Dale Townshend – författare

Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840 provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although the relationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study of the intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the most cursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literary Gothic mode. In both its 'survivalist' and 'revivalist' forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. Incarnating, for better or for worse, the memory of a vanished 'Gothic' age in the modern, enlightened present, Gothic architecture, be it ruined or complete, prompted imaginative reconstructions of the nation's past--a notable 'visionary' turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated. The volume establishes a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, and argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to one another.

Readings of Shakespeare were both influenced by and influential in the rise of Gothic forms in literature and culture from the late eighteenth century onwards. Shakespeare’s plays are full of ghosts, suspense, fear-inducing moments and cultural anxieties which many writers in the Gothic mode have since emulated, adapted and appropriated.The contributors to this volume consider:Shakespeare’s relationship with popular Gothic fiction of the eighteenth centuryhow, without Shakespeare as a point of reference, the Gothic mode in fiction and drama may not have developed and evolved in quite the way it didthe ways in which the Gothic engages in a complex dialogue with Shakespeare, often through the use of quotation, citation and analogythe extent to which the relationship between Shakespeare and the Gothic requires a radical reappraisal in the light of contemporary literary theory, as well as the popular extensions of the Gothic into many modern modes of representation.In Gothic Shakespeares, Shakespeare is considered alongside major Gothic texts and writers – from Horace Walpole, Ann Radcliffe, Matthew Lewis and Mary Shelley, up to and including contemporary Gothic fiction and horror film. This volume offers a highly original and truly provocative account of Gothic reformulations of Shakespeare, and Shakespeare’s significance to the Gothic.Contributors include: Fred Botting, Elizabeth Bronfen, Glennis Byron, Sue Chaplin, Steven Craig, John Drakakis, Michael Gamer, Jerrold Hogle, Peter Hutchings, Robert Miles, Dale Townshend, Scott Wilson and Angela Wright.

Readings of Shakespeare were both influenced by and influential in the rise of Gothic forms in literature and culture from the late eighteenth century onwards. Shakespeare’s plays are full of ghosts, suspense, fear-inducing moments and cultural anxieties which many writers in the Gothic mode have since emulated, adapted and appropriated.The contributors to this volume consider:Shakespeare’s relationship with popular Gothic fiction of the eighteenth centuryhow, without Shakespeare as a point of reference, the Gothic mode in fiction and drama may not have developed and evolved in quite the way it didthe ways in which the Gothic engages in a complex dialogue with Shakespeare, often through the use of quotation, citation and analogythe extent to which the relationship between Shakespeare and the Gothic requires a radical reappraisal in the light of contemporary literary theory, as well as the popular extensions of the Gothic into many modern modes of representation.In Gothic Shakespeares, Shakespeare is considered alongside major Gothic texts and writers – from Horace Walpole, Ann Radcliffe, Matthew Lewis and Mary Shelley, up to and including contemporary Gothic fiction and horror film. This volume offers a highly original and truly provocative account of Gothic reformulations of Shakespeare, and Shakespeare’s significance to the Gothic.Contributors include: Fred Botting, Elizabeth Bronfen, Glennis Byron, Sue Chaplin, Steven Craig, John Drakakis, Michael Gamer, Jerrold Hogle, Peter Hutchings, Robert Miles, Dale Townshend, Scott Wilson and Angela Wright.

The Gothic World offers an overview of this popular field whilst also extending critical debate in exciting new directions such as film, politics, fashion, architecture, fine art and cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections look at:Gothic HistoriesGothic SpacesGothic Readers and WritersGothic SpectacleContemporary Impulses.The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries and creates, indeed, its own ‘World’.

This book offers unique and fresh perspectives upon the literary productions of one of the most highly remunerated and widely admired authors of the Romantic period, Ann Radcliffe (1764-1823). While drawing upon, consolidating and enriching the critical impulses reflected in Radcliffe scholarship to date, this collection of essays, composed by a range of renowned scholars of the Romantic period, also foregrounds the hitherto neglected aspects of the author's work. Radcliffe's relations to Romantic-era travel writing; the complex political ideologies that lie behind her historiographic endeavours; her poetry and its relation to institutionalised forms of Romanticism; and her literary connections to eighteenth-century women's writing are all examined in this collection. Offering fresh considerations of the well-known Gothic fictions and extending the appreciation of Radcliffe in new critical directions, the collection reappraises Radcliffe's full oeuvre within the wider literary and political contexts of her time.

This first volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in Western civilisation, from the Goths' sacking of Rome in 410 AD through to its manifestations in British and European culture of the long eighteenth century. Written by international cast of leading scholars, the chapters explore the interdisciplinary nature of the Gothic in the fields of history, literature, architecture and fine art. As much a cultural history of Gothic as an account of the ways in which the Gothic has participated within a number of formative historical events across time, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From writers such as Horace Walpole and Ann Radcliffe to eighteenth-century politics and theatre, the volume provides a thorough and engaging overview of early Gothic culture in Britain and beyond.

This second volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in British, American and Continental European culture, from the Romantic period through to the Victorian fin de siècle. Here, leading scholars in the fields of literature, theatre, architecture and the history of science and popular entertainment explore the Gothic in its numerous interdisciplinary forms and guises, as well as across a range of different international contexts. As much a cultural history of the Gothic in this period as an account of the ways in which the Gothic mode has participated in the formative historical events of modernity, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From Romanticism, to Penny Bloods, Dickens and even the railway system, the volume provides a compelling and comprehensive study of nineteenth-century Gothic culture.

The third volume of The Cambridge History of the Gothic is the first book to provide an in-depth history of Gothic literature, film, television and culture in the twentieth and twenty-first centuries (c. 1896-present). Identifying key historical shifts from the birth of film to the threat of apocalypse, leading international scholars offer comprehensive coverage of the ideas, events, movements and contexts that shaped the Gothic as it entered a dynamic period of diversification across all forms of media. Twenty-three chapters plus an extended introduction provide in-depth accounts of topics including Modernism, war, postcolonialism, psychoanalysis, counterculture, feminism, AIDS, neo-liberalism, globalisation, multiculturalism, the war on terror and environmental crisis. Provocative and cutting edge, this will be an essential reference volume for anyone studying modern and contemporary Gothic culture.

This first volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in Western civilisation, from the Goths' sacking of Rome in 410 AD through to its manifestations in British and European culture of the long eighteenth century. Written by international cast of leading scholars, the chapters explore the interdisciplinary nature of the Gothic in the fields of history, literature, architecture and fine art. As much a cultural history of Gothic as an account of the ways in which the Gothic has participated within a number of formative historical events across time, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From writers such as Horace Walpole and Ann Radcliffe to eighteenth-century politics and theatre, the volume provides a thorough and engaging overview of early Gothic culture in Britain and beyond.

This second volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in British, American and Continental European culture, from the Romantic period through to the Victorian fin de siècle. Here, leading scholars in the fields of literature, theatre, architecture and the history of science and popular entertainment explore the Gothic in its numerous interdisciplinary forms and guises, as well as across a range of different international contexts. As much a cultural history of the Gothic in this period as an account of the ways in which the Gothic mode has participated in the formative historical events of modernity, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From Romanticism, to Penny Bloods, Dickens and even the railway system, the volume provides a compelling and comprehensive study of nineteenth-century Gothic culture.

The third volume of The Cambridge History of the Gothic is the first book to provide an in-depth history of Gothic literature, film, television and culture in the twentieth and twenty-first centuries (c. 1896-present). Identifying key historical shifts from the birth of film to the threat of apocalypse, leading international scholars offer comprehensive coverage of the ideas, events, movements and contexts that shaped the Gothic as it entered a dynamic period of diversification across all forms of media. Twenty-three chapters plus an extended introduction provide in-depth accounts of topics including Modernism, war, postcolonialism, psychoanalysis, counterculture, feminism, AIDS, neo-liberalism, globalisation, multiculturalism, the war on terror and environmental crisis. Provocative and cutting edge, this will be an essential reference volume for anyone studying modern and contemporary Gothic culture.

The Gothic World offers an extensive overview of the popular field of the Gothic, from the eighteenth century through to the present day. Encompassing the literary, it also extends critical debate in exciting new directions, including film, politics, fashion, architecture, fine art, music, technology and cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections of the volume consider:Gothic historiesGothic spacesGothic readers and writersGothic spectacleContemporary impulses.The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries: a "Gothic World," indeed.

This book offers unique and fresh perspectives upon the literary productions of one of the most highly remunerated and widely admired authors of the Romantic period, Ann Radcliffe (1764-1823). While drawing upon, consolidating and enriching the critical impulses reflected in Radcliffe scholarship to date, this collection of essays, composed by a range of renowned scholars of the Romantic period, also foregrounds the hitherto neglected aspects of the author's work. Radcliffe's relations to Romantic-era travel writing; the complex political ideologies that lie behind her historiographic endeavours; her poetry and its relation to institutionalised forms of Romanticism; and her literary connections to eighteenth-century women's writing are all examined in this collection. Offering fresh considerations of the well-known Gothic fictions and extending the appreciation of Radcliffe in new critical directions, the collection reappraises Radcliffe's full oeuvre within the wider literary and political contexts of her time.

This volume provides a comprehensive account of the oeuvre of Matthew Gregory Lewis (1775–1818), from his juvenilia through to his romances and shorter tales, dramas, translations, adaptations, ballads, poetry and editorial endeavours, and into his posthumously published writings on slavery. Across an extended introduction and six chapters, the argument offers fresh considerations of Lewis’s well-known Gothic works whilst also providing coverage of his more obscure published and unpublished texts. Based on extensive archival research undertaken in Britain, North America and the Caribbean, the book restores to critical focus a number of Lewis’s works that have not previously been given scholarly attention. While drawing, where relevant, upon the biographical studies of earlier critics, the study remains first and foremost a literary history, and the first closely to situate this most prolific, versatile and influential of late eighteenth- and early nineteenth-century British writers in relation to Gothic and Romantic literary culture more broadly.