Jarlath Killeen – författare

History of the Gothic: Gothic Literature 1825-1914 is a detailed and accessible study of Gothic literature in the nineteenth century. It examines how the themes and tropes associated with the early Gothic novel were diffused widely in many different genres in the Victorian period, including the ghost story, the regional novel, children's literature and the realist novel. It looks in particular at how the Gothic attempted to resolve the psychological and theological problems thrown up by the modernization and secularization of British society. The book argues that the fetishized figure of the child came to stand for what many believed was being lost by the headlong rush into a technological and industrial future. The relationship between regionalism and horror is examined, the use of the occult in the Gothic is detailed and the book demonstrates that, far from being a simple rejection or acceptance of secularization, the Gothic attempts to articulate an entirely different way of being modern.

History of the Gothic: Gothic Literature 1825-1914 is a detailed and accessible study of Gothic literature in the nineteenth century. It examines how the themes and tropes associated with the early Gothic novel were diffused widely in many different genres in the Victorian period, including the ghost story, the regional novel, children's literature and the realist novel. It looks in particular at how the Gothic attempted to resolve the psychological and theological problems thrown up by the modernization and secularization of British society. The book argues that the fetishized figure of the child came to stand for what many believed was being lost by the headlong rush into a technological and industrial future. The relationship between regionalism and horror is examined, the use of the occult in the Gothic is detailed and the book demonstrates that, far from being a simple rejection or acceptance of secularization, the Gothic attempts to articulate an entirely different way of being modern.

Examines how themes and trends associated with the early Gothic novels were diffused in many genres in the Victorian period, including the ghost story, the detective story and the adventure story.

Oscar Wilde's two collections of children's literature, The Happy Prince and Other Stories (1888) and A House of Pomegranates (1891), have often been marginalised in critical accounts as their apparently conservative didacticism appears at odds with the characterisation of Wilde as an amoral aesthete. In this, the first full-length study of Wilde's fairy tales for children, Jarlath Killeen argues that Wilde's stories are neither uniformly conservative nor subversive, but a blend of both. Killeen contends that while they should be read in relation to a literary tradition of fairy tales that emerged in nineteenth century Europe; Irish issues heavily influenced the work. These issues were powerfully shaped by the 'folk Catholicism' Wilde encountered in the west of Ireland. By resituating the fairy tales in a complex nexus of theological, political, social, and national concerns, Killeen restores the tales to their proper place in the Wilde canon.

Oscar Wilde''s two collections of children''s literature, The Happy Prince and Other Stories (1888) and A House of Pomegranates (1891), have often been marginalised in critical accounts as their apparently conservative didacticism appears at odds with the characterisation of Wilde as an amoral aesthete. In this, the first full-length study of Wilde''s fairy tales for children, Jarlath Killeen argues that Wilde''s stories are neither uniformly conservative nor subversive, but a blend of both. Killeen contends that while they should be read in relation to a literary tradition of fairy tales that emerged in nineteenth century Europe; Irish issues heavily influenced the work. These issues were powerfully shaped by the ''folk Catholicism'' Wilde encountered in the west of Ireland. By resituating the fairy tales in a complex nexus of theological, political, social, and national concerns, Killeen restores the tales to their proper place in the Wilde canon.

Oscar Wilde''s two collections of children''s literature, The Happy Prince and Other Stories (1888) and A House of Pomegranates (1891), have often been marginalised in critical accounts as their apparently conservative didacticism appears at odds with the characterisation of Wilde as an amoral aesthete. In this, the first full-length study of Wilde''s fairy tales for children, Jarlath Killeen argues that Wilde''s stories are neither uniformly conservative nor subversive, but a blend of both. Killeen contends that while they should be read in relation to a literary tradition of fairy tales that emerged in nineteenth century Europe; Irish issues heavily influenced the work. These issues were powerfully shaped by the ''folk Catholicism'' Wilde encountered in the west of Ireland. By resituating the fairy tales in a complex nexus of theological, political, social, and national concerns, Killeen restores the tales to their proper place in the Wilde canon.

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.

Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth centuryThis book provides a robustly theorised and thoroughly historicised account of the ‘beginnings’ of Irish gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance.Key Features * Examines gothic texts including Mary Shelley's Frankenstein, Horace Walpole's The Castle of Otranto, Bram Stoker's Dracula, Charles Robert Maturin's Melmoth the Wanderer, (Anon), The Adventures of Miss Sophia Berkley and Thomas Leland's Longsword * Provides a rigorous and robust theory of the Irish Gothic* Reads early Irish gothic fully into the political context of mid-eighteenth century Ireland

This book examines the ways in which ideas about children, childhood and Ireland changed together in Irish Protestant writing of the seventeenth and eighteenth centuries. It focuses on different varieties of the child found in the work of a range of Irish Protestant writers, theologians, philosophers, educationalists, politicians and parents from the early seventeenth century up to the outbreak of the 1798 Rebellion. The book is structured around a detailed examination of six ‘versions’ of the child: the evil child, the vulnerable/innocent child, the political child, the believing child, the enlightened child, and the freakish child. It traces these versions across a wide range of genres (fiction, sermons, political pamphlets, letters, educational treatises, histories, catechisms and children’s bibles), showing how concepts of childhood related to debates about Irish nationality, politics and history across these two centuries.

History of the Gothic: Gothic Literature 1825-1914 is a detailed and accessible study of Gothic literature in the nineteenth century. It examines how the themes and tropes associated with the early Gothic novel were diffused widely in many different genres in the Victorian period, including the ghost story, the regional novel, children's literature and the realist novel. It looks in particular at how the Gothic attempted to resolve the psychological and theological problems thrown up by the modernization and secularization of British society. The book argues that the fetishized figure of the child came to stand for what many believed was being lost by the headlong rush into a technological and industrial future. The relationship between regionalism and horror is examined, the use of the occult in the Gothic is detailed and the book demonstrates that, far from being a simple rejection or acceptance of secularization, the Gothic attempts to articulate an entirely different way of being modern.