Titlebook: Spanish Gothic; National Identity, C Xavier Aldana Reyes Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Transnational.Trans

stratum-corneum

儿童

Imported Terrors and First Genre Hybridsavily censored readerly context. The chapter begins with the type of translations that arrived in Spain in the 1780s, and centres on the perceived dangers of the Gothic as an artistic force. Gothic translations were very important; in fact, the most popular Gothic text to be published in this first

Bereavement

The Early Spanish Gothic Novel (1800–34)ries, what we could call ‘Spanish terror’ or the supernatural explained, best epitomised by Spain’s only early writer to practise the Gothic assiduously, Pascual Pérez Rodríguez, and the non-supernatural anti-Inquisition novel, exemplified by Luis Gutiérrez’s . (1801) and Joseph Blanco White’s . (18

采纳

Spanish Romanticism and the Gothiccism was not as successful in Spain as it was in other European countries, José de Espronceda’s work, its most obvious exponent, shows a clear Gothic sensibility. I turn to his . / . (1840), a long poem that updates the trope of the (un)dead lover, to explore the imagery and value of this mode for h

过剩

全面

中古

hankering

From Segundo de Chomón to the Rise and Fall of ‘Fantaterror’us on the first cinematic Gothic boom in Spain: ‘fantaterror’, a cycle of exploitational horror films made cheaply and with both national and international markets in mind. The period between 1968 and 1980 saw the release of dozens of films, but I concentrate here on the type of monsters that develo

唤起

上腭