Titlebook: Inventing the Gothic Corpse; The Thrill of Human Yael Shapira Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Death.Anne Ra

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Commonplace

Book 2018from an instructive icon into a thrill device. For centuries, vivid images of the corpse were used to deliver a spiritual or political message; today they appear regularly in Gothic and horror stories as a source of macabre pleasure. Yael Shapira’s book tracks this change at it unfolds in eighteenth

參考書目

Conclusion: Remains to Be Seen,ment, Shapira turns to one of the Gothic corpse’s iconic late twentieth-century incarnations in Stephen King’s . (1977), where the portrayal of human remains no longer offers even the pretense of a purpose beyond the excitement of the reader and appears, moreover, in what has by now become a self-evident form of entertainment.

BILK

Spectacles for Sale: Reframing the Didactic Corpse in Behn and Defoehese didactic precursors, Defoe and Behn also acknowledge that vivid descriptions of the corpse are a source of authorial profit and readerly pleasure. Long before Gothic and horror literature, these early novelists begin to transform the dead body from a vehicle of instruction into a form of fictional entertainment.

Immobilize

Shamelessly Gothic: Enjoying the Corpse in , and ,g accused and redefines the corpse as a source of pornographic gratification. Revising not only Lewis but Richardson, Dacre strengthens the dead body’s link to the pursuit of desire and power and even hints at the radical possibility of a distinctive female pleasure in particular kinds of corpses.

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Introduction: The Novel, the Corpse and the Eighteenth-Century Marketplace,ly as commercial entertainment, and like other entrepreneurs, novelists hesitated between economic opportunity and the stigma of unprincipled pandering. Finally, Shapira turns to the audience, claiming that novelists chose whether to accommodate or to discipline a love of gory spectacle seen as a distinctive British trait.

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Cloudburst

Death, Delicacy and the Novel: The Corpse in Women’s Gothic Fictione “indelicacy.” Complicating existing accounts of the Female Gothic, the chapter further uses Minerva Press authors Isabella Kelly and Mrs. Carver to show that Radcliffe’s strategy, not innately or universally “female,” is a product of her particular aspirations.

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