![]() ![]() In his important article ‘Heartlands: Contemporary Scottish Gothic’ (1999) 1, David Punter pinpoints that idée fixe of the Gothic – a concern with history – as a defining feature of the texts he discusses. However, this prompts the question: is it possible to identify a continuous and distinct Scottish strand of the Gothic? A number of scholars have examined this concept of Scottish Gothic, arguing that there is indeed something distinctive and even exceptional about the Gothic as manifested in Scottish texts. Following on from the great early Gothic writers Ann Radcliffe and Mathew ‘Monk’ Lewis, Walter Scott and James Hogg were to adopt these conventions and translate them into a Scottish context. ![]() The mode’s key conventions were initiated by the publication in 1764 of the first self-proclaimed ‘Gothic story’, The Castle of Otranto by the English novelist, antiquarian and politician Horace Walpole. Scottish literature has had a lengthy and vigorous relationship with the Gothic mode. ![]()
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