more chiaroscuro than they do high relief. In all his trials, Edmund remains a paragon. Long before they are tried, Radcliffe’s heroes seem fallible, if chivalric.

肮脏

Palter

临时抱佛脚

A. B. Leonard (Associate Director)n this chapter. These uncertainties brush against a raw nerve of literary history: . has been the question plaguing historians of reading and of the book. This question has two axes. First, it requires knowledge of the content of the chapbooks. Second, it depends upon some information concerning the actual makeup of the audience.

debacle

FOVEA

No Child’s Play: the Gothic Chapbooksn this chapter. These uncertainties brush against a raw nerve of literary history: . has been the question plaguing historians of reading and of the book. This question has two axes. First, it requires knowledge of the content of the chapbooks. Second, it depends upon some information concerning the actual makeup of the audience.