Gavin Budge, Romanticism, Medicine and the Natural Supernatural: Transcendent Vision and Bodily Spectres, 1789-1852. Review by Neşe Devenot

Gavin Budge, Romanticism, Medicine and the Natural Supernatural: Transcendent Vision and Bodily Spectres, 1789-1852 (Palgrave Macmillan, 2013). 304 pp. (Hdbk., $105.00; ISBN 9780230238466).

Neşe Devenot
University of Puget Sound

Kirstin Collins Hanley, Mary Wollstonecraft, Pedagogy, and the Practice of Feminism. Review by Katherine Gustafson

Kirstin Collins Hanley, Mary Wollstonecraft, Pedagogy, and the Practice of Feminism. (Routledge, New York: 2013). 188 pp. (Hdbk., $145; ISBN 9780415893350).  

Katherine Gustafson
Indiana University Northwest

The Cenci: Gothic Shelley

According to the period’s dominant imaginary conspiracy was ‘totalizing’; it explained everything. Against this was the urgent task of imaging a form of agency that could effectively countermand the spirit of tyranny. Why was the Gothic necessary for Shelley? Part of our answer lies in the fact that Gothic precedents addressed both these crucial points. At the heart of the post-Walpolian Gothic’s ‘symbolic constitution’ lies the ‘dead hand of the past’, a metaphor for the way the past not only reaches into the present, but holds it in its palsied grip. The Gothic is a means of imagining vicious circles of transgression and violence repeating themselves down through the generations. As we shall see, the inherited vicious circle is precisely the crux that motivates The Cenci. But by the time Shelley started his Gothic experiments crucial modifications had been made to its symbolic constitution that made it even more eligible for his purposes. These changes were instigated by Friedrich Schiller, in Der Geisterseher (1789; translated as the Ghost-seer, 1795) and William Godwin in Caleb Williams (1794).

Schiller’s primary contribution to the Gothic was to provide a narrative form for representing the threat of conspiracy, whether revolutionary or Counter-Reformational.     

It was Godwin who urgently raised the question of historical agency. When he refers to the “Gothic and unintelligible burden of past institutions” he is just one of many radicals responding to Burke’s defense of the Gothic constitution and chivalry, the legal and social customs he celebrates as the ties that bind the English present.

All these constituents of the Gothic’s symbolic constitution (as it stood in the late 1810s) come together in The Cenci:

As a work of abstracted Gothic, The Cenci explores the problematic nature of modern systems of power by drawing upon the symbolic constitution of the Gothic as it stood post-Schiller and post-Godwin. In the preface to The Cenci Shelley references the key elements of the Gothic’s symbolic constitution that will concern him: the dead hand of the past; the baleful influence of Gothic institutions that live on in the present; the tendency of this influence to leave us living in vicious circles of abuse; a moral antinomy that prods the reader into analytical action as a way of rising above such circles; the self-defeating nature of conspiracy; a belief in the totalizing power of tyranny; the strenuous difficulty of regaining historical agency; the delusive glamour of the sublime; and, finally, and certainly not least, critique of Burke. After noting these key Gothic elements, Shelley’s thought takes a surprising turn. Rather than freeing us ‘self-anatomy’ is shown to lead to more Gothic entrapment. The Cenci suggests that the way to lighten the “Gothic and unintelligible burden of past institutions” is through the austere prescriptions of the categorical imperative.

In effect Shelley is telling us that he has moved on from his juvenile, jejune understanding of conspiracy (the sublimity of the secret societies) to a more abstraction proposition in which counterproductive conspiracy (any literal endeavour) is compared unfavourably with a conspiracy to make the reader think.

November 2015

Between Saints and Monsters: Elegy, Materialization, and Gothic Historiography in Percy Shelley’s Adonais and The Wandering Jew

Building on Jerrold E. Hogle's thinking about Gothic historiography and Julia Lupton's analysis of Renaissance hagiography, this paper explores the Gothic as a reliquary of sorts where rejected and outdated forms of historical consciousness persist beyond the moment of their ostensible viability. Shelley's Adonais (1821) and The Wandering Jew (1810), I argue, demonstrate how historical thought itself is haunted by elements that cannot enter into history proper. In the oscillation between Keats’s preservation as celebrity and the Wandering Jew’s violent exclusion from rational history, we encounter an historical materiality that irritates the “progressive revelation” (Wasserman) that the elegy—one mode of Gothic hagiography—supposedly provides. Secular historiography, undertaken by what was called in the 18th century “the philosophy of history,” remains a theodicy that finds in elegy a poetic correlate to hagiography: in this model, all loss, violence, or suffering is read as a kind of felix culpa with elegy providing aesthetic compensation for trauma. Shelley, however, undermines these recuperative aesthetics in Adonais as the text unveils a materiality that falls outside ideal afterlife. This failed translation of the body gains its own corpus, so to speak, in the Wandering Jew. Shelley’s Wandering Jew suffers the discipline—in every sense of that word—of official historiography. Bypassing both the Church and the graveyard, the Jew exists as a counter-narrative to Christian and secular progressivism—for the “secular” is but the uncanny reiteration of Christianity, the continuation of Christian history in the form of its ostensible elimination. Living his afterlife perpetually wounded, the Jew collapses progressive history by bearing trauma materially out of the past and into the future. But Shelley’s Gothic, historical thought does not stop there. Rather, in shifting between the figuration of history as ideal (canonical) and as Real (traumatic), Adonais gestures, further, toward history's materialization: an action of historicization that cannot be fully rationalized by either kind of narrative figuration, or even contained between the poles of figuration and disfiguration. While it is indeed uncanny that the past should live on—as a negativity—into a future its suppression ostensibly renders possible, the root of this relation lies even deeper, in the tissue of historicization itself: historicism, in its various narrative forms, aims not to sensitize but to insulate consciousness from the “matter” of history.

November 2015


Shelley’s Zastrozzi, A Romance: Anti-Jacobin Paranoiac Fantasy and the Semblance of Subversion

When Shelley published Zastrozzi in 1810, its Gothic conventions had already become a target of satire in the wake of anti-Jacobin polemics against the revolutionary zeal expressed in the “Pamphlet Wars” (1790-91). Although Shelley was entering an ideological battle that had apparently already been won by reactionary anti-Jacobin forces, conservative paranoia provided a target-rich environment for a transgressive aesthetic that played upon fears of persecution, conspiracy, and libertinism. Shelley exploits this opportunity by positioning Zastrozzi not as a satire of the Gothic (as several prominent Shelley scholars have suggested) nor a mouthpiece (in the character of Zastrozzi) for his own subversive philosophical commitments, but as a diagnostic study of anti-Jacobin paranoiac fantasy, expressed through one of their favorite targets of derision—the gothic novel.

November 2015



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