Books > Language & Literature > Literature: history & criticism > Literary studies > 16th to 18th centuries
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The Gothic Novel and the Stage - Romantic Appropriations (Paperback)
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The Gothic Novel and the Stage - Romantic Appropriations (Paperback)
Series: Literary Texts and the Popular Marketplace
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In this ground-breaking study Francesca Saggini explores the
relationship between the late eighteenth-century novel and the
theatre, arguing that the implicit theatricality of the Gothic
novel made it an obvious source from which dramatists could take
ideas. Similarly, elements of the theatre provided inspiration to
novelists. Saggini opens her study with a very useful and
persuasive overview of the themes and forms of Gothic drama. In her
view, stage appropriation is the textual threshold in which
novelistic and dramatic/ performative texts overlap on and
disseminate through each other. She examines in details the use of
three specific aspects of Gothic dramatic language as recorded by
both novel and drama: music, lighting, and scene design. The
following chapters, informed by semiotic and narrative theory,
closely examine the stage appropriations respectively in and of the
Gothic novel, particularly, though not exclusively, the
representation of the supernatural in Ann Radcliffe and Matthew G.
Lewis. Boaden's successful Gothic drama Fontainville Forest
challenges a central aspect of Radcliffe's poetics: her reliance on
the so-called explained supernatural and puts it context by looking
at contemporary stage presentations of the supernatural as offered
for instance in Hamlet. The final part of the study frames Lewis's
representation of the supernatural in The Monk within the
contemporary mechanics of staging and discusses the novel in
relation to contemporary stage presentation and in the context of
Romantic harlequinades and spectacular visual exhibits. Saggini
makes a convincing argument for a transmedial and highly
cooperative reading of Gothic texts and spectacles. Her approach
does not seek to displace the novel or 'the text' from modern
perceptions of the Gothic, but wants to open the genre to plural
and anti-hierarchical forms of reading and to recognise its
resourcefulness in appropriating theatrical t
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