Relevant bibliographies by topics / Gothic revival (Literature)

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Academic literature on the topic 'Gothic revival (Literature)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Gothic revival (Literature)"

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Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”." Observatory of Culture 15, no. 5 (December 14, 2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.

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The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Eli­zabethan architecture and Gothic tradition has been discussed many times. And in later decades — du­ring the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.
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Kalter, Barrett. "DIY Gothic: Thomas Gray and the Medieval Revival." ELH 70, no. 4 (2003): 989–1019. http://dx.doi.org/10.1353/elh.2004.0006.

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McCarthy, Michael. "Soane's "Saxon" Room at Stowe." Journal of the Society of Architectural Historians 44, no. 2 (May 1, 1985): 129–46. http://dx.doi.org/10.2307/990025.

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The history of the building of the Gothic Revival library and adjoining lobby and staircase in Stowe House, Buckinghamshire, from 1805 to 1807 by John Soane is discussed in detail following a sequence established by the drawings for the commission and corroborated by letters, accounts, and office records in manuscript. These documents, for the most part preserved in the Sir John Soane Museum, London, have not previously been examined or published in detail in connection with the building, and they allow a very close demonstration of the working of the Soane office. The importance of the Stowe library in Soane's oeuvre is suggested by reference to his earlier and his later works. Though he is generally considered to have been unhappy or unfortunate in his Gothic Revival work, it is argued here that this commission allowed free rein to the expression of his artistic personality and is a notable example of successful historicism. It is further argued that in its close fidelity to the historical model chosen, the Chapel of King Henry VII in Westminster Abbey, the Stowe library represents the culmination of a trend in architectural design that originated with Horace Walpole and was of the first importance to the pioneers of the Gothic Revival, especially of Soane's early patron and friend, Thomas Pitt, Lord Camelford, who had designed the house at Stowe. This commission deserves far greater attention, therefore, than it has received hitherto in the literature of the Gothic Revival. Finally, the iconographical justification of the choice of style and the appropriateness of the model selected by Soane and the Marquis of Buckingham is established by reference to the publications of the antiquary Thomas Astle, whose manuscript collection was to be housed in the new library.
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McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio." Gothic Studies 24, no. 2 (July 2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.
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Lindfield, Peter. "HERALDRY AND THE ARCHITECTURAL IMAGINATION: JOHN CARTER’S VISUALISATION OFTHE CASTLE OF OTRANTO." Antiquaries Journal 96 (July 14, 2016): 291–313. http://dx.doi.org/10.1017/s0003581516000226.

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Horace Walpole (1717–97) is well known for two important Gothic projects: his villa, Strawberry Hill, Twickenham (1747/8–80), and his novel,The Castle of Otranto(1764). These two manifestations of Walpole’s ‘Gothic imagination’ are frequently linked in critical literature on the Gothic Revival and medievalism more broadly; the relationship between Strawberry Hill,Otrantoand manuscript illustrations visualisingOtranto’s narrative has, on the other hand, received far less attention. This paper brings together a number of important and hitherto overlooked sources that help address this imbalance. In particular, it examines two large-scale watercolours by John Carter (1748–1817) that narrate some ofOtranto’s pivotal scenes, allowing critically overlooked subtleties in their iconographies to emerge. The work establishes how Carter’s pre-existing interests – in particular, in Gothic architectural forms and heraldry – are harnessed to govern his representations ofOtranto. These paintings, together with Carter’s other illustrations, demonstrate Walpole’s authorship ofOtranto, expressed through codes hidden in plain sight. Unlike the frequently touted link between Strawberry Hill andOtrantoin secondary criticism, Carter’s illustrations, the argument reveals, do not explicitly make this connection.
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Sundt, Richard Alfred. "A Dream of Spires: Benjamin Mountfort and the Gothic Revival (review)." Victorian Studies 43, no. 4 (2001): 676–77. http://dx.doi.org/10.1353/vic.2001.0119.

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Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*." Renaissance Quarterly 50, no. 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

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A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For example, the setting and the costumes betray a confusion about the periodization of Gothic and Renaissance: the room in which the scene takes place is of Gothic revival design, while another room - in neo-classical style - opens beyond; the king's costume is historically correct, but Marguerite could be Maid Marian.
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Sawczuk, Tomasz. "Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics." Text Matters, no. 10 (November 24, 2020): 223–35. http://dx.doi.org/10.18778/2083-2931.10.14.

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An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre. The narrative frame offered by purported textual artifacts has always aligned well with the genre’s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre. The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk Delabastita’s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking.
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Pilkevych, Andrii. "«SECONDARY SOURCES» OF CELTIC AND NORSE MODES IN MODERN POPULAR CULTURE THROUGH THE PRISM OF FANTASY." Ethnic History of European Nations, no. 69 (2023): 153–57. http://dx.doi.org/10.17721/2518-1270.2023.69.19.

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The article deals with the main sources of the modern fantasy genre, presented in the form of several blocks of borrowings. First of all, this is the influence of the figures of the «Celtic Revival», who were engaged the search, recording and systematization of mainly Irish, Scottish and Welsh tales, myths and a wide range of folklore material. This legacy was transformed into an original literary tradition characterized by a combination of legendary heritage with fictional art elements and authorial reworking. Examples of pseudo-translations from Celtic languages presented as authentic, such as the work of James Macpherson. The article identifies the key figures of the «Celtic Revival» and singles out their works, which, in the opinion of the author, had the greatest impact on the formation of the fantasy genre. In particular William Butler Yeats, Isabella Augusta Persse (usually Lady Gregory), Thomas Moore, Edward John Moreton Plunkett (usually Lord Dunsany), Irish writer, poet, painter – George Russell, Irish playwright, poet, writer, collector of folklore – John Millington Synge, Irish writer Alice Letitia Milligan. The Romantic Age in English literature had a significant impact on the fantasy genre. The author analyzed the most relevant creative developments in this connection: William Blake, John Keats, William Wordsworth, Percy Shelley, Samuel Taylor Coleridge, Robert Southey, Walter Scott, Mary Shelley. Gothic fiction and in particular Gothic novels, is an equally important «factor of influence». First of all, it is about Horace Walpole, Clara Reeve, William Beckford, Matthew Gregory Lewis, Ann Radcliffe, Bram Stoker. The author presents a vision of the «wide treasury of inspiration» opus of the main archetypes of European fantasy, which also includes «German Romanticism». It is represented Ludwig von Arnim, Ernst Hoffmann, Ludwig Uhland, Friedrich von Hardenberg (usually Novalis), Ludwig Tieck, Joseph von Eichendorff.
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Håkansson, Håkan. "Alchemy of the Ancient Goths: Johannes Bureus’ Search for the Lost Wisdom of Scandinavia." Early Science and Medicine 17, no. 5 (2012): 500–522. http://dx.doi.org/10.1163/10.1163/15733823-175000a3.

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The Swedish polymath Johannes Bureus (1568–1652), Royal Librarian and close friend of King Gustavus Adolphus, is primarily known as an exponent of early modern “Gothicism,” i.e., the idea that the ancient Goths of Scandinavia were the first rulers of Europe and Sweden the true origin of Western culture. But Bureus was also an avid reader of alchemical literature, as well as a practising alchemist. Influenced by the Neoplatonic revival of the Renaissance, he viewed alchemy as part of a prisca theologia stemming from the ancient Goths, arguing that the Scandinavian runes constituted a “Gothic Cabala,” in which the secrets of all sciences—including alchemy—had been hidden for posterity. Drawing on Bureus’ notes, glosses and excerpts from textual sources, this article considers the role attributed to alchemy in his quest for this lost wisdom of the Goths.
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Dissertations / Theses on the topic "Gothic revival (Literature)"

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Davison, Carol Margaret. "Gothic Cabala : the anti-semitic spectropoetics of British Gothic literature." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34941.

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The figure of the Wandering Jew in British Gothic literature has been generally regarded as a static and romantic Everyman who signifies religious punishment, remorse, and alienation. In that it fails to consider the fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism, this reading has overlooked the significance of this figure's specific ethno-religious aspect and its relation to the figure of the vampire. It has hindered, consequently, the recognition of the Wandering Jew's relevance to the "Jewish Question," a vital issue in the construction of British national identity. In this dissertation, I chronicle the "spectropoetics" of Gothic literature---how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel. I trace this "spectropoetics" through medieval anti-Semitism, and consider its significance in addressing anxieties about the Crypto-Jew and the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature---the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution, a cataclysmic event to which many Gothic works responded. In the light of this complex of concerns, I examine the role of the Wandering Jew in five Gothic works---Matthew G. Lewis's The Monk (1795), William Godwin's St. Leon (1799), Charles Robert Maturin's Melmoth the Wanderer (1820), Joseph Sheridan Le Fanu's "Carmilla" (1872), and Brain Stoker's Dracula (1897). In my conclusion, I delineate the vampiric Wandering Jew's "eternal" role in addressing nationalist concerns by examining his symbolic preeminence in Nazi Germany.
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Tennant, Colette. "Margaret Atwood's transformed and transforming Gothic /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487757723997751.

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Shlyak, Tatyana. "Secret as a key to narration : evolution from English Gothic to the Gothic in Dostoyevsky /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6667.

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Andrews, Elizabeth. "Devouring the Gothic : food and the Gothic body." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/375.

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At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.
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Cohenour, Gretchen M. "Eighteenth-century Gothic novels and gendered spaces : what's left to say? /." View online ; access limited to URI, 2008. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3314452.

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Denison, Sheri Ann. "Walking through the shadows ruins, reflections, and resistance in the postcolonial Gothic novel /." Open access to IUP's electronic theses and dissertations, 2009. http://hdl.handle.net/2069/160.

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Levine, Jonathan David. "'One wiser, better, dearer than ourselves' : gothic friendship /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6643.

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Warren, Treena Kay. "Negative traits : the uncanny, bizarre and horrific in nineteenth century photographs." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78234/.

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Stasiak, Lauren Anne. "Victorian professionals, intersubjectivity, and the fin-de-siecle gothic text /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/9491.

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Wozniak, Heather Anne. "Brilliant gloom the contradictions of British gothic drama, 1768-1823 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692743101&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Gothic revival (Literature)"

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1717-1797, Walpole Horace, ed. Four gothic novels. Oxford: Oxford University Press, 1994.

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Townshend, Dale, ed. The Gothic World. New York, USA: Routledge, 2013.

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Ellen, Snodgrass Mary. Facts on File encyclopedia of Gothic literature. New York: Facts on File, 2005.

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Marie, Mulvey Roberts, ed. The handbook to Gothic literature. 2nd ed. New York: New York University Press, 2009.

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Marie, Mulvey Roberts, ed. The Handbook to Gothic literature. Basingstoke, England: Macmillan, 1998.

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Fairclough, Peter. Three Gothic novels. London: Penguin Books, 1986.

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Fairclough, Peter. Three Gothic novels. London: Penguin Books, 1986.

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1967-, Sayer Karen, Mitchell Rosemary, and Leeds Centre for Victorian Studies., eds. Victorian Gothic. Horsforth, Leeds: Trinity and All Saints/Leeds Centre for Victorian Studies, 2003.

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Michael, Charlesworth, ed. The Gothic revival, 1720-1870: Literary sources & documents. The Banks, Mountfield, East Sussex, U.K: Helm Information, 2002.

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J, McCarthy Michael. The origins of the gothic revival. London: Yale University Press, for the Paul Mellon Centre for Studies in British Art, 1987.

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Book chapters on the topic "Gothic revival (Literature)"

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Cottle, Basil. "The Eighteenth Century: Gothic Revival English." In The Language of Literature, 69–77. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17989-3_10.

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Groom, Nick. "Gothic and Celtic Revivals." In A Companion to British Literature, 361–79. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch74.

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Wester, Maisha, and Xavier Aldana Reyes. "Introduction: The Gothic in the Twenty-First Century." In Twenty-First-Century Gothic, 1–16. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0001.

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The establishment of the Gothic as one of the prevalent artistic modes of the post-millennial period is not something that could have been easily foreseen in the mid-twentieth century. For a long time relegated to specialist university units on Romanticism and Enlightenment literature, still heavily associated with medieval and revival architecture and certainly not in wide circulation as a term through which to describe contemporary cultural products, the Gothic underwent a seismic change during the 1980s and 1990s. The astounding effect of scholarly work, especially the pioneering books by ...
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Fennell, Jack. "Gothic Fiction in the Irish Language." In Irish Gothic, 135–50. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0008.

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This chapter provides a broad overview of twentieth-century gothic writing as Gaeilge in the twentieth and twenty-first centuries. In the first half of the twentieth century, gothic storytelling occurred in the specific contexts of language revival and nation-building – contexts which infuse the material with political significance. Translation and adaptation were charged issues, and the translation of works such as Dracula or Strange Case of Dr Jekyll and Mr Hyde (translated into Irish by An Gúm), were liable to provoke angry responses from purist cultural nationalists. Original Irish-language gothic material – often written under pseudonyms – largely reflected the political tenor of the time in which it was written, demonstrating the country’s self-conscious attempts to straddle the division between tradition and modernity, while dealing with anxieties of infiltration and re-conquest. In the latter half of the twentieth century, Irish-language gothic stories proliferated in children’s literature and schoolbooks as well as newspapers, chapbooks and short story collections, gradually outgrowing political orthodoxy. The overview presented in this chapter will culminate with an examination of short films and television programmes in Irish with a gothic sensibility, such as An Fiach Dubh (2003), Rógairí (2005), Na Cloigne (2010), Dorchadas (2014) and An Gadhar Dubh (2017).
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Scheible, Ellen. "Reflection, Anxiety and the Feminised Body: Contemporary Irish Gothic." In Irish Gothic, 232–51. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399500555.003.0013.

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Contemporary Irish women’s fiction employs gothic motifs to negotiate a traumatic history where a fear of domestic failure exposes immediate dangers through the lens of the feminized body, suggesting specific concerns with reproduction and sexuality. The Irish woman’s body becomes the canvas for cultural change in a national literature haunted by the economic rise and fall of the Tiger, suggesting a loss inherent to present-day life that is no longer associated with colonial violence or the trenches of war but, instead, with financial decline and disaster. The gothic maintains roots in psychoanalytic theory and Ireland’s cultural production of female otherness and domestic isolation, and contemporary Irish women writers employ this history to demand a reconsideration of the traditional home. As Freud argues, the modern self is both familiar and unfamiliar because it is constantly searching for a home to which it can never return; a home that may not have existed in the first place; a home that originates in the female body. As early as the Celtic Revival, if not before, Irish fiction has imagined a national landscape that simply did not exist before the push to nationalism in the late nineteenth century. Contemporary writers like Emma Donoghue and Tana French show us how the gothic has been and still is a genre through which we can express the impossibility of fully reviving an Irish past.
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Franck, Kaja, and Sam George. "Contemporary Werewolves." In Twenty-First-Century Gothic, 144–58. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0011.

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Twenty-first-century werewolves (following vampires) have become humanised, as identity politics have become mainstream and the Other assimilated. Young Adult fiction and paranormal romance have proved to be where the most radical transformations of the theme have occurred. Two other, related, strands are to be found: ecology has shaped our understanding of creatures which oscillate between nature and culture, and the Ecogothic has generated more positive representations of hybridity and animality. There are now werewolf hauntings and sightings, and a revival of folkloric elements which posit the new werewolf as the spectre wolf. This chapter charts these recent shifts and manifestations. The focus throughout is on literature and contemporary urban myths involving werewolves in the media but similar incarnations of the new werewolf in film, TV, videogames and comics are also acknowledged.
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Garside, Peter. "Romantic Gothic." In Literature of the Romantic Period, 315–40. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711209.003.0016.

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Abstract The Gothic and the Romantic as literary historical terms have rarely stood easily together. When interest in Gothic literature began to revive in the early twentieth century, the mode was largely understood as a subgenre of the novel, at best providing an interesting link between rationalism and Romanticism, though some commentators were more inclined to sense a last gasp of the eighteenth-century sentimental tradition. In the 1960s an influential school of criticism positioned the Gothic rather as a counter-movement to the Romantic, as a kind of obverse or dark side to the latter ‘s optimism and pursuit of the organic and transcendental. More recently, interest in the Gothic has expanded to such an extent that it is sometimes regarded as offering a better site for investigating deep ruptures and divisions underlying the literature of the Romantic period: broadly ‘popular ‘ and relatively open to female writers compared with the allegedly ‘male ‘ and elitist tradition of the main Romantic poets, while at the same time more diverse and lasting in its cultural effects.
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Veligorsky, Georgy A. "“Houses are alive. No?”The image of a “revived” house in English literaturein the late XIX — early XX century." In Russian Estate in the World Context, 298–312. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0623-9-298-312.

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In this article we will talk about the unusual topos that occurs in Victorian and Edwardian literature — the “revived” estate. Indirectly going back to Gothic literature and the “horror literature” that inherited it (where the house can come to life literally, become harmful, frightening and even mortally dangerous for the inhabitant), however, it develops in a completely different way. The ghosts that inhabit the rooms of such a mansion are the guardians of a good and bright memory, “hidden joy”; embodied by the past, who lives in a shaky, invisible world. These ghosts have many hypostases: sometimes they turn out to be just a figment of the tenant’s imagination, and sometimes they are a real poltergeist, but not frightening, but protecting and preserving (W. Woolf, “A Haunted House”). Another manifestation of this topos can be called a house that comes to life, when the hero distinguishes between the beating of his heart (as happens in the novel by E.M. Forster “Howards End”) or hears a whisper of voices in the curtains shaken by the wind. The combination of these two motives (poltergeist and living house) is also found in the works of modernists (W. Woolf, “Orlando: A Biography”). Of particular interest is the image of a revived estate house in children’s literature; in this vein, we will consider the novel by Ph. Pierce, “Tom’s Midnight Garden”.
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Tomko, Michael. "Catholic Literature and Print Culture in English." In The Oxford History of British and Irish Catholicism, Volume III, 224—C12S4. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198843443.003.0013.

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Abstract In the long eighteenth century, the years leading up to Catholic emancipation in Britain and Ireland have often been characterized as a ‘silent’ period in Catholic literature and culture. This is reflected in John Henry Newman’s ‘second spring’ sermon as well as in scholarly accounts of the modern Catholic literary revival and early modern recusant writing. A closer formal and historical examination, however, reveals that, in addition to literary achievements by John Dryden and Alexander Pope, Catholic writing in English during this period underwent a much more complex, extensive, and experimental development in two ways. First, beginning with John Gother’s turn to popular books of devotional instruction after the 1688 Revolution, there emerged an important print network of texts that helped disparate Catholics constitute what Joshua King has termed an ‘imagined spiritual community’. Second, despite often eschewing literary genres such as plays and novels, these devotional, apologetic, historiographic, and instructional works experimented with narrative and dramatic techniques to form a proto-literary tradition of imaginative writing. These efforts were marked by a complex ‘two-fold’ consciousness of writing as a religious minority that had been misrepresented and misread in Protestant Britain. This essay tracks these developments from Gother through Bishop Richard Challoner and into the years preceding Catholic emancipation, when Catholic writing not only adapted new print media such as the periodical and gained more literary notoriety but also became increasingly divided over how to represent the Catholic community’s past, present, and future to the nation at large.
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