ABSTRACT
In order to take into account the plural, flexible dimension of the Gothic and its textual density, some influential critics have defined this genre a ‘literary-cultural formation’, a ‘discursive site’ and, finally, a semantic constellation’. 1 My analysis has pursued the theoretical approach inaugurated by these scholars by offering what I define as a holistic or inclusive reading of the Gothic as an appropriative genre – a cultural mechanism that took over a plethora of literary, para-literary and extra-literary texts/objects and incorporated them into a new diversified language.
