Italy and the Gothic

Demata, Massimiliano

doi:10.7227/gs.8.1.2

Cited by 5 publications

(3 citation statements)

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“…Stand all aside, leave Lei'ster to my arm -Dunlap 146-) the final perpetrators of the ultimate crime of the drama. Assassins, or banditti, had been a common resource in Gothic literature since the moment Ann Radcliffe situated her romances in Italy, as Massimiliano Demata (2006) argues: 23 Radcliffe used Edmund Burke's ideas on the sublime in her visual representation of Italy, and especially in the landscapes of the Alps and Appennines, which she knew through her extensive reading of travel books. Italy was dominated by mysterious banditti and wicked priests, and, closely associated with the tragic grandeur of her famous villains, Montoni (in The Mysteries of Udolpho) and Schedoni (in The Italian) (2).…”

Section: Work Citedmentioning

confidence: 99%

William Dunlap’s Leicester; or, the Migration of Gothic Drama

Correoso-Rodenas¹

2020

IJLL

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It is needless to say that Gothic has been (and still is) one of the most successful and fruitful literary movements ever developed in the Western Hemisphere. Lesser know is that it had its dramatic counterpart, a much less profitable subgenre, although cultivated by the leading authors that had enthroned gothic novels. The main objective of this article is to show how William Dunlap, the so-called father of American drama adapted the European conventions for the Gothic and rewrote them in the newly born United States. Through his tragedy Leicester (1807), it will be seen how Dunlap was both an inheritor of dramatic previous traditions (like Shakespeare's tragedies) and of Gothic (both novel and drama), as his relation with Charles Brockden Brown stated. This play (among others Dunlap wrote) proves how the genre "migrated" from European soil to America, as it had previously happened with narrations, generating a new tradition which lasts until the present day.

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Section: Work Citedmentioning

confidence: 99%

William Dunlap’s Leicester; or, the Migration of Gothic Drama

Correoso-Rodenas¹

2020

IJLL

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“…The Gothic rendering of Italy represents an important moment in the romantic depiction of Italy, refracting tensions in the relations between the emergent class of commercially-oriented bourgeois authors and aristocratic and conservative writers and poets. The Gothic novel opened up a discursive space in which a distinctively bourgeois response to the wider social, political and religious changes of the period was formulated (Kelly, 1989;Demata, 2006). Specifically, in ways which capture the ambivalence of the bourgeois authors towards those above them e.g.…”

Section: Romantic Italy: 1780-1830mentioning

confidence: 99%

“…The use and appropriation of Italy and Italian themes on the part of a class of writers not possessed of the means to undertake the Tour of Italy forms part of a self-conscious attempt to emulate the cultural proclivities of their social superiors. That the Gothic novels were set in Southern Italy, largely unexplored and unknown to British tourists, provided authors with an unspoiled imaginative terrain on which to think through and consolidate the coordinates of an emergent bourgeois subjectivity (Demata, 2006).…”

Section: Romantic Italy: 1780-1830mentioning

confidence: 99%

Reconsidering Cultural Representation with Field Theory: Continuity and Change in the Discursive Construction of Italy and the Italians in England from 1680 to 1830

Thorpe

2019

Journal of Cultural Analysis and Social Change

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This article demonstrates the comparative merits of Bourdieu's field theory, as opposed to the composite theoretical model set out in Edward Said's Orientalism specifically and critical normative approaches to theorizing constructions of otherness more generally, as the basis for a more analytically differentiated account of cultural representation. Crucially, one capable of acknowledging the generative effects negative constructions of the other have for informing the contexts in which positive constructions arise and how the interplay of both negative and positive discursive constructions inform continuity and change in the discursive representation of the cultural other over time. Drawing on secondary historical data relating to discursive representations of Italy and the Italians in England during the period 1680 to 1830, the argument is made that both negative and positive discourses of Italy and the Italians arise out of and inform relations of conflict and cohesion conjoining agents at an intra-, as opposed to inter-, cultural level. It is the variable conditions of fields which determine agents' dispositions towards representing the other either negatively and or positively. The article concludes by reflecting on the limits of the 'Saidian' legacy for theorizing cultural representation and calls for the analytical significance of positive constructions of the other to be further problematized and explored.

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Jacobean Drama and the Macabre

Whiteley

2021

The Palgrave Handbook of Gothic Origins

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Italy and the Gothic

Cited by 5 publications

References 2 publications

William Dunlap’s Leicester; or, the Migration of Gothic Drama

William Dunlap’s Leicester; or, the Migration of Gothic Drama

Reconsidering Cultural Representation with Field Theory: Continuity and Change in the Discursive Construction of Italy and the Italians in England from 1680 to 1830

Jacobean Drama and the Macabre

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