|Appears in Collections:||History and Politics Journal Articles|
|Peer Review Status:||Refereed|
|Title:||Imagining the Undefined Castle in The Castle of Otranto: Engravings and Interpretations|
The Castle of Otranto
|Citation:||Lindfield P (2017) Imagining the Undefined Castle in The Castle of Otranto: Engravings and Interpretations, Image and Narrative: Online Magazine of the Visual Narrative, 18 (3), pp. 46-63.|
|Abstract:||The Castle of Otranto was a pioneering work: the second edition was the first piece of literary work to include ‘a Gothic story’ in its title, and it is frequently held up as the first in a long line of Gothic novels. Literary scholars have afforded it significant attention, but little has been written about Otranto’s engraved illustrations, first incorporated in the sixth, 1791, edition. This essay examines how the novel was visualised in Georgian engravings, and questions whether they present a castle that we can immediately recognise, to use Walpole’s phrase, as a ‘child of Strawberry [Hill]’, his Gothic villa.|
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