Natalie Neill - Böcker

Mary Charlton's 1799 Rosella, or Modern Occurrences is a fascinating novel that brokers between conservative and feminist ideas, humour and horror, and indulgence in and ridicule of sentimental tropes. Written in imitation of Cervantes’s Don Quixote (1615) and Lennox’s The Female Quixote (1752), Rosella belongs to a large class of comic works in which female readers and novelists are satirized. This edition not only addresses the gap in knowledge about Charlton’s work, but will be of particular interest to scholars working on the Romantic literary market of the 1790s, especially Minerva Press publications. The book engages with many of the themes explored in eighteenth-century and Romantic literature, from women’s writing and female education to popular fiction and sensibility. Accompanied by a new introduction by Professor Natalie Neill, this title will be of great interest to students and scholars of literary history.

Gothic Mash-Ups explores the role of intertextuality in Gothic storytelling through the analysis of texts from diverse periods and media. Drawing on recent scholarship on Gothic remix and adaptation, the contributors examine crossover fictions, multi-source film and comic book adaptations, neo-Victorian pastiches, performance magic, monster mashes, and intertextual Gothic works of various kinds. Their chapters investigate many critical issues related to Gothic mash-up, including authorship, originality, intellectual property, fandom, commercialization, and canonicity. Although varied in approach, the chapters all explore how Gothic storytellers make new stories out of older ones, relying on a mix of appropriation and innovation. Covering many examples of mash-up, from nineteenth-century Gothic novels to twenty-first-century video games and interactive fiction, this collection builds from the premise that the Gothic is a fundamentally hybrid genre.

Gothic Mash-Ups explores the role of intertextuality in Gothic storytelling through the analysis of texts from diverse periods and media. Drawing on recent scholarship on Gothic remix and adaptation, the contributors examine crossover fictions, multi-source film and comic book adaptations, neo-Victorian pastiches, performance magic, monster mashes, and intertextual Gothic works of various kinds. Their chapters investigate many critical issues related to Gothic mash-up, including authorship, originality, intellectual property, fandom, commercialization, and canonicity. Although varied in approach, the chapters all explore how Gothic storytellers make new stories out of older ones, relying on a mix of appropriation and innovation. Covering many examples of mash-up, from nineteenth-century Gothic novels to twenty-first-century video games and interactive fiction, this collection builds from the premise that the Gothic is a fundamentally hybrid genre.