Brown, Jane K. and Marshall Brown. “Faust and the Gothic Novel.” In Interpreting Goethe'sFaustToday, edited by Jane K. Brown, Meredith Lee, and Thomas P. Saine, pp. 68-80. Columbia, S.C.: Camden House, 1994.
Examines the preponderance of Gothic themes, stock characters, settings, and plot motifs in Goethe's Faust.
Cameron, Kenneth N. and Horst Frenz. “The Stage History of Shelley's The Cenci.” PMLA 60, no. 4 (December 1945): 1080-1105.
Disputes the common critical assessment of Shelley's play as a closet drama through an examination of its long stage history.
Clarke, George Elliott. “Racing Shelley, or Reading The Cenci as a Gothic Slave Narrative.” European Romantic Review 11, no. 2 (spring 2000): 168-85.
Maintains that Shelley drew on the conventions of the Gothic novel as well as those associated with the nineteenth-century slave narrative in creating his play The Cenci.
Evans, Bertrand. “Manfred's Remorse and Dramatic Tradition.” PMLA 62, no. 3 (September 1947): 752-73.
Situates Byron's Manfred within the Gothic tradition, claiming that the play owes more to Gothic influences than those normally associated with the work.
Forry, Steven Earl. “The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1823 to 1826.” Theatre Research International 11, no. 1 (spring 1986): 13-31.
Traces the history of Peake's adaptation of Mary Shelley's Frankenstein as a Gothic drama.
Gamer, Michael. “National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama.” Theatre Survey 38, no. 2 (November 1997): 49-88.
Discusses the debate over Gothic drama's legitimacy and examines how Joanna Baillie produced engaging plays which managed to avoid the stigma afforded other Gothic works.
Michasiw, Kim Ian. “Haunting the Unremembered World: Shelley's Gothic Practice.” In Gothic Fictions: Prohibition/Transgression, edited by Kenneth W. Graham, pp. 199-225. New York: AMS Press, 1989.
Evaluates Shelley's adaptation of the Gothic mode in The Cenci.