in Dissolute characters
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

In quality of writing, the contrast between novels and tales in Sheridan Le Fanu's last years was stark. The demonstration of seriality provided by Jean-Paul Sartre looks strikingly ill-suited to the needs of Le Fanu's readers. In the late nineteenth century, writers sought to protect literature from the effect of seriality by a kind of pure writing, which would reflect back to each isolated reader, each solipsistic consciousness. Le Fanu's particular instance of serial displacement from one character on to another lies not so much on the axis of pain/pleasure but rather in the ethical domain of guilt/innocence. Whether one turns to Jurgen Habermas and his theory of 'the bourgeois social sphere' or to Sartre's idea of urban alienation as 'serial unity', a radicalised view of the modern city is wholly compatible with this reading of Le Fanu's late fiction.

Dissolute characters

Irish literary history through Balzac, Sheridan Le Farm, Yeats and Bowen


All Time Past Year Past 30 Days
Abstract Views 173 22 1
Full Text Views 33 3 0
PDF Downloads 7 0 0