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International Gothic in the Neoliberal Age

Over the course of the past twenty-five years, as neoliberal economics has transformed the geopolitical landscape, monsters have overrun popular culture. This book explores literary, televisual, filmic and dramatic works from distant and diverse countries. It traces the vampire's evolution from the nineteenth-century past of industrial capitalism to the neoliberal present's accelerated violence and corrupt precarity, and discusses the NBC television mini-series Dracula, perfectly encapsulating our own post-recessionary subjectivity. The book addresses state capitalism but turns readers' attention away from the vampire and towards the ghost, focusing on the ways in which such spectral figures have come to dominate new German theatre. On the biotechnology sector, the book presents three examples: cinematic depictions of the international organ trade in Asia, the BAFTA award winning three-part series In the Flesh broadcast in BBC3, and literary representations of the dehumanised South African poor. The book moves from the global to the local, and charts the ways in which post-2006 house owners are trapped in the house by the current economic situation, becoming akin to its long-term resident ghosts. The ghost estates, reanimated and reimagined by the Irish artists and film-makers, are shown to embody the price paid locally for failures in global economic policy. The preoccupation with states of liminality is encapsulated by showing that the borders of the nation state have become a permeable membrane. Through this membrane, the toxic waste of first world technology seeps out alongside the murderous economic imperatives of the neoliberal agenda.

The visual art of Tim Robinson/Timothy Drever
Catherine Marshall

Catherine Marshall investigates Robinson’s relationship with other visual cultures in Ireland. Marshall places Robinson and his earlier persona Drever in a visual context of the west of Ireland, alongside other Irish artists such as Paul Henry and Seán Keating, inviting speculation on the artist as voyeur or social activist, on the relationship between images and words, and between art and power. Although Robinson’s maps and writings serve as typical entry points into his work, Marshall explores how they also function as artwork.

in Unfolding Irish landscapes
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Kathryn Milligan

-representational modernism. Where Irish artists differ significantly from their international peers is in the fact that painters concerned with urban subjects did not form into a distinct group, as occurred, for example, with the Camden Town, Ashcan, East London, or Euston Road groups. This may be explained by the smaller number of artists working in Ireland, and within this the even smaller number of those who painted the city, along with the more limited art market in Ireland with artists of all persuasions struggling to make sales. It is also evident that there are parallels with the

in Painting Dublin, 1886–1949
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

Kathryn Milligan

characterised in literary and other textual sources (as a place of deep social and architectural contrasts), but also as a city that was engaged in civic developments and modernisation projects, supported by a developing middle and upper class who also provided artistic patronage. As will be seen, Osborne’s image of Dublin was often cultivated for British audiences, and his paintings of the Irish city present an interesting case of artistic regionalism and suggest how an Irish artist could operate within a British artistic system in the late nineteenth century. Growing up in

in Painting Dublin, 1886–1949
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O’Faoláin and the descent of The Bell
Niall Carson

which he could feel a part, and from which he could draw inspiration. O’Faoláin used this theory to explain why the short story was a better suited artistic mode than the novel to apply to writing in Ireland. It did not require the complexity of society, or the knowledge of tradition that he perceived as necessary in the construction of the novel. However, this is not to say that O’Faoláin was unaware of some of the difficulties with this theory, rather he was content to see it as another push factor in the tradition of the Irish artist seeking sustenance in exile

in Rebel by vocation
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Famine and the Western Front in Samuel Beckett’s Waiting for Godot
Matthew Schultz

. Spectrality, as a theoretical lens, can also heighten our awareness of reemergent cultural factors (colonial trauma, gender and sexual discrimination, political insularity) that originally led to the Irish artist’s dual esthetic and political identity during the late nineteenth and early twentieth centuries, and give us a glimpse into how contemporary Irish writers use fiction to respond to the longstanding identification of the Irish artist as politically vested. The novelists discussed in Haunted historiographies all imbue their works with layers of social, political, and

in Haunted historiographies
From global economics to domestic anxiety in contemporary art practice
Tracy Fahey

of Ireland, a lone house is suddenly illuminated, blazing light from every window. The light disappears into darkness, and then flares on again. This is On/Off States , a video piece by Irish artist Elaine Reynolds. In this work the comforting signifier of lit windows is negated as the viewer becomes aware that the house is missing its windows and doors. Worse still, as the lights flash on

in Neoliberal Gothic
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The story of a voice
Emer Nolan

commentators to insist that she is owed an apology for the treatment she received in 1992.31 Certainly, the anti-Vatican protest now seems prescient. And while Irish artists generally believe themselves consistently to have stood up for sexual enlightenment and liberal values, none since the days of official censorship has suffered so intensely for their insistence on exposing Ireland’s secrets as O’Connor. Her persecution came through the medium of television and tabloid newspapers rather than from the traditional authorities. Further difficulty has arisen from her embrace

in Five Irish women
Fintan Cullen

valiant work in buying Irish paintings and distributing engravings to its members. Among the prints produced in the early years of the RIAU’s activities were ‘The Blind Girl at the Holy Well’ and the better known, ‘Aran Fisherman’s Drowned Child’, both taken from watercolours by the Irish artist Frederick William Burton (1816–1900). Set in a remote rural Ireland, the scenes represent common peasant

in Cultural identities and the aesthetics of Britishness