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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.

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Contemporary art and post-Troubles Northern Ireland
Author: Declan Long

A vital issue in discussing distinctive group shows has been to explore how 'Northern Irish art' has emerged in dialogue with international art during the post-Troubles period. This book concentrates on the social and political developments pertinent to a study of post-Troubles art. It makes an effort to weave together fundamental background details on the peace process and the Good Friday Agreement with questions regarding the political and theoretical framing of this process of negotiation. Diverse local outcomes of the Agreement are nonetheless acknowledged: from ongoing political problems caused by the ambiguities and inconsistencies of the accord, to material manifestations of 'peace' in the built environment. The book presents thoughts on how 'Northern Irish art' of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. It takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of 'local' concerns is shaped in relation to wider cultural and economic forces. Much of the book concentrates more directly on the manifold forms of 'ghost-hunting' undertaken by artists during the post-Troubles period. Several significant works by Willie Doherty are singled out for close-reading: photographic series and film narratives that are powerfully undecidable and uncanny in their oblique, unnerving evocations of the landscapes of Belfast and Derry. The book also discusses the haunted spaces of Doherty's practice by reflecting on artists' approaches to time and history.

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Declan Long

. A great deal of art during this period has required returning to the neglected histories of particular places. It has been an art of compulsive repetition that at times resembles the types of wayward ‘ghost-​hunting’ identified by Hal Foster as central to 3 4 Ghost-haunted land the work of artists from other parts of the world such as Tacita Dean and Joachim Koester –​ artists who, Foster writes, are ‘drawn to blind spots in which the turns that history has taken, and might still take, are sometimes revealed to us’.10 Foster’s use of the anachronistic and

in Ghost-haunted land
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Sara Callahan

overlap to some extent and points of similarity can be identified, even if these do not exhaust the works’ meaning. In Dean, Koester and Green's work similar elements of archive theory are picked up and processed, despite the artists’ different foci and interests. Research metaphors: ghost hunting and detective work In ‘Archive Fever’ and in a subsequent lecture, Jacques Derrida described the act of archiving as storing elsewhere, in an ‘exteriority’, that transforms the document and separates it from its lived history. The

in Art + Archive
The Gothic, death, and modernity
Carol Margaret Davison

literary dead’ ( 2008 : 51). This proliferation of historically fixated cultural forms ‘quest[ed] for intimacy with the dead’ more generally (Westover, 2012 : 8), engendering what Paul Westover has nicely called ‘Necromanticism’, ‘a complex of antiquarian revival, book-love, ghost-hunting, and monument-building that emerged in the age of revolutions and mass print’ (3). In ‘Past

in The Gothic and death
British travel and tourism in the post-imperial world
Hsu-Ming Teo

Parliament House, or the regal mass of Victoria Memorial Hall. The elegant white spires of St Andrew’s Cathedral is today crudely dwarfed by a huge hotel and a shopping complex called Raffles Plaza. So coming back to look for Conrad’s world I wondered: ‘Have I come ghost-hunting too late?’ 44

in British culture and the end of empire
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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
Sara Callahan

notion of ‘spectrality’ when summarising Dragan Kujundzic's text in the anthology (Merewether, ‘Introduction: Art and the Archive’, p. 15). Hal Foster quotes Koester's own description of his work as a form of ‘ghost-hunting’ (Foster, ‘Blind Spots’, p. 213). See also Connarty and Lanyon (eds), Ghosting . 164 Another indication of Foster's strong position in this field is that the inaugural issue of the online Mnemoscape Magazine was

in Art + Archive
Anna Bocking-Welch

For further analysis see Anna Bocking-Welch, ‘Ghost hunting: amateur film and travel at the end of empire’, in Martin Farr and Xavier Guegan (eds), The British Abroad Since the Eighteenth Century, Volume 2  (Basingstoke: Palgrave Macmillan, 2013), pp. 214–231. 73 YFA, CJCC, Charles Chislett, ‘Air Cruise to the Lebanon, Syria and Jordan’, Rotary in the Ridings ( c .1964), p. 15

in British civic society at the end of empire