Table of Contents

1 Introduction: framing the Gothic novel

2 Some theory: genre, reception, parody, and frame and how they are connected

3. Parodying the excessive: the Gothic novel versus the Gothic parody

4 Framing the Gothic heroine: from subtle subversion to complacency?

5 Conclusion: framing the parody, changing the genre – Gothic parody, the reader and frames

About the Author

Kerstin-Anja Münderlein is a research assistant at the Department of English Literature at the University of Bamberg. Her research interests include genre and reception theory, especially in connection with the Gothic novel and parody of the long eighteenth century, the literature of the Great War, and early and Golden Age British crime fiction. She has published an edited collection on exploration, discovery, and conquest in the long eighteenth century. Currently she is working on the representation of gender roles in Golden Age and neo-Golden Age crime fiction. This book, which is a rewriting of her 2018 dissertation, traces the relationship of genre, reception, and frames in the Gothic parodies of the long eighteenth century, focussing the socio-political subversion (or lack thereof) of the Gothic and parody heroine.