The book is unique and ground-breaking in that it constitutes the first sustained analysis which comprehensively proves that a revision is required of the critical commonplace idea in Gothic scholarship that the roots of the Gothic novel should be seen within a late eighteenth-century popular anti-Catholicism.

The Gothic Ideology argues that in order to modernize and secularize, the British Protestant imaginary needed an 'other' against which it could define itself as a culture and a nation with distinct boundaries. The 'Gothic ideology' is identified as an intense religious anxiety, produced by the aftershocks of the Protestant reformation, the Catholic Counter-Reformation, and the dynastic upheavals produced by both events in England, Germany, and France, and was played out in hundreds of Gothic texts published throughout Europe between the mid-eighteenth century and 1880. This book is the first to read the Gothic ideology through the historical context of both King Henry VIII's dissolution of the monasteries and the extensive French anti-clerical and pornographic works that were well-known to Horace Walpole and Matthew Lewis. The book argues that Gothic was thoroughly invested in a crude form of anti-Catholicism that fed lower class prejudices against the passage of a variety of Catholic Relief Acts that had been pending in Parliament since 1788 and finally passed in 1829.

O'Gorman presents a study of the role of Catholicism in American Gothic literature, exploring its influence as a religion without a country and its ability to permeate borders and American traditions.

It has long been recognised that the Gothic genre sensationalised beliefs and practices associated with Catholicism. Often, the rhetorical tropes and narrative structures of the Gothic, with its lurid and supernatural plots, were used to argue that both Catholicism and sexual difference were fundamentally alien and threatening to British Protestant culture. Ultimately, however, the Gothic also provided an imaginative space in which unconventional writers from John Henry Newman to Oscar Wilde could articulate an alternative vision of British culture. Patrick O'Malley charts these developments from the origins of the Gothic novel in the mid-eighteenth century, through the mid-nineteenth-century sensation novel, toward the end of the Victorian Gothic in Bram Stoker's Dracula and Thomas Hardy's Jude the Obscure. O'Malley foregrounds the continuing importance of Victorian Gothic as a genre through which British authors defined their culture and what was outside it.

For he was perfectly aware that fear, and a sickening kind of repulsion, formed a very large element in his emotions. For nearly two hours, unless three persons had lied consummately, he--his essential being, that sleepless self that underlies all--had been in strange company, had become identified in some horrible manner with the soul of a dead person.

The Gothic Wanderer Rises Eternal in Popular Literature From the horrors of sixteenth century Italian castles to twenty-first century plagues, from the French Revolution to the liberation of Libya, Tyler R. Tichelaar takes readers on far more than a journey through literary history. The Gothic Wanderer is an exploration of man's deepest fears, his eff orts to rise above them for the last two centuries, and how he may be on the brink finally of succeeding. Tichelaar examines the figure of the Gothic wanderer in such well-known Gothic novels as "The Mysteries of Udolpho," "Frankenstein," and "Dracula," as well as lesser known works like Fanny Burney's "The Wanderer," Mary Shelley's "The Last Man," and Edward Bulwer-Lytton's "Zanoni." He also finds surprising Gothic elements in classics like Dickens' "A Tale of Two Cities" and Edgar Rice Burroughs' "Tarzan of the Apes." From Matthew Lewis' "The Monk" to Stephenie Meyer's "Twilight," Tichelaar explores a literary tradition whose characters refl ect our greatest fears and deepest hopes. Readers will find here the revelation that not only are we all Gothic wanderers--but we are so only by our own choosing. Acclaim for "The Gothic Wanderer" ""The Gothic Wanderer" shows us the importance of its title figure in helping us to see our own imperfections and our own sometimes contradictory yearnings to be both unique and yet a part of a society. The reader is in for an insightful treat." --Diana DeLuca, Ph.D. and author of Extraordinary Things "Make no mistake about it, The Gothic Wanderer is an important, well researched and comprehensive treatise on some of the world's finest literature." --Michael Willey, author of Ojisan Zanoni Foreword by Marie Mulvey-Roberts, Ph.D. Learn more at www.GothicWanderer.com From Modern History Press www.ModernHistoryPress.com Literary Criticism: Gothing & Romance Literary Criticism: European - General

Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century This book provides a robustly theorised and thoroughly historicised account of the 'beginnings' of Irish gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance.