Cover -- Half-title -- Series-title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Abbreviations -- A note on the text -- INTRODUCTION Romanticism's ''pageantry of fear'' -- I GOTHIC DEFINITIONS AND THE LEGACIES OF RECEPTION -- II WHY GOTHIC? -- CHAPTER 1 Gothic, reception, and production -- I TOWARDS A THEORY OF GOTHIC'S RECEPTION -- II GOTHIC DIALOGUES -- III MARKING AND MARKETING GOTHIC -- CHAPTER 2 Gothic and its contexts -- I GENDERS: ROMANCE AND READERLY SEDUCTION -- II DISCOURSES: GENDER, PURITY, AND THE DISCIPLINES -- III ECONOMIES: THE CIRCULATING LIBRARY AND THE PERIODICAL -- IV GENEALOGIES: RADCLIFFE, LEWIS, AND THE ''GERMAN'' -- V LEGALITIES: ''A VEIN OF OBSCENITY'' -- 3 ''Gross and violent stimulants'': producing Lyrical Ballads 1798 and 1800 -- I THE ROLE OF COLERIDGE -- II GOTHIC ''READING'' IN THE BALLADS OF 1798 -- III GOTHIC RECEPTIONS AND PASTORAL PRODUCTIONS: LYRICAL BALLADS (1800) -- IV CUTTING ''CHRISTABEL'' -- CHAPTER 4 National supernaturalism: Joanna Baillie, Germany, and the gothic drama -- I THE SUPERNATURAL ONSTAGE -- II REGULATING GOTHIC THEATRICAL SPACES -- III THE SPECTRE OF GERMANY -- IV BRITON'S GHOSTS AND ''NATIVE GENIUS'' -- CHAPTER 5 ''To foist thy stale romance'': Scott, antiquarianism, and authorship -- I GENDER, HISTORY, AND GOTHIC -- II FROM IMITATOR TO EDITOR -- III ''THE POETRY OF ANTIQUARIANISM'' -- IV THE POLITICS OF GOTHIC AUTHORSHIP -- V CODA. THE ROMANTIC AUTHOR'S ''PROPER PERSON'' -- Notes -- INTRODUCTION. ROMANTICISM'S ''PAGEANTRY OF FEAR'' -- I GOTHIC, RECEPTION, AND PRODUCTION -- 2 GOTHIC AND ITS CONTEXTS -- 3 ''GROSS AND VIOLENT STIMULANTS'': PRODUCING LYRICAL BALLADS 1798 AND 1800 -- 4 NATIONAL SUPERNATURALISM: JOANNA BAILLIE, GERMANY, AND THE GOTHIC DRAMA -- 5 ''TO FOIST THY STALE ROMANCE'': SCOTT, ANTIQUARIANISM, AND AUTHORSHIP -- Index.