The book offers an exciting new map of the cultural geography of the Romantic era, and establishes a dynamic methodology for future comparative work."--BOOK JACKET.

This collection by leading scholars in the field provides a fascinating and ground-breaking introduction to current research in Irish Romantic studies. It proves the international scope and aesthetic appeal of Irish writing in this period, and shows the importance of Ireland to wider currents in Romanticism.

Ina Ferris examines the way in which the problem of 'incomplete union' generated by the formation of the United Kingdom in 1800 destabilised British public discourse in the early decades of the nineteenth century. Ferris offers the first full-length study of the chief genre to emerge out of the political problem of Union: the national tale, an intercultural and mostly female-authored fictional mode that articulated Irish grievances to English readers. Ferris draws on current theory and archival research to show how the national tale crucially intersected with other public genres such as travel narratives, critical reviews and political discourse. In this fascinating study, Ferris shows how the national tales of Morgan, Edgeworth, Maturin, and the Banim brothers dislodged key British assumptions and foundational narratives of history, family and gender in the period.

Scottish and Irish Romanticism is the first single-author book to address the main non-English Romanticisms of the British Isles. Murray Pittock begins by questioning the terms of his chosen title as he searches for a definition of Romanticism and for the meaning of 'national literature'. He proposes certain determining 'triggers' for the recognition of the presence of a national literature, and also deals with two major problems which are holding back the development of a new and broader understanding of British Isles Romanticisms: the survival of outdated assumptions in ostensibly more modern paradigms, and a lack of understanding of the full range of dialogues and relationships across the literatures of these islands. The theorists whose works chiefly inform the book are Bakhtin, Fanon and Habermas, although they do not define its arguments, and an alertness to the ways in which other literary theories inform each other is present throughout the book. Pittock examines in turn the historiography, prejudices, and assumptions of Romantic criticism to date, and how our unexamined prejudices still stand in the way of our understanding of individual traditions and the dialogues between them. He then considers Allan Ramsay's role in song-collecting, hybridizing high cultural genres with broadside forms, creating in synthetic Scots a 'language really used by men', and promoting a domestic public sphere. Chapters 3 and 4 discuss the Scottish and Irish public spheres in the later eighteenth century, together with the struggle for control over national pasts, and the development of the cults of Romance, the Picturesque and Sentiment: Macpherson, Thomson, Owenson and Moore are among the writers discussed. Chapter 5 explores the work of Robert Fergusson and his contemporaries in both Scotland and Ireland, examining questions of literary hybridity across not only national but also linguistic borders, while Chapter 6 provides a brief literary history of Burns' descent into critical neglect combined with a revaluation of his poetry in the light of the general argument of the book. Chapter 7 analyzes the complexities of the linguistic and cultural politics of the national tale in Ireland through the work of Maria Edgeworth, while the following chapter considers of Scott in relation to the national tale, Enlightenment historiography, and the European nationalities question. Chapter 9 looks at the importance of the Gothic in Scottish and Irish Romanticism, particularly in the work of James Hogg and Charles Maturin, while Chapter 10, 'Fratriotism', explores a new concept in the manner in which Scottish and Irish literary, political and military figures of the period related to Empire.

What happens when an Irish god finds himself smitten by a beautiful mortal woman? When the Celtic gods dream of romance trouble abounds! Visit an Irish king tempted by the poetry of a sensuous wraith who blends the mythological and the historical so seamlessly he finds himself transported to a myth-laden Ireland of beasts and warriors-and entirely at her mercy. A forbidden love cursed by the saints causes two young lovers to magically shape-shift to freedom in an underground fairy Otherworld with disastrous results. A Celtic hero sets out on a treacherous sea journey to claim a dream woman. The rekindled ashes of an ancient desire between a fierce clansman and his lady find new light with a pair of young, secret lovers. The volume contains stories by: Jenna Maclaine, Jennifer Ashley, Roberta Gellis, Claire Delacroix, Sue-Ellen Welfonder, Cindy Miles, Ciar Cullen, Helen Scott Taylor, Shirley Kennedy, Margo Maguire, Susan Krinard, Pat McDermott, Nadia Williams, Dara England, Kathleen Givens, Sandra Newgent, Cindy Holby, Cat Adams, Penelope Neri, Patricia Rice.

Claire Connolly offers a cultural history of the Irish novel in the period between the radical decade of the 1790s and the gaining of Catholic Emancipation in 1829. These decades saw the emergence of a group of talented Irish writers who developed and advanced such innovative forms as the national tale and the historical novel: fictions that took Ireland as their topic and setting and which often imagined its history via domestic plots that addressed wider issues of dispossession and inheritance. Their openness to contemporary politics, as well as to recent historiography, antiquarian scholarship, poetry, song, plays and memoirs, produced a series of notable fictions; marked most of all by their ability to fashion from these resources a new vocabulary of cultural identity. This book extends and enriches the current understanding of Irish Romanticism, blending sympathetic textual analysis of the fiction with careful historical contextualization.

Irish houses have a character and personality quite different from that found anywhere else. Quixotic, often whimsical and definitely quirky, they provide a sanctuary from the Irish climate, which is frequently gray, cold, and damp. No wonder, therefore, that over the centuries Ireland's domestic architecture and interior design have developed a distinctive personality in which color and vivacity are highly prized. Romantic Irish Homes presents 15 of the finest examples of these traits, each one of them distinctive and yet sharing the same native spirit. From vast ancient castles through sturdy Georgian manors to small farmhouses, the majority of them never previously photographed, the homes featured here offer a unique insight into the Irish temperament and an exploration of a style of decoration that, while adapted to meet 21st-century demands, still retains an historic integrity. Photographed by Simon Brown, Romantic Irish Homes is every bit as charming and memorable as the Irish people themselves.