From Castle Rackrent to Castle Dracula: Anglo-Irish Agrarian Fiction from the 19th Century

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Bram Stoker's novel took place in the wild Carpathian Mountains, London and rural England, and various places in between. But the Dracula for which Edward Gorey created the set designs reproduced in miniature here--a version that ran to nearly a thousand Broadway performances--compresses the action to one locale: the sanatorium of Dr.

Seward, near the town of Purley, somewhere in the English countryside. Based on Edward Gorey's set and costume designs for his award-winning It is impossible to study literature in Ireland in the nineteenth century without also considering history, social issues, politics and religion. This excessive and often corrupt behaviour by landowners, We use cookies to offer you a better browsing experience. Make sure to accept our cookies in order to get the best experience out of this website.

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Hart Includes the complete shooting script, excerpts from the original novel, more than photos and drawings, showing the brilliant costumes, evocative sets, and historical antecedents; features on director's innovative methods, the technical challenges, the film's literary and historical links; a Dracula filmography and bibliography. Children, Cinema And Censorship: From Dracula To Dead End Cinema And Society by Sarah Smith Using original research, this book explores the recurring debates in Britain and America about children and how they use and respond to the media, focusing on a key example: the controversy surrounding children and cinema in the s.

Skal he primal image of the black-caped vampire Dracula has become an indelible fixture of the modern imagination. The thesis seeks to demonstrate that it was Edgeworth's agenda that dominated Anglo-Irish fiction before the Famine and continued to exert a powerful influence during the remainder of the century.

How did England try to control Ireland in the 16th Century?

Gerald Griffin and the Banim brothers, the first Catholic agrarian novelists, sought to bring new dimensions to Edgeworth's essentially landowner-orientated agenda. Yet their attempts to broaden it and to make it more Irish encountered difficulties. Their desire to radicalize Edgeworth's analysis was frustrated by a loss of faith in the tenantry and arguably by an inability to use the conventional format of the three-volume novel to portray the political realities they perceived.

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William Carleton was the most successful agrarian novelist after Edgeworth but, despite his more flexible representation of the Land Question - involving what some critics regarded as apostasy - Carleton still remained a prisoner of Edgeworth's agenda. Significantly, all the writers discussed in this section eventually abandoned their attempts to solve the Land Question through the medium of prose fiction and turned to other areas of interest.

The second section begins by examining the culturally lean years that followed the Famine. It shows that the political and literary famine was broken first by the emergence of Fenianism and then by its literary portrayal in the works of Charles Kickham and indeed in those of his apparent polar opposite - the honorary Irishman Anthony Trollope.

Despite their differences however, neither Kickham nor Trollope believed that the solution to the Land Question could be found within Ireland. Rather, they looked overseas - to America Kickham or to England Trollope. Regardless of their wider horizons and distinctive contributions, the solutions proposed by Kickham and Trollope proved at least as confused and contradictory as those suggested by the authors examined in the first section.

The third section focuses on Thomas Moore and Bram Stoker. Earlier identification of the problems encountered by those who sought a solution to the Land Question in the context of realist literary forms raises the possibility of an alternative approach - that of fantasy. They could and did experience both an Irish and a British identity, even as nineteenth-century Scottish writers could find a Scottish and an English identity.

But Trollope was more than a mere sojourner in Ireland. The Landleaguers becomes our great witness here. It is not, as with Tennyson or Stevenson, a bitter attack on what "those people" are doing:5 it is an attack on what "my people" are doing, and the sense that it is "my" values to which they are doing it.

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  • Even though the warfare carried out by the Irish agrarian rebels on fox hunting seems a very frivolous symbol to our generation as a focal point for that sense of anger, yet the fox hunt existed for all four of them as proof of the humanity, fellowship, courage, and excitement which they proudly saw as Irish. Moore, apparently the least engaged in such things, makes his denunciations of the war against the fox hunt the climax of his narrative. And the Land Leaguers, in the practice exhibited by their blocking hunts as a protest, and in the theory conveyed by their teachings that the day of the hunt would be over when they finally came into their own, foretold the end of an institution and a society which Trollope adored.

    But in spite of this Phineas succeeded. Sadleir, op.

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    He is preeminently the beautiful savage, straight from the frontier. AndTrollope, who had read and pondered his James Fennimore Coop. Gladstone infuriated supporters of the Union in the American civil war by suggesting that it looked as though Jefferson Davis would create a nation.

    He discovered that frontier-made goods were not good selling material.

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    But the tools and perceptions were Irish in the initial instance, and much of the workmanship after his return to england was still based on the rough designs he had initiallyexecuted on Irish soil, with Irish themes, abot Irish characters, and with Irish insights.

    He had even made his small but impressive contribution to the creation in the Anglo-Irish frontier form of speech. Ultimately, he won sufficient strength to bring in a fronier figure as a means by which his own observations from outside could be sharpened even more [in Phineas Finn.

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    • Walter Kendrick rev of John Halperin, ed. Only Andrew Wright and R. Hall on Trollope the Person is of special interest.


      Robert Lee Wollf. Tracy calls the poem a novel in verse; summarises the plot: landlord observes the misery of his tenants, decides to dismiss his harsh bailiff, takes charge, halts evictios, deals fairly with the people, and creates a realm of peace and plenty; on finding a peasant under double burden of eviction and arrested son, he fires the bailiff and burns the list of Ribbonmen; bailiff is assassinated.

      Both were aware that the Irish novel could not succeed by using the same techniques as the English novel, and both seem to have realised that the episode and provisional nature of Irish life coud not be accommodated within the centripetal English-novel tradtion in which the story moves towards social integration and unity.