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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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Belligerent civility in Edward Herbert’s Autobiography
Michael Schoenfeldt

civil war that made the neutrality to which he aspired impossible to sustain; it is nonetheless a valuable record of the frivolous, violent, vain, yet strangely familiar world of early modern England. 3 If The Temple is George Herbert’s lyric evidence of his struggles for spiritual submission, the Autobiography is Edward Herbert’s prose narrative of his battles to achieve social mastery. In it, Edward reveals himself to be as attentive to the nuances of social ceremony as George was to the rhythms of devotional

in Edward and George Herbert in the European Republic of Letters
Ekphrasis, readers, ‘iconotexts’
Claus Clüver

narrative. They occur as ekphrastic passages in prose narratives but also in such forms as Robert Browning’s rhymed ‘dramatic monologues’. They may be rendered by an extra-diegetic narrator or as the perceptions of intra-diegetic figures in accordance with their characterization in the text. Like ekphrastic poems, such passages may embellish or subvert the visual images and are not bound by rules of fidelity. George Perec’s Un cabinet d’amateur: histoire d’un tableau (1979) is a meticulous documentation by means of an exhibition review, the owner’s autobiography, a

in Ekphrastic encounters
Russell J. A. Kilbourn

/9/13 13:03 Page 248 ‘Prose’ and photography the transgeneric character of Sebald’s narratives. When the question of genre does arise it is generally determined by the two-part truism that (1) Sebald himself avoided calling his prose narratives ‘novels’,4 and that (2) these texts display extraordinary generic and intertextual ‘hybridity’. I follow the general practice of this volume in using the terms ‘prose’ and ‘prose narrative’, if only because these are the least loaded, most ideologically neutral terms: the books in general consist of prose and not poetic

in A literature of restitution
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Making novel readers
Gerd Bayer

history of English prose narratives. Readerly and writerly attitudes towards popular genres like prose fictions changed substantially during the early modern age, but they frequently developed in obscure places, in anything but official treatises. Yet influence there was, and some records even attest to it.23 For instance, the chapbook narratives of the early modern age fascinated readers almost across the whole social and generational spectrum. Margaret Spufford has perceptively pointed out that respected eighteenth-century intellectual figures like Dr Johnson and

in Novel horizons
The medium and media of Fatal revenge
Christina Morin

suggest that its story of familial decay by way of a return of the violence of the past is entirely relevant to Ireland. Footnotes and paratextual commentary such as these manifest the haunting presence of Ireland and contemporary Irish issues in the novel. Just as the text is possessed by the Gothic, and the prose narrative by poetry, therefore, Fatal revenge reveals constant traces of the spectres of

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Mikel J. Koven

of keeping with a folkloristic or anthropological understanding of myth, as prose narratives which, in the society in which they are told, are considered to be truthful accounts of what happened in the remote past. They are accepted on faith; they are taught to be believed; and they can be cited as authority in answer to ignorance, doubt, or disbelief. Myths are the embodiment of dogma; they are usually sacred; and they are often associated with theology and ritual. Their main characters are not usually human beings, but they often have human attributes; they

in The Bible onscreen in the new millennium
A Mirror for Magistrates and early English tragedy
Jessica Winston

from the general layout and presentation of their sources in two important ways. First, they linked the tragedies together with a prose narrative, which recorded their conversations and activities as they worked on the poems themselves. Second, they presented the tragedies as first-person monologues, which were written and then performed by the co-authors themselves for the

in Shakespeare’s histories and counter-histories
Confessional conflict and Elizabethan romances
Christina Wald

excitement evoked in scenes like this was severely criticized in a number of Elizabethan treatises. In one of the most influential condemnations of the new vogue of prose narratives, Roger Ascham presents a transformation scenario which likewise draws on Ovid’s tales. Ascham describes the transformative effect which reading fiction might have on readers as a metamorphosis of men into beasts. He fears that ‘some Circe’ might convert Englishmen into lascivious Italians with ‘at once in one body the belly of a swine, the head of an ass, the brain of a fox, the womb of a wolf

in Forms of faith
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Spectres of Maturin; or, the ghosts of Irish Romantic fiction
Christina Morin

names of Maturin’s life. It thus allows for a thorough contextualisation of Maturin’s works and, in particular, his novels, a chronological study of which begins with Chapter 2 : ‘Communing with the dead: the medium and media of Fatal revenge ’. This chapter explores the continuous and varied interruptions of Maturin’s first novel. As a prose narrative constantly hedged, framed, and intruded upon by poetry

in Charles Robert Maturin and the haunting of Irish Romantic fiction