Critical consideration of anti‐Semitism in Gothic literature in recent decades developed out of scholarship examining the Gothic's engagement with religious/theological issues. Several exemplary essays focus on the figure of the Jew in Bram Stoker's
Dracula
(1897) and other Victorian fin‐de‐siècle texts, and Davison (2004) presents a comprehensive overview of anti‐Semitism in British Gothic literature and the terror fuelled by the “Jewish Question,” issues and resolutions relating to the Jews, primarily in Europe, who long occupied an unequal legal and civil status to non‐Jews. Several scholars have cogently argued that the atmospheric terror and rhetoric of Gothic literature is theological at its core, and that these works are essentially veiled cautionary‐style sermons. The critical commonplace, largely uncontested, is that British Gothic literature is marked by a prevalent anti‐Catholicism. In an attempt to assert the hegemony of Anglicanism/Protestantism, Catholicism, Britain's former national religion, is generally represented as corrupt, obscurantist, deviant, and grounded in superstition. In stark contrast, fanatical Protestant sects have been identified as the principal target in American and Scottish Gothic literature (see
american gothic
;
scottish gothic
). Despite this key difference, both traditions were established by Protestants/Anglicans who, in the views of numerous critics, displaced their fears about their own nature, condition, and fate onto various Others.