This edited collection deals with dream as a literary trope and as a source of creativity in women’s writings. It gathers essays spanning a time period from the end of the seventeenth century to the mid-nineteenth century, with a strong focus on the Romantic period and particularly on Mary Shelley’s Frankenstein, in which dreams are at the heart of the writing process but also constitute the diegetic substance of the narrative. The contributions re-examine the oneiric facets of the novel and develop fresh perspectives on dreams and dreaming in Mary Shelley’s fiction and on other female authors (Anne Finch, Ann Radcliffe, Emily and Charlotte Brontë and a few others), re-appraising the textuality of dreams and their link to women’s creativity and creation as a whole.

Theology in the Early British and Irish Gothic, 1764–1832 reassesses the relationship between contemporary theology and the Gothic. Investigating Gothic aesthetics, depictions of the supernatural and portrayals of religious organisations, it explores how the Gothic engages with contemporary theologies, both Dissenting and Anglican. Moving away from the emphasis on either a monolithic Protestantism or on the Gothic as a secular mode, it shows the ways in which the Gothic exploration of the transcendent and the obscure cannot be separated from the diverse theologies of its day. The project maps how the Gothic not only reflects but actively engages in the theological debates and controversies contemporary to its efflorescence.

This volume examines the world of German women writers who emerged in the burgeoning literary marketplace of eighteenth-century Europe.

Dream Revisionaries examines the literary, social, and historical catalysts for this sudden efflorescence of women's utopian writing. It delineates the historical contours of mainstream utopian fiction, examines the place of women in canonical texts, and demonstrates how the utopian responses of women in the 17th, 18th, and early 19th centuries paved the way for the late-19th-century texts discussed in this study. Lewes observes how women's utopian fiction facilitated the creation of political and social manifestos that responded to the late-19th-century historical environment and how nationality sometimes complicated and even overrode the authors' apparent commonalities. This volume demonstrates how the genre was used to reconcile historically opposed feminist ideologies and compares texts of the 1870s and 1970s, showing that the supposedly "new" type of women's utopian writing in many ways resembled that of a century earlier.

Based on a listing of novels, authors and publication details from 1696 to 1796, the study traces the pattern of growth of women's fiction and offers an explanation fot the rise of women writers as a group during this period.

Duggan, and Adrion Dula hope both to foreground women writers' important contributions to the genre and to challenge common assumptions about what a fairy tale is for scholars, students, and general readers.