000			02022 a2200349 4500
001			1317013727
005			20250317111641.0
008			250312042016GB eng
020			_a9781317013723
037			_bTaylor & Francis _cGBP 52.99 _fBB
040			_a01
041			_aeng
072	7		_aDSBF _2thema
072	7		_aLAZ _2thema
072	7		_aDSB _2thema
072	7		_aLNSH _2thema
072	7		_a1KB _2bisac
072	7		_aDSBF _2bic
072	7		_aLAZ _2bic
072	7		_aDSBD _2bic
072	7		_aLNSH _2bic
072	7		_a1KB _2bisac
072	7		_aLIT020000 _2bisac
072	7		_aLIT000000 _2bisac
072	7		_a823.0872909 _2bisac
100	1		_aBridget M. Marshall
245	1	0	_aTransatlantic Gothic Novel and the Law, 1790–1860
250			_a1
260			_aOxford _bRoutledge _c20160217
300			_a214 p
520			_bTracing the use of legal themes in the gothic novel, Bridget M. Marshall shows these devices reflect an outpouring of anxiety about the nature of justice. On both sides of the Atlantic, novelists like William Godwin, Mary Shelley, Charles Brockden Brown, and Hannah Crafts question the foundations of the Anglo-American justice system through their portrayals of criminal and judicial procedures and their use of found documents and legal forms as key plot devices. As gothic villains, from Walpole's Manfred to Godwin's Tyrrell to Stoker's Dracula, manipulate the law and legal system to expand their power, readers are confronted with a legal system that is not merely ineffective at stopping villains but actually enables them to inflict ever greater harm on their victims. By invoking actual laws like the Black Act in England or the Fugitive Slave Act in America, gothic novels connect the fantastic horrors that constitute their primary appeal with much more shocking examples of terror and injustice. Finally, the gothic novel's preoccupation with injustice is just one element of many that connects the genre to slave narratives and to the horrors of American slavery.
999			_c7598 _d7598