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sub-genre of literature that was considered subversive because it rejected accepted<br />

traditions and was neither respected nor valued by the literati operating under the canons<br />

of classicism, Reason, and early Romanticism. In addition, The Monk was perceived to<br />

be politically subversive, a view that was influenced by the novel’s social criticism and<br />

Lewis’ political affiliations. Hence, Lewis’ novel simultaneously operates in the three<br />

divisions of transgression outlined in Chapter Two: it is taboo-breaking because by<br />

depicting scenes of incest and murder it transgresses the accepted conventions of societal<br />

morality; it challenges the reigning artistic practices; and it is politically subversive<br />

because it seems to debase the forms of institutional power. It also complies with the<br />

framework of shock, scandal and subversion, whereas the elements that produce shock<br />

arouse controversy, and are also capable of subverting traditionally accepted norms and<br />

conventions. These characteristics prevented Lewis from belonging to the exclusive list<br />

of canonical authors of the late eighteenth century. However, two centuries and several<br />

paradigm shifts later, the critical estimation of Lewis’ novel has drastically changed, 9 as<br />

the extensive list of scholarly articles pertaining to the novel, the distinguished position it<br />

occupies within the traditions of both the Gothic and Romanticism, and its edition in the<br />

series of the Oxford World’s Classics may testify. The recognized value of Lewis’ novel<br />

as cultural capital has not only increased, it is constantly being reappraised.<br />

As outlined in Chapter One, the late eighteenth century was marked by a frenzied<br />

series of cultural exchanges triggered by shifts operating at all levels of discursive<br />

practices. More particularly, the prevailing cultural climate at the time of The Monk’s<br />

9 Interestingly enough, as it was the case with the work of Edgar Allan Poe, the French were the first to<br />

consider that The Monk was indeed an outstanding work of literature. See for example Antonin Artaud’s<br />

“Avertisement” in his adaptation of Lewis’novel.<br />

93

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