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Titlebook: British Identities, Heroic Nationalisms, and the Gothic Novel, 1764-1824; Toni Wein Book 2002 Palgrave Macmillan, a division of Macmillan

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發(fā)表于 2025-3-21 17:28:14 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱British Identities, Heroic Nationalisms, and the Gothic Novel, 1764-1824
影響因子2023Toni Wein
視頻videohttp://file.papertrans.cn/192/191070/191070.mp4
圖書封面Titlebook: British Identities, Heroic Nationalisms, and the Gothic Novel, 1764-1824;  Toni Wein Book 2002 Palgrave Macmillan, a division of Macmillan
影響因子British Identities, Heroic Nationalisms, and the Gothic Novel, 1764-1824 considers three interlocking developments of this period: the emergence of the Gothic novel at a time when national upheavals required the construction of a new nationalist identity, the Gothic novel‘s redefinition of heroes and heroism in that nationalist debate, and changes within class and gender as well as audience and author relations. The scope of this study extends beyond the confines of the novel proper to include chapbooks and illustrated redactions.
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978-1-349-42961-5Palgrave Macmillan, a division of Macmillan Publishers Limited 2002
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Geological Oceanography of the Bering Shelf,t cousins, eyes and mouth cavernous in wondering amaze, those words signal the heartfelt approval of teller . tale, the successful summoning of chills, dread, sorrow, joy, despair — the gamut of emotions conjurable in an audience. Most of the time, such a reaction confines itself to young audiences,
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Antonio Terlizzi,David R. Schiel family. The family resemblances go beyond the ‘miraculous birth’ myth attending both creations. War and taxation set the stage for the story in both cases. And like that earlier foundational birth, the new hero arises at a moment of ‘tyrannical oppression.’ Yet the class targets of that oppression
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https://doi.org/10.1007/978-3-030-34827-4ferences will help us see how accusations that Radcliffe painted black-and-white portraits of good and evil overstate the case. Admittedly, her settings frequently give good reason for such an accusation, especially when the scene starkly (‘cruelly’ as Radcliffe would have it) contrasts with the fee
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