Bøger af Jarlath Killeen

Offers 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 century to the contemporary moment, 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 and culture. Rather than focus 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, Mrs F. C. Patrick, James Clarence Mangan and Eimear McBride. 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 volume also takes account of Irish language Gothic, illuminating the ways in which the Gothic in Ireland has found and continues to find expression in different cultural and linguistic communities. Jarlath Killeen is Lecturer in Victorian Literature in the School of English, Trinity College Dublin. His publications include Imagining the Irish Child: Discourses of Childhood in Irish Anglican Writing of the Seventeenth and Eighteenth Centuries (2023) and The Emergence of Irish Gothic Fiction (2013). Christina Morin is Senior Lecturer in English and Assistant Dean of Research in the Faculty of Arts, Humanities and Social Sciences at the University of Limerick. Her publications include The Gothic Novel in Ireland, c. 1760-1829 (2018) and Charles Robert Maturin and the Haunting of Irish Romantic Fiction (2011).

Examines changing ideas about childhood and Ireland in Irish Anglican writers of the seventeenth and eighteenth centuries in a wide variety of genres, including novels, sermons, political pamphlets, letters, educational treatises, histories, catechisms and children's bibles.

Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century This 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

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.

Presents a study of Wilde's fairy tales for children, arguing that Wilde's stories are neither uniformly conservative nor subversive, but a blend of both. This book 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.