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Expanding the Gothic Canon

Studies in Literature, Film and New Media

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Edited By Anna Kędra-Kardela and Andrzej Sławomir Kowalczyk

This volume offers a survey of analyses of Gothic texts, including literary works, feature films, a TV serial, and video games, with a view to showing the evolution and expansion of the Gothic convention across the ages and the media. The temporal scope of the book is broad: the chapters cover narratives from the early and mid-eighteenth century, predating the birth of the convention in 1764, through Romantic and Victorian novels, to the contemporary manifestations of the Gothic. Primarily designed for graduate and postgraduate students, the book sets out to acquaint them with both the convention and different theoretical approaches. The studies presented here could also prove inspirational for fellow scholars and helpful for university teachers, the book becoming an item on the reading lists in Gothic literature, film and media courses.
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CHAPTER THREE: Ambivalence and Ambiguity in Jane Austen’s Northanger Abbey

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CHAPTER THREE

Ambivalence and Ambiguity in Jane Austen’s Northanger Abbey

WOJCIECH NOWICKI

It is quite obvious to a discerning reader that Northanger Abbey (1817; 1818 on the title page) falls apart in the middle and moves awkwardly from a novel of education lightened by a comedy of manners to a parody of Gothic romance. Clearly, a comic female Bildungsroman would have done without a foray into the realm of Gothic. And yet it is difficult to see how she could not have done so, given that the 1790s, when she began to compose her novel, marked the height of fashion for “horrid” tales. Ann Radcliffe’s The Mysteries of Udolpho (1794), came first, but a flood of popular Gothic romances poured from the popular imprint, the Minerva Press. The seven novels which Isabella Thorpe recommends to Catherine Morland in chapter 6 came almost eclusively from Minerva: Mrs. Eliza Parsons’s The Castle of Wolfenbach (1793) and The Mysterious Warning, a German Tale (1796), Regina Maria Roche’s Clermont: A Tale (1798), Ludwig Flammenberg’s The Necromancer; or the Tale of the Black Forest (1794), Eleanor Sleath’s The Orphan of the Rhine (1798), and Grosse’s The Horrid Mysteries (1796). The one exception was Francis Lathom’s The Midnight Bell: A German Story, Founded on Incidents in Real Life (1798). They were once thought to be apocryphal, the author’s pure invention, but their authenticity was established in the first half of the twentieth century and all seven, commonly...

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