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Gothic Antiquity - History, Romance, and the Architectural Imagination, 1760-1840 (Hardcover)
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Gothic Antiquity - History, Romance, and the Architectural Imagination, 1760-1840 (Hardcover)
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Gothic Antiquity: History, Romance, and the Architectural
Imagination, 1760-1840 provides the first sustained scholarly
account of the relationship between Gothic architecture and Gothic
literature (fiction; poetry; drama) in the late eighteenth and
early nineteenth centuries. Although the relationship between
literature and architecture is a topic that has long preoccupied
scholars of the literary Gothic, there remains, to date, no
monograph-length study of the intriguing and complex interactions
between these two aesthetic forms. Equally, Gothic literature has
received only the most cursory of treatments in art-historical
accounts of the early Gothic Revival in architecture, interiors,
and design. In addressing this gap in contemporary scholarship,
Gothic Antiquity seeks to situate Gothic writing in relation to the
Gothic-architectural theories, aesthetics, and practices with which
it was contemporary, providing closely historicized readings of a
wide selection of canonical and lesser-known texts and writers.
Correspondingly, it shows how these architectural debates responded
to, and were to a certain extent shaped by, what we have since come
to identify as the literary Gothic mode. In both its 'survivalist'
and 'revivalist' forms, the architecture of the Middle Ages in the
long eighteenth century was always much more than a matter of
style. Incarnating, for better or for worse, the memory of a
vanished 'Gothic' age in the modern, enlightened present, Gothic
architecture, be it ruined or complete, prompted imaginative
reconstructions of the nation's past-a notable 'visionary' turn, as
the antiquary John Pinkerton put it in 1788, in which Gothic
writers, architects, and antiquaries enthusiastically participated.
The volume establishes a series of dialogues between Gothic
literature, architectural history, and the antiquarian interest in
the material remains of the Gothic past, and argues that these
discrete yet intimately related approaches to vernacular antiquity
are most fruitfully read in relation to one another.
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