Author: Christina Morin

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.

Philip Edwards

harmed and perhaps severed. The use of the ghost does not provide much evidence about Shakespeare’s own religious views. The ghost in Hamlet is a theatrical image. But that image is compounded of beliefs and ideas inherent in the forbidden doctrine of Purgatory, and Shakespeare’s play needed the beliefs which the presence of the ghost conjured up. The presence in arms of the former king of Denmark

in Doing Kyd
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Spectres of Maturin; or, the ghosts of Irish Romantic fiction
Christina Morin

understanding of early nineteenth-century Irish fiction, this book is driven fundamentally by Maturin’s ghost. As such, it seeks to fulfil a Derridean inheritance by ‘bear[ing] witness’ to Maturin’s all too frequently ignored legacy. 12 In this sense, this book represents a project of ghost-hunting and ghost-conjuring. By extension, it is, in essence, a textual séance – a space and time in which the ghosts of

in Charles Robert Maturin and the haunting of Irish Romantic fiction
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Citational theory and contemporary characterisation
Liz Tomlin

series of complex levels. The primary ‘absent others’, the original Williams characters, are themselves ghosts conjured up in the memory of the fictional writer, ghosts which, in turn, are spectres of the ‘absent others’ whom Williams himself has reconstructed from memories of his own past. In the Wooster Group’s version, what is implicit in Williams’s text becomes explicit on the overhead screen as we see the scene between Jane and Tye being furiously written by the Writer; the characters now theatrical creations of the Writer, who himself is created by Williams, all

in Acts and apparitions
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Mimicry, history, and laughter
Andrew Smith

which are closely linked to the spectre as they make emotionally present the mood of anxiety which the invisibility of the ghost conjures. Kipling runs together comedy and the Gothic in order to dwell on the irrationality of the colonial subject whose only knowledge of ‘Otherness’ so often appears as a projected version of themself. In these instances spectrality becomes a language without transcendence

in The ghost story, 1840–1920