This book addresses the intriguing incongruity between naming Charles Robert Maturin as a 'well-known' author of the Romantic period and the lack of any real critical analysis of his works in the past thirty years. The central thesis of the book is that Maturin's novels provide the key to a new understanding of Irish national fiction as a peculiarly haunted form of literature. Specifically, it argues that Maturin's too often overlooked body of fiction forcefully underscores the haunting presence of the past and past literary forms in early nineteenth-century Irish literature. It is a presence so often omitted and/or denied in current critical studies of Irish Romantic fiction. The book represents a project of ghost-hunting and ghost-conjuring. It investigates the ways in which Maturin's fourth novel attempts to build on the ruins of the Irish nation by describing the fissures produced by religious sectarianism in the country. The book makes use of the rarely consulted correspondence between Maturin and the publisher Archibald Constable. It does this to emphasise the manner in which Maturin's completion of his novel, Melmoth the wanderer was at all times crowded by, and, indeed, infiltrated with, his work on competing texts. These include books of sermons, Gothic dramas, short stories, and epic poems interspersed with prose narrative.
This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
Ariès, P. (1974) Western Attitudes Toward Death: From the
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Belinskii, V. G. (1956) Polnoe sobranie sochinenii (Moscow:
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C. (2010) GothicHauntings: Melancholy Crypts and Textual
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood
Avril Horner and Sue Zlosnik
Unreal cities and undead legacies: T.S. Eliot
and Gothichauntings in Waugh’s A Handful
of Dust and Barnes’s Nightwood
Avril Horner and Sue Zlosnik
By the mid 1930s, when Waugh’s A Handful of Dust and Barnes’s
Nightwood were published, The Waste Land (1922) had been absorbed
into high culture and T.S. Eliot was established as an important man of
letters both in England and in the United States. The transatlantic nature
of Modernism itself, exempliﬁed by the lives and works of Eliot, H.D.,
Pound, Stein and Barnes, was part of a newly dynamised interchange
such as Ann Radcliffe were Burney’s own successors, but
she, in turn, had learned from them.’ 38 Conjuring up and, indeed,
repeating this Gothichaunting, Maturin’s text proclaims itself,
from the very outset, a Gothic novel, even as its author continues to
protest against this nomenclature. Like Maturin’s characters,
then, Melmoth the wanderer is torn between warring formal and