Christina Morin – författare

A self-described “disappointed Author”, Charles Robert Maturin (1780-1824) has been largely relegated to the margins of literary history since his death in 1824. Yet, as this study demonstrates, he exerted a fundamental influence on the development of Irish fiction in the early nineteenth century. In particular, his novels dramatically underscore the continuing presence and deployment of the Gothic mode in Romantic Ireland – an influence now frequently overlooked in critical attention to the national and regional forms popularized in Ireland in the wake of Anglo-Irish Union (1801). Working from Jacques Derrida’s influential theory on ghosts, this study positions Maturin as the cornerstone on which to build a new paradigm of Irish Romantic fiction, one which accounts for the spectral traces of the past – cultural, social, and political – evident in early-nineteenth century Irish fiction. As it does so, it calls for renewed critical and popular attention to an author who himself continues spectrally to emerge in the works of his literary successors.

The gothic novel in Ireland, c. 1760–1829 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Countering traditional scholarly views of the ‘rise’ of ‘the gothic novel’ on the one hand, and, on the other, Irish Romantic literature, this study persuasively re-integrates a body of now overlooked works into the history of the literary gothic as it emerged across Ireland, Britain, and Europe between 1760 and 1829. Its twinned quantitative and qualitative analysis of neglected Irish texts produces a new formal, generic, and ideological map of gothic literary production in this period, persuasively positioning Irish works and authors at the centre of a new critical paradigm with which to understand both Irish Romantic and gothic literary production.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

Scholarly interest in 'the Irish Gothic' has grown at a rapid pace in recent years, but the debate over exactly what constitutes this body of literature remains far from settled. This collection of essays explores the rich complexities of the literary gothic in eighteenth- and nineteenth-century Ireland.

Scholarly interest in ''the Irish Gothic'' has grown at a rapid pace in recent years, but the debate over exactly what constitutes this body of literature remains far from settled. This collection of essays explores the rich complexities of the literary gothic in eighteenth- and nineteenth-century Ireland.

Scholarly interest in 'the Irish Gothic' has grown at a rapid pace in recent years, but the debate over exactly what constitutes this body of literature remains far from settled. This collection of essays explores the rich complexities of the literary gothic in eighteenth- and nineteenth-century Ireland.

Nationalist and tribal cohesion in Ireland, South Africa, the US, and elsewhere often relies on an absence of female and gender-nonconforming bodies in the public life.Staging a vital counter-narrative to global nationalist discourses, this book explores how 20th and 21st-century postcolonial literatures criticize hetero-normative definitions of nationhood across different geopolitical and cultural contexts.Szczeszak-Brewer delves into the metaphorical currency of male impotence and sexual aggression in nationalist narratives. She examines the place of gender-nonconforming characters in literature from Ireland, the US, Poland, France, Britain, South Africa, and Senegal, in the work of writers including: James Joyce, Witold Gombrowicz, Jean Toomer, Bessie Head, Zoë Wicomb, J. M. Coetzee, Andrea Levy, Patrick McCabe, and David Diop.Aligning queer and gender perspectives with discussions of white supremacy, this book examines the urgency for contemporary geopolitics to imagine new discourses of community against the backdrop of a rise in neo-nationalisms steeped in homophobic and misogynistic rhetoric.

Crossing the boundaries of a single-author study, this book uncovers Flann O'Brien's attempt to forge a commercially successful Irish literary project from international avant-garde influences.Situating O'Brien's early work within a global context, the book uses new evidence of his collaborations to reimagine him as a networked writer. O'Brien drew upon experimental techniques to generate new categories of writing, rethink Irish culture and reach a wide audience. This study illuminates a network of cultural production around O'Brien, linking his work to English comic magazines, Dadaist photomontage, Expressionism, Central European theatre, and renowned writers like Jorge Luis Borges and Franz Kafka.By re-examining Flann O'Brien within the context of the momentous global political and cultural crises that spurred avant-garde experimentation, the book also rewrites the cultural history of Ireland in the 1930s and 1940s.

The first substantial study of emergency law’s relationship to literature in either the Northern Irish or the Kashmiri conflict, this book develops an original legal history that links these laws to a shared British colonial root. Engaging a wide range of fiction, poetry and film, from canonical poets Seamus Heaney and Agha Shahid Ali to contemporary works by Anna Burns, Mirza Waheed, and Bollywood filmmaker Vishal Bhardwaj, the book examines the literary response to the suspension of normative legal rights such as habeas corpus, the right to silence and even, in Kashmir, the right to life. By bringing these literary cultures together for the first time, it develops a literary and legal history that reveals common roots in colonial-era jurisprudence. The book re-situates these corpora, often isolated in scholarly work, as important parts of the global, material legacies of colonialism.

A thorough account of the engagements with the Gothic mode by Irish artists from the eighteenth century to today.Challenging conventional conceptualisations and understandings of 'the Irish Gothic', the collection advances new critical perspectives and embodies the latest thinking and research in this area In its attention to a cross-generic selection of literary and cultural forms from the late eighteenth-century to today, the collection probes and expands the body of texts traditionally associated with Irish Gothic cultural production and, in so doing, offers the most expansive and comprehensive overview of the subject to datePresenting cutting-edge approaches to Irish Gothic, while summarising the critical discourse that has shaped and continues to shape the field, the collection provides a useful and accessible research tool for established researchers as well as undergraduate and postgraduate students Irish Gothic: An Edinburgh Companion provides a comprehensive account of the extent to which Gothic can be traced in Irish cultural life from the eighteenth to the twenty-first century, across both elite and popular genres, and through a range of different media, including literature, cinema, and folklore. It responds, in particular, to the understanding that Gothic is ubiquitous in Irish literature. Rather than focus specifically or exclusively on the oft-studied Irish Gothic foursome Charles Maturin, Sheridan Le Fanu, Oscar Wilde, and Bram Stoker this companion turns attention to overlooked 'minor' figures such as Regina Maria Roche, Stephen Cullen, and Anne Fuller. At the same time, it considers the multi-generic nature of Irish Gothic, thinking beyond fiction and, in particular, the novel, as the Gothic genre par excellence. The collection thus affords fresh perspectives on Irish Gothic and its pervasiveness in Irish culture from the eighteenth century to today.

Irish Gothic: An Edinburgh Companion provides a comprehensive account of the extent to which Gothic can be traced in Irish cultural life from the eighteenth to the twenty-first century, across both elite and popular genres, and through a range of different media, including literature, cinema, and folklore. It responds, in particular, to the understanding that Gothic is ubiquitous in Irish literature. Rather than focus specifically or exclusively on the oft-studied Irish Gothic foursome Charles Maturin, Sheridan Le Fanu, Oscar Wilde, and Bram Stoker this companion turns attention to overlooked 'minor' figures such as Regina Maria Roche, Stephen Cullen, and Anne Fuller. At the same time, it considers the multi-generic nature of Irish Gothic, thinking beyond fiction and, in particular, the novel, as the Gothic genre par excellence. The collection thus affords fresh perspectives on Irish Gothic and its pervasiveness in Irish culture from the eighteenth century to today.

The gothic novel in Ireland, c. 1760–1829 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Countering traditional scholarly views of the ‘rise’ of ‘the gothic novel’ on the one hand, and, on the other, Irish Romantic literature, this study persuasively re-integrates a body of now overlooked works into the history of the literary gothic as it emerged across Ireland, Britain, and Europe between 1760 and 1829. Its twinned quantitative and qualitative analysis of neglected Irish texts produces a new formal, generic, and ideological map of gothic literary production in this period, persuasively positioning Irish works and authors at the centre of a new critical paradigm with which to understand both Irish Romantic and gothic literary production.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

The gothic novel in Ireland, c. 1760–1829 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Countering traditional scholarly views of the ‘rise’ of ‘the gothic novel’ on the one hand, and, on the other, Irish Romantic literature, this study persuasively re-integrates a body of now overlooked works into the history of the literary gothic as it emerged across Ireland, Britain, and Europe between 1760 and 1829. Its twinned quantitative and qualitative analysis of neglected Irish texts produces a new formal, generic, and ideological map of gothic literary production in this period, persuasively positioning Irish works and authors at the centre of a new critical paradigm with which to understand both Irish Romantic and gothic literary production.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

A self-described “disappointed Author”, Charles Robert Maturin (1780-1824) has been largely relegated to the margins of literary history since his death in 1824. Yet, as this study demonstrates, he exerted a fundamental influence on the development of Irish fiction in the early nineteenth century. In particular, his novels dramatically underscore the continuing presence and deployment of the Gothic mode in Romantic Ireland – an influence now frequently overlooked in critical attention to the national and regional forms popularized in Ireland in the wake of Anglo-Irish Union (1801). Working from Jacques Derrida’s influential theory on ghosts, this study positions Maturin as the cornerstone on which to build a new paradigm of Irish Romantic fiction, one which accounts for the spectral traces of the past – cultural, social, and political – evident in early-nineteenth century Irish fiction. As it does so, it calls for renewed critical and popular attention to an author who himself continues spectrally to emerge in the works of his literary successors.

The gothic novel in Ireland, c. 1760–1829 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Countering traditional scholarly views of the ‘rise’ of ‘the gothic novel’ on the one hand, and, on the other, Irish Romantic literature, this study persuasively re-integrates a body of now overlooked works into the history of the literary gothic as it emerged across Ireland, Britain, and Europe between 1760 and 1829. Its twinned quantitative and qualitative analysis of neglected Irish texts produces a new formal, generic, and ideological map of gothic literary production in this period, persuasively positioning Irish works and authors at the centre of a new critical paradigm with which to understand both Irish Romantic and gothic literary production.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

Exploring the effects of traveling, migration, and other forms of cultural contact, particularly within Europe, this edited collection explores the act of traveling and the representation of traveling by Irish men and women from diverse walks of life in the period between Grattan’s Parliament (1782) and World War I (1914).

Exploring the effects of traveling, migration, and other forms of cultural contact, particularly within Europe, this edited collection explores the act of traveling and the representation of traveling by Irish men and women from diverse walks of life in the period between Grattan’s Parliament (1782) and World War I (1914). This was a period marked by an increasing physical and cultural mobility of Irish throughout Britain, Continental Europe, the Americas, and the Pacific. Travel was undertaken for a variety of reasons: during the Romantic period, the ‘Grand Tour’ and what is now sometimes referred to as medical tourism brought Irish artists and intellectuals to Europe, where cultural exchanges with other writers, artists, and thinkers inspired them to introduce novel ideas and cultural forms to their Irish audiences. Showing this impact of the nineteenth-century Irish across national borders and their engagement with global cultural and linguistic traditions, the volume will provide novel insights into the transcultural spheres of the arts, literature, politics, and translation in which they were active.