000			02919cam a22003373u 4500
001			77773
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005			20260610134813.0
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040			_aUtSlPG
041		7	_afi _2iso639-1
050		4	_aPR
100	1		_aRailo, Eino, _d1884-1948
245	1	0	_aHaamulinna
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2026
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2026-01-25
505	0		_aHaamulinna -- Matthew Gregory Lewis -- Haamulinnan kuvan myöhemmät kehitysvaiheet -- Rikollinen munkki -- Vaeltava juutalainen ja ikuisesti jatkuvan elämän ongelma -- Byronilainen sankari -- Haamut ja demooniset olennot -- Sukurutsaus ja romanttinen erotiikka -- Nuori sankari ja sankaritar sekä muita henkilökuvia -- Muita aiheita -- Jännitys ja kauhu.
508			_aTapio Riikonen
520			_aHaamulinna by Eino Railo is a scholarly literary study written in the early 20th century. It examines the origins and development of English Gothic romance, focusing on the “haunted castle” as a central stage and on recurring motifs, figures, and techniques from Horace Walpole, Clara Reeve, and Ann Radcliffe through M. G. Lewis and later Romantic writers. The opening of the study lays out a broad plan: from the haunted-castle setting and early Gothic novels to Lewis’s biography, later evolutions of the motif, emblematic figures (the criminal monk, the Wandering Jew, the Byronic hero), the supernatural, taboo themes, and the poetics of suspense and terror. The foreword argues that late-18th-century Gothic romance prepared high Romanticism through continuous, organic development rather than sudden revolution, and explains a theme-driven, selective method grounded in primary texts. It also notes source work, translation choices, and acknowledgments. Chapter I then treats Walpole—his antiquarianism, Strawberry Hill’s pseudo-Gothic, the dream behind The Castle of Otranto, and the initial false-translation ruse—before contrasting Reeve’s addition of the locked, haunted suite and Radcliffe’s expansion of the stage into ruins, monasteries, stormy landscapes, ominous clocks, and labyrinthine doors and passages. The emphasis is on how setting and atmosphere generate expectation and fear, defining the core scenic vocabulary of Gothic romance. (This is an automatically generated summary.)
534			_pOriginally published: _cHelsinki: Kustannusosakeyhtiö Kirja, 1925
653			_aEnglish literature -- 19th century -- History and criticism
653			_aRomanticism -- England
653			_aLewis, M. G. (Matthew Gregory), 1775-1818 -- Criticism and interpretation
856	4	0	_uhttps://www.gutenberg.org/ebooks/77773
999			_c118493 _d118493