Skip to main content
SpringerLink
Log in

Shamelessly Gothic: Enjoying the Corpse in The Monk and Zofloya

  • Chapter
  • First Online:
Inventing the Gothic Corpse

  • 378 Accesses

Abstract

This chapter presents Matthew Lewis’s The Monk (1796) and Charlotte Dacre’s Zofloya, or, the Moor (1806) as works in which the corpse becomes fully “Gothic,” in the sense defined by the book: it is not only depicted in gruesome detail, but identified as a thrill device through the stories in which it appears. Rejecting fiction’s commitment to didacticism through an audacious rewriting of Clarissa, The Monk embraces the pleasure-focused mission of which eighteenth-century novels were long 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.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution
Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 79.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 99.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 109.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Notes

  1. 1.

    Matthew Lewis, The Monk, ed. Howard Anderson (Oxford: Oxford World’s Classics, 1995), 275.

  2. 2.

    Ibid., 403.

  3. 3.

    Ibid., 412–13.

  4. 4.

    Charlotte Dacre, Zofloya, or the Moor, ed. Kim Ian Michasiw (Oxford: Oxford University Press, 1997), 186, 221, 226.

  5. 5.

    Joseph Bartolomeo, A New Species of Criticism: Eighteenth-Century Discourse on the Novel (Newark: University of Delaware Press, 1994), 94.

  6. 6.

    Lewis, The Monk, 160.

  7. 7.

    For Anne Williams, Lewis’s persistent equation of women with dead flesh expresses “an unconscious and uncanny dread of the culturally ‘female’ in all her manifestations.” Anne Williams, Art of Darkness: A Poetics of Gothic (Chicago: Chicago University Press, 1995), 115; see also Kari J. Winter, “Sexual/ Textual Politics of Terror: Writing and Rewriting the Gothic Genre in the 1790s,” in Misogyny in Literature: An Essay Collection, ed. Katherine Ann Ackley (New York: Garland, 1992). I discuss the significance of Lilla’s murder in more detail below.

  8. 8.

    The libertine philosophy echoed by Lewis and Dacre and its connections to radical thought are discussed (respectively) in Markman Ellis, The History of Gothic Fiction (Edinburgh: Edinburgh University Press, 2000), Chap. 3, and Adriana Craciun, Fatal Women of Romanticism (Cambridge: Cambridge University Press, 2003), Chap. 4.

  9. 9.

    Lewis especially had access to the “stream of texts … bearing witness to Revolutionary atrocities,” which—as Ellis notes—would have been readily available to him during his stint as an attaché at the Hague. History of Gothic Fiction, 103.

  10. 10.

    Ibid., 105.

  11. 11.

    Lewis, The Monk, 304, 356. On the Revolutionary significance of the lynching scene in The Monk see, for example, Ronald Paulson, Representations of Revolution 1789–1820 (New Haven: Yale University Press, 1983), 218–19; André Parreaux, The Publication of The Monk: A Literary Event, 1796–1798 (Paris: Didier, 1960), 132; Ellis, History of Gothic Fiction, 82; and James Whitlark, “Heresy Hunting: The Monk and the French Revolution,” Romanticism on the Net 8 (November 1997), special issue on Matthew Lewis’s The Monk, ed. Frederick Frank, https://doi.org/10.7202/005773ar, para. 8.

  12. 12.

    The similarity to Corday is noted in E.J. Clery, Women’s Gothic ​from Clara Reeve to Mary Shelley (Horndon, Tavistock, Devon: Northcote House, 2000), 114.

  13. 13.

    Robert Darnton, The Forbidden Best-Sellers of Pre-Revolutionary France (New York: W. W. Norton, 1995), 90.

  14. 14.

    Ellis, History of Gothic Fiction, 107; Craciun, Fatal Women of Romanticism, 113.

  15. 15.

    After The Monk, Lewis worked mainly as a dramatist, poet and translator. He did publish some short tales later as well as two romances, The Bravo of Venice (1805) and Feudal Tyrants (1806), both translations of German works that he revised and embellished freely. On Lewis’s German influences see Syndy M. Conger, Matthew G. Lewis, Charles Robert Maturin and the Germans: An Interpretative Study of the Influence of German literature on Two Gothic Novels (Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1976); Gamer , Romanticism and the Gothic, 76–8; Parreaux, Publication of The Monk, Chap. 2; and James Watt, Contesting the Gothic: Fiction, Genre and Cultural Conflict 1764–1832 (Cambridge: Cambridge University Press, 1999), 3.

  16. 16.

    Louis F. Peck , A Life of Matthew G. Lewis (Cambridge: Harvard University Press, 1961), 9; Watt, Contesting the Gothic, 87.

  17. 17.

    In 1792 Lewis claims in a letter to his mother to be writing “a Roma[nce] in the style of the Castle of Otranto,” and in 1794 mentions reading Udolpho, which he describes as “one of the most interesting Books that have ever been published.” Peck, Life, 189, 208.

  18. 18.

    On Lewis and Radcliffe’s dialogue see also Syndy M. Conger, “Sensibility Restored: Radcliffe’s Answer to Lewis’s The Monk,” in Gothic Fictions: Prohibition/ Transgression, ed. Kenneth Graham (New York: AMS Press, 1989), 113–49; Robert Miles, Gothic Writing, 1750–1820: A Genealogy, 2nd ed. (Manchester: Manchester University Press, 2002), Chap. 8; Yael Shapira, “Where the Bodies Are Hidden: Ann Radcliffe’s ‘Delicate’ Gothic,” Eighteenth-Century Fiction 18.4 (2006): 453–76; and Watt , Contesting the Gothic, 87–90.

  19. 19.

    Ellis, History of Gothic Fiction, 89.

  20. 20.

    For critical readings of this divide, see my discussion at the beginning of Chap. 4.

  21. 21.

    Watt , Contesting the Gothic, 101.

  22. 22.

    Frederick S. Frank, “From Boudoir to Castle Crypt: Richardson and the Gothic Novel,” Revue des Langues Vivantes 41 (1975): 49, 51–2, 50; Coral Ann Howells, Love, Mystery and Misery: Feeling in Gothic Fiction (London: Athlone Press, 1978), 64. Kate Ferguson Ellis traces a different path from Richardson to the Gothic in The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology (Urbana: University of Illinois Press, 1989), Chap. 2.

  23. 23.

    D. L. Macdonald, “‘A Dreadful Dreadful Dream’: Transvaluation, Realization, and Literalization of Clarissa in The Monk,” Gothic Studies 6.2 (2004): 157–71.

  24. 24.

    If, as Lauren Fitzgerald claims, accounts of the Lewis/Radcliffe dialogue tend to be told in Gothic terms, picturing Radcliffe as the ravished maiden whose writing Lewis “transgresse[s] in a kind of literary rape,” the violence that Lewis does to Richardson’s novel may require yet another Gothic critical narrative, one more reflective of the novel’s own ambiguous sexualities. Fitzgerald, “Crime, Punishment, Criticism: The Monk as Prolepsis,” Gothic Studies 5.1 (2003): 49.

  25. 25.

    Macdonald mentions the fight with de Staël in his Monk Lewis: A Critical Biography (Toronto: University of Toronto Press, 2000), 189.

  26. 26.

    Parreaux , Publication, gives a thorough overview of the affair.

  27. 27.

    Parreaux , Publication, 43; Lewis, The Monk, 259.

  28. 28.

    Samuel Richardson, Clarissa, or, The History of a Young Lady ed. Angus Ross (Hammondsworth: Penguin, 1985), 1218; Lewis, The Monk, 28.

  29. 29.

    M. G. Lewis, Ambrosio, or, The Monk, a Romance … The Fourth Edition. With Considerable Additions and Alterations. 3 vols. (London, 1798), 1: 43.

  30. 30.

    Macdonald , “‘A Dreadful Dreadful Dream,’” 162.

  31. 31.

    [Samuel Taylor Coleridge,] “The Monk: a Romance.” The Critical Review; or, Annals of Literature 19 (Feb. 1797): 197.

  32. 32.

    My reading of Lewis’s intent is in line with Watt’s view of him as maintaining “a pose of youthful rebellion” even in the wake of the scandal; Contesting the Gothic, 95. For a fuller discussion of Lewis’s complex stance as author after The Monk, see Lisa Wilson, “‘Monk’ Lewis as Literary Lion,” Romanticism on the Net 8 (1997), n.p. https://doi.org/10.7202/005775ar.

  33. 33.

    Lewis, The Monk, 329.

  34. 34.

    Richardson, Clarissa, 1351.

  35. 35.

    Lewis, The Monk, 341. On the link between necrophilia and the monk’s function as confessor, see Laura Miller, “Between Life and Death: Representing Necrophilia, Medicine, and the Figure of the Intercessor in M. G. Lewis’s The Monk,” in Sex and Death in Eighteenth-Century Literature, ed. Jolene Zigarovich (New York: Routledge, 2013), 203–23.

  36. 36.

    Lewis, The Monk, 342.

  37. 37.

    Ibid., 342–3.

  38. 38.

    Ibid., 379; Macdonald, “‘A Dreadful Dreadful Dream,’” 162–3.

  39. 39.

    Macdonald , ibid.; Richardson, Clarissa, 342–3.

  40. 40.

    Lewis, The Monk, 380.

  41. 41.

    Ibid., 440.

  42. 42.

    Ibid., 371.

  43. 43.

    Ibid., 90.

  44. 44.

    Bradford K. Mudge, “How to Do the History of Pornography: Romantic Sexuality and its Field of Vision,” in Historicizing Romantic Sexuality, Romantic Circles: Praxis Series (January 2006), ed. Richard C. Sha: http://www.rc.umd.edu/praxis/sexuality/mudge/mudge.html, para. 23.

  45. 45.

    Robert Miles, “Introduction: Gothic Romance as Visual Technology,” in Gothic Technologies: Visuality in the Romantic Era, Romantic Circles: Praxis Series (December 2005), ed. Robert Miles http://www.rc.umd.edu/praxis/gothic/intro/miles, para. 2.

  46. 46.

    Mudge , “How to Do,” para. 18.

  47. 47.

    Lewis, The Monk, 270–1.

  48. 48.

    Miles , “Gothic Romance as Visual Technology,” para. 11.

  49. 49.

    Ibid.

  50. 50.

    David R. Coffin, “Venus in the Eighteenth-Century English Garden,” Garden History 28 (2000), 183; see also Malcolm Baker, Figured in Marble: The Making and Viewing of Eighteenth-Century Sculpture (Los Angeles: J. Paul Getty Museum, 2000), 119–27. The Temple of Venus at Stowe Gardens, for example, was “decorated with mildly obscene paintings and furnished with soft couches for lovemaking.” James G. Turner, “The Sexual Politics of Landscape: Images of Venus in Eighteenth-Century English Poetry and Landscape Gardening,” Studies in Eighteenth-Century Culture 11 (1982): 346–7.

  51. 51.

    Lewis, The Monk, 271.

  52. 52.

    As I’ve argued elsewhere, the Shakespearean echoes in Lewis’s vault scene suggest a similar appropriation of Juliet as an eroticized object: see Yael Shapira, “Into the Madman’s Dream: The Gothic Abduction of Romeo and Juliet,” in Shakespearean Gothic, ed. Christy Desmet and Anne Williams (Cardiff: University of Wales Press, 2009), 133–54.

  53. 53.

    Lewis, The Monk, 381.

  54. 54.

    James Grantham Turner, “The Erotics of the Novel,” in A Companion to the Eighteenth-Century English Novel and Culture, ed. Paula A. Backscheider and Catherine Ingrassia (Oxford and New York: Blackwell, 2005), 216–17.

  55. 55.

    Richardson, Clarissa, 1383–4.

  56. 56.

    Ellis , History of Gothic Fiction, 89.

  57. 57.

    Howells , Love, Mystery, and Misery, 64.

  58. 58.

    This narrative device has been identified by critics as a persistent feature of pornographic writing: “Everything turns on the gaze,” writes Jean Marie Goulemot of eighteenth-century pornography . “the reader must be made to see, for the book can give rise to the desire for jouissance, for pleasure, only by describing those bodies offered up to stimulate desire … Therein lies the origin of its own tension, its strange and undeniable power.” Jean Marie Goulemot , Forbidden Texts: Erotic Literature and Its Readers in Eighteenth-Century France, trans. James Simpson (Philadelphia: University of Pennsylvania Press, 1994), 43; see also Turner , “Erotics of the Novel.”

  59. 59.

    Lewis, The Monk, 379.

  60. 60.

    Bronfen , Over Her Dead Body, 98.

  61. 61.

    Lewis, The Monk, 379.

  62. 62.

    Robert Kiely. , The Romantic Novel in England (Cambridge: Harvard University Press, 1972), 111.

  63. 63.

    Ibid., 101.

  64. 64.

    Lewis, The Monk, 442.

  65. 65.

    Ibid, 160.

  66. 66.

    Peter Brooks, “Virtue and Terror: The Monk.” ELH 40.2 (1973): 255, 254.

  67. 67.

    Lewis, The Monk, 160; Marie Mulvey-Roberts, “From Bluebeard’s Bloody Chamber to Demonic Stigmatic,” in The Female Gothic: New Directions, ed. Diana Wallace and Andrew Smith (Basingstoke: Palgrave Macmillan, 2009), 106. In Anne  Williams’ reading of the novel, the Bleeding Nun represents “the female principle haunting the patriarchal Symbolic order: the baffling woman at once pure and bloody; chaste and violent; infinitely desirable, yet once attained, horrible beyond measure.” This view is echoed in Craciun’s description of her as a “living corpse” whose touch “introduces decay and impotence into Raymond’s body,” and more recently enhanced by Alison Milbank’s view of her as a “figure of … materiality and mortality” that “demarcate[s] the limitations of male freedom.” Williams, Art of Darkness, 119; Craciun, Fatal Women of Romanticism, 119; Milbank, “Bleeding Nuns: A Genealogy of the Female Gothic Grotesque,” in Wallace and Smith, Female Gothic, 81, 82.

  68. 68.

    Lewis, The Monk, 138.

  69. 69.

    Ibid., 148.

  70. 70.

    Ibid., 164.

  71. 71.

    Ibid., 155.

  72. 72.

    Ibid., 159–60, 161.

  73. 73.

    Ibid., 160.

  74. 74.

    Conger , Matthew G. Lewis, 103.

  75. 75.

    See Jeffrey N. Cox , Introduction to Seven Gothic Dramas, 1789–1825, ed. Jeffrey N. Cox (Athens: Ohio University Press, 1992), 1; and James Robert Allard, “Spectres, Spectators, Spectacles: Matthew Lewis’s The Castle Spectre.” Gothic Studies 3 (2002), 246.

  76. 76.

    Allard , “Spectres, Spectators, Spectacles,” 247.

  77. 77.

    Matthew G. Lewis, The Castle Spectre: A Drama. In Five Acts…. (London, 1798), 79.

  78. 78.

    Lewis, Castle Spectre, 102–3.

  79. 79.

    Ibid., 66–7.

  80. 80.

    Ibid., 69.

  81. 81.

    Paul Ranger provides a detailed study of technical innovations in Gothic drama in “Terror and Pity reign in every Breast”: Gothic Drama in the London Patent Theatres, 1750–1820 (London: The Society for Theatre Research, 1991); see also Paula Backscheider , Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England (Baltimore: The Johns Hopkins University Press, 1993), 153–88.

  82. 82.

    David J. Jones , Gothic Machine: Textualities, Pre-Cinematic Media and Film in Popular Visual Culture, 1670–1910 (Cardiff: Wales University Press, 2011), Chap. 1.

  83. 83.

    Laurent Mannoni and Ben Brewster, “The Phantasmagoria,” Film History 8.4 (1996): 406–7. For more on the Bleeding Nun’s afterlife, see Diane Long Hoeveler, “Smoke and Mirrors: Internalizing the Magic Lantern Show in Villette,” in Gothic Technologies: Visuality in the Romantic Era, Romantic Circles: Praxis Series (December 2005), ed. Robert Miles, https://www.rc.umd.edu/print/praxis/gothic/hoeveler/hoeveler; and Diane Long Hoeveler, “Gothic Adaptation, 1764–1830,” in The Gothic World, ed. Glynnis Byron and Dale Townshend (London: Routledge, 2014), 185–98.

  84. 84.

    Terry Castle, “Phantasmagoria and the Metaphorics of Modern Reverie,” in The Female Thermometer: Eighteenth-Century Culture and the Invention of the Uncanny (Oxford: Oxford University Press, 1995), 149–51. The persistent fascination of such metamorphoses is still evident in Mary Shelly’s Frankenstein, or, The Modern Prometheus (1818), where Victor dreams of meeting “Elizabeth, in the bloom of health” and kissing her only to see her lips become “livid with the hue of death” while her features change and she becomes, as he recalls in horror, “the corpse of my dead mother … a shroud enveloped her forms, and I saw the grave-worms crawling in the folds of the flannel.” Mary Shelley, Frankenstein, Norton Critical Edition, ed. J. Paul Hunter (New York: W. W. Norton, 1996), 34.

  85. 85.

    Lucy Cogan , Introduction to Charlotte Dacre, Confessions of the Nun of St. Omer, ed. Lucy Cogan (London: Routledge/Chawton House Library Series, 2016). E-book, n.p. See also Craciun, Fatal Women of Romanticism, 133; and Ann H. Jones, Ideas and Innovations: Best Sellers of Jane Austen’s Age (New York: AMS Press, 1986), 227.

  86. 86.

    Craciun, Fatal Women of Romanticism, 111.

  87. 87.

    “Zofloya, or the Moor: a Romance of the Fifteenth Century…” Annual Review and History of Literature 5 (January 1806): 542. In Cogan’s words, with Zofloya Dacre’s “effort to present herself as a respectable novelist came to an abrupt end.”

  88. 88.

    Dacre, Zofloya, 3, 268.

  89. 89.

    “Zofloya; or, the Moor…” General Review of British and Foreign Literature 1 (1806): 591.

  90. 90.

    As Sue Chaplin writes, “nothing in the first half of the text prepares the reader for the feminisation of Victoria in the second,” a chasm that “threatens the coherence of the text”; the incoherence, however, clears up somewhat if we notice that Dacre is in fact following the path laid down by The Monk, in which Ambrosio, too, is subordinated and feminized by the increasingly powerful Matilda and her deployment of compelling spectacles. Sue Chaplin , Law, Sensibility and the Sublime in Eighteenth-Century Women’s Fiction: Speaking of Dread (London: Routledge, 2017), 141. Carol Margaret Davison sees Victoria’s pact with Zofloya as a “new twist on the Faust story” that represents “the compact with the devil as a marriage,” while Craciun considers it a critique of marriage itself, in which Victoria’s ultimate destruction is the result of “her submission to another, a husband, who ends her existence as mistress of her own will by gaining her wifely submission through the false promise of protection.” Davison, Gothic Literature 1764–1824 (Cardiff: University of Wales Press, 2009), 154; Craciun, Fatal Women of Romanticism, 147.

  91. 91.

    Though Dacre’s debt to Lewis is widely noted, existing scholarship has not looked very closely into the dialogue between Zofloya and The Monk. Miles’ reading (Gothic Writing, 167–75) is the most detailed; see also Michasiw, “Introduction” to Dacre, Zofloya, xv–xxi. What most critics stress instead is Dacre’s engagement with the precedent of Radcliffe, especially evident in the portrayal of Lilla: see especially Davison, Gothic Literature, 152–9; Diane Long Hoeveler, Gothic Feminism: The Professionalization of Gender from Charlotte Smith to the Brontës (University Park: Pennsylvania State University Press, 1998), 148–58; Miles , Gothic Writing, 174.

  92. 92.

    Davison notes how “Almost predictably, the critics associated Dacre with Victoria and impugned her morals”; Gothic Literature, 152.

  93. 93.

    Dacre was the daughter of the notorious Jonathan King, the “Jew King” of London, who according to Diane Long Hoeveler “eerily resembled her culture’s worst stereotype of a Jew.” Drawing on this biographical background, Hoeveler reads Dacre’s black hero as the coded image of “a Jew, and an abjected, demonized, and wandering Jew at that.” See “Charlotte Dacre’s Zofloya: The Gothic Demonization of the Jew,” in The Jews and British Romanticism: Politics, Religion, Culture, ed. Sheila A. Spector (New York: Palgrave Macmillan, 2005), 176, 166.

  94. 94.

    Dacre, Zofloya, 136.

  95. 95.

    Ibid., 144.

  96. 96.

    The only critical mention I have found of the Richardsonian echoes in Victoria’s dream is by Jonathan Glance, “‘Beyond the Usual Bounds of Reverie’? Another Look at the Dreams in Frankenstein,” The Journal of the Fantastic in the Arts 7.4 (1996): 30–47.

  97. 97.

    Clery, Women’s Gothic, 112.

  98. 98.

    Kim Ian Michasiw , “Introduction,” xx. George R. Haggerty describes Victoria as developing an “obsessive erotic fascination” with Lilla; Queer Gothic (Urbana: University of Illinois Press, 2006), 38.

  99. 99.

    Dacre, Zofloya, 135.

  100. 100.

    Ibid., 137.

  101. 101.

    Miles , Gothic Writing, 170.

  102. 102.

    Dacre, Zofloya, 137.

  103. 103.

    Ibid., 188.

  104. 104.

    Ibid., 189.

  105. 105.

    See Michasiw’s note in Dacre, Zofloya, 278.

  106. 106.

    Miles notes, but does not discuss, Dacre’s rewriting of the Bleeding Nun episode; Gothic Writing, 168, 175.

  107. 107.

    Dacre, Zofloya, 189.

  108. 108.

    Ibid., 190, 191.

  109. 109.

    Ibid., 193.

  110. 110.

    Ibid., 228.

  111. 111.

    Various critics have stressed that Victoria’s rampage against Lilla becomes an attack on a type rather than an individual—e.g., “the domestic female ideal” in one reading, the Radcliffean “female subject, passive, waiting to be penetrated” in another. See Hoeveler, Gothic Feminism, 155; Miles, Gothic Writing, 174.

  112. 112.

    Dacre, Zofloya, 144.

  113. 113.

    Richardson, Clarissa, 1413.

  114. 114.

    Dacre, Zofloya, 203.

  115. 115.

    Haggerty , Queer Gothic, 38; Dacre, Zofloya, 203, 204.

  116. 116.

    Dacre, Zofloya, 223.

  117. 117.

    Ibid., 223, 225, 226.

  118. 118.

    E.g., Carol J . Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film (Princeton, NJ: Princeton University Press, 1992); and Linda Williams, “When the Woman Looks,” in Re-Vision: Essays in Feminist Film Criticism, ed. Mary Ann Doane, Patricia Mellencamp and Linda Williams (Frederick: University Publications of America, 1984), 83–99.

  119. 119.

    On critical attempts to locate the novel on the spectrum between misogyny and feminism, see especially Davison, Gothic Literature, 152–9.

  120. 120.

    Dacre, Zofloya, 226.

  121. 121.

    Ibid., 228, 230.

  122. 122.

    Clery , Women’s Gothic, 115.

  123. 123.

    Dacre, Zofloya, 234.

  124. 124.

    Ibid., 265, 266.

Author information

Authors and Affiliations

  1. Department of English Literature and Linguistics, Bar-Ilan University, Ramat-Gan, Israel

    Yael Shapira

Authors
  1. Yael Shapira
    View author publications

    You can also search for this author in PubMed Google Scholar

Rights and permissions

Reprints and permissions

Copyright information

© 2018 The Author(s)

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Shapira, Y. (2018). Shamelessly Gothic: Enjoying the Corpse in The Monk and Zofloya . In: Inventing the Gothic Corpse. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-76484-9_5

Download citation

Publish with us

Policies and ethics

Search

Navigation