Relevant bibliographies by topics / Joseph Sheridan Le Fanu

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Academic literature on the topic 'Joseph Sheridan Le Fanu'

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Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Joseph Sheridan Le Fanu"

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Lozes, Jean. "Le « Bestiaire » fantastique de Joseph Sheridan Le Fanu." Études irlandaises 13, no. 1 (1988): 55–62. http://dx.doi.org/10.3406/irlan.1988.2482.

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Subotsky, Fiona. "In a Glass Darkly (1872), J. Sheridan LeFanu." British Journal of Psychiatry 195, no. 2 (August 2009): 162. http://dx.doi.org/10.1192/bjp.195.2.162.

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Joseph Sheridan Le Fanu (1814-1873) is another literary Dubliner. Having studied law at Trinity College, he became a journalist and author, famous for both his sensationalist novels and his supernatural tales. For In a Glass Darkly Le Fanu used a technique common in gothic fiction by having a narrator/editor who presents past documents, in this instance of mysterious medical case histories from the papers of the nowdeceased Dr Hesselius. The latter is a European ‘metaphysical physician’ with Swedenborgian leanings who likes to investigate curious psychological phenomena. He considerably resembles the later Professor Van Helsing from Bram Stoker's Dracula.
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Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." CBU International Conference Proceedings 1 (June 30, 2013): 182–87. http://dx.doi.org/10.12955/cbup.v1.32.

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Notwithstanding the fact that the Anglo-Irish writer Joseph Sheridan Le Fanu was one of the most popular writers of the British Victorian era, his name and most of his works are not well-known to a common reader. The present research investigates how the author inventively modifies traditional Gothic elements and penetrates them into human’s consciousness. Such Le Fanu’s metamorphoses and innovations make the artistic world of his prose more realistic and psychological. As a result, the article presents a comparative literary study of Le Fanu’s text manipulations which seem to lead to the creation of Le Fanu’s own kind of “psychological” Gothic.
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Manara, Franck. "Une eau fantastique : lecture de « The Haunted Baronet, » de Joseph Sheridan Le Fanu." Études irlandaises 29, no. 2 (2004): 121–34. http://dx.doi.org/10.3406/irlan.2004.1722.

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Clark Mitchell, David. "A New ‘Rhetoric of Darkness’: Joseph Sheridan Le Fanu, John Connolly and the Irish Gothic." Oceánide 13 (February 9, 2020): 95–102. http://dx.doi.org/10.37668/oceanide.v13i.45.

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The relationship between Ireland and the Gothic goes back to the early days of the genre, when the Sublime, as identified by the Irish philosopher Edmund Burke, became central to the aesthetic concepts which would abound in the articulation of the Gothic as a literary form. The “dark, desolate and stormy grandeur” of the perception of Ireland which was held by the English reading public in the late eighteenth century was readily adaptable for the use of the island as a kind of pre-Enlightenment wilderness which, when combined with its linguistic, religious and cultural “otherness”, provided a fertile territory for the growth of a literature which favoured the supernatural, the uncanny and the numerous features which unite to make up the genre. As early as 1771, Elizabeth Griffin’s "The History of Lady Barton" contains elements of the Gothic, and the huge popularity of Waterford-born Regina Maria Roche’s "The Children of the Abbey"gave a definitive boost to the genre with regard to Irish writers. The success of Sydney Owenson’s "The Wild Irish Girl", and that of Charles Robert Maturin with "The Milesian Chief" and "Melmoth the Wanderer" helped foster a tradition which would be continued throughout the nineteenth century by writers such as Joseph Sheridan Le Fanu, L.T. Meade and Bram Stoker. It is Le Fanu who, arguably, was the first writer to merge the Gothic with crime fiction. For Begnall, his works “oscillate between the poles of supernatural horror and suspenseful detection”, and, in short fiction such as “The Murdered Cousin” and “The Evil Guest” and novels including "Uncle Silas" and "Wylder’s Hand" Le Fanu consciously merges the emerging format of the murder mystery with the lugubrious labyrinths of the Gothic. Le Fanu’s influence was, of course, international, but the paths he trod were also followed by numerous Irish writers. One of the most successful of these is John Connolly who, since the introduction of Charlie Parker with the publication of "Every Dead Thing" in 1999 has, in the eighteen novels which have appeared to date, successfully revised the concepts and tropes which make up the Irish Gothic. In this paper these works will be analysed with reference to their debt to the Irish Gothic tradition and, most specifically, to the writing of Le Fanu.
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Forclaz. "Edgar Allan Poe and Joseph Sheridan Le Fanu: Pioneers of the Story of Detection." Edgar Allan Poe Review 21, no. 2 (2020): 265. http://dx.doi.org/10.5325/edgallpoerev.21.2.0265.

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Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (December 23, 2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.

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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tended towards the dichotomy Anglo-Irish coloniser versus Catholic colonised, and early examples of Irish Gothic fiction displayed the latter as the monstrous Other. However, the nineteenth century witnessed a move forward in the development of the genre in Ireland. This article shows how the change from physical to psychological threat implies a transformation or, rather, a displacement—the monstrous Other ceases to be Catholic to instead become an Anglo-Irish manifestation. To do so, this study considers the later short fictions of Joseph Sheridan Le Fanu and analyses how theDublin-born writer conveys his postcolonial concerns over his own class by depicting them simultaneously as the causers of and sufferers from their own colonial misdeeds.
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Pająk, Patrycjusz. "Uncanny Styria." Prace Filologiczne. Literaturoznawstwo, no. 9(12) cz.1 (July 4, 2019): 149–62. http://dx.doi.org/10.32798/pflit.114.

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The nineteenth century in the West was a period of intellectual and artistic fascination with the East, both distant and near: Asian and Eastern European. One of the regions that attracted the interest of Western Europeans was Styria, situated on the border separating Austria from Hungary and the Balkans, that is, the West from the East. Borderland cultural phenomena stimulate the imagination as much as exotic phenomena. Both disturb with their hybrid character, which results from the mixing of elements from familiar and alien cultures. With their duality and ambiguity, borderlands are the source of the uncanny, which in the Western literature of the nineteenth century became the basic ingredient of the Western image of the Styrian lands. Uncanny Styria was discovered by Basil Hall, a Scottish traveler who reported the impressions of his stay in this region in his 1830s travelogue Schloss Hainfeld; or, a Winter in Lower Styria. In the second half of the century, two Irishmen wrote about the uncanny Styrian borderland: Joseph Sheridan Le Fanu and Bram Stoker. Both associated Styria with vampirism: the former in the 1870s novella Carmilla, the latter in the 1890s short story Dracula’s Guest. The central thread that runs through all three texts is the decline of Styrian nobility. From Hall, it prompts expression of melancholy regret, accompanied by a sense of strangeness. In his work, the erosion of the culture of the nobility results from Styria’s isolated location in the borderlands, as well as the destructive influences of modernity. Le Fanu balances the regret with horror, related to a different interpretation of decline as cultural regression. In Stoker’s story, the terror intensifies with the sense that the regression that affects the province of Styria could extend to Western Europe.
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McCann, Andrew. "ROSA PRAED AND THE VAMPIRE-AESTHETE." Victorian Literature and Culture 35, no. 1 (January 22, 2007): 175–87. http://dx.doi.org/10.1017/s1060150307051479.

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ROSA CAMPBELL PRAED left Australia for London in 1876. In the decade or so subsequent to her arrival in the metropolis she forged a successful career as a writer of occult-inspired novels that drew on both theosophical doctrine and a nineteenth-century tradition of popular fiction that included Edward Bulwer-Lytton and Joseph Sheridan Le Fanu. A string of novels published in the 1880s and the early 1890s, including Nadine: the Study of a Woman (1882), Affinities: A Romance of Today (1885), The Brother of the Shadow: A Mystery of Today (1886), and The Soul of Countess Adrian: A Romance (1891), produced a sort of popular aestheticism that melded an interest in fashionable society, a market-oriented Gothicism, and speculations on the philosophy of art that were indicative of Praed's relationship to a fin-de-siècle Bohemia and its literary circles. There is no doubt that these novels can be located in terms of the numerous popular genres – the art novel, the aesthetic novel, the occult novel – that form the literary background to much better known texts such as Oscar Wilde's The Picture of Dorian Gray, Bram Stoker's Dracula and George du Maurier's Trilby. But to account for Praed's ephemerality in terms of a series of generic categories elides too easily the pressures – economic, political, and aesthetic – impinging on a colonial, female novelist quickly forging a career at the centre of an imperial culture. Praed's novels are hybrid, polysemic creations, over-determined by these pressures, which in turn, no doubt, have contributed to her invisibility in contemporary literary studies. Their Gothicism and their appropriation of theosophical doctrine are both manifest in themes like mesmerism, telepathy, duel personality, and the recurring figure of the spiritual or “moral vampire.” Yet these obviously commercial novels are also intensely invested in aesthetic questions, in the dislocated character of imperial experience, in the accrual of cultural capital, and in their own relationship to the vexed question of their originality vis-à-vis the market for popular fiction.
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Begnal, Michael H., Ivan Melada, Stephen J. Brown, Desmond Clarke, and Barry Sloan. "Sheridan Le Fanu." Canadian Journal of Irish Studies 14, no. 2 (1989): 102. http://dx.doi.org/10.2307/25512753.

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Dissertations / Theses on the topic "Joseph Sheridan Le Fanu"

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Lozes, Jean. "Joseph Sheridan Le Fanu, romancier et nouvelliste anglo-irlandais, 1814-1873." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376075264.

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Lozes, Jean. "Joseph Sheridan Le Fanu : romancier et nouvelliste anglo-irlandais : 1814-1873." Toulouse 2, 1987. http://www.theses.fr/1987TOU20018.

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L'œuvre de Le Fanu est née de la tragique rencontre politico-religieuse entre deux pays, l'Irlande et l'Angleterre. Elle est une vision d'abord historique, puis mythique de ce conflit. L'étude de cette confrontation aboutit très vite à une hésitation fatale, à l'impossibilité de trouver une solution. L'art de Le Fanu consiste à exprimer cette hésitation et cette impossibilité sur deux modes littéraires utilisés conjointement. Expression de l'enfermement, de l'incompréhensible prédestination, de l'inexorable fatalité, de la menace constante du mystère, traduction de la grande peur originelle qui se perpétue à travers l'histoire, le genre fantastique donne à Le Fanu le moyen idéal de révéler la face hideuse d'un monde où tout voyage est trompeusement initiatique, où tout désir de connaissance débouche sur l'angoisse, le cauchemar, la dualité et la réversibilité des êtres et des choses, la mort. Expression de la tentative de rationaliser l'existence humaine, de clarifier le dédale des situations, le genre policier apporte par ailleurs à Le Fanu la nécessaire caution de la raison qui lui permet précisément de démontrer la vanité de toute espérance profonde dans ce domaine
The tragedy of the political and religious clash between Ireland and England is responsible for Le Fanu's work. The latter is first an historical, then a mythical vision of the conflict. The study of the confrontation soon results in an absolute hesitation, in the impossibility to find a solution. Le Fanu's art consists in conveying this hesitation and this impossibility via two literary modes used jointly. As an expression of man's moral confinement, incomprehensible predestination and inexorable fate, the fantastic genre - that most adequately translates the original fear perpetuated throughout history - gives Le Fanu an ideal means of unveiling the hideous spectra of a world in which any journey is a deceitful initiation, any desire for understanding a frightening open road to distress, nightmares, the duality of all things, and death. As an expression of man's attempt to rationalize human existence and to clarify the intricacies of earthly situations, the detective genre also provides Le Fanu with the necessary contribution of reason, thus enabling him to demonstrate the vanity of our expectations in that field
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Girard, Gaïd. "Aspects et construction du fantastique dans les nouvelles de Joseph Sheridan Le Fanu (1814-1873)." Paris 4, 1994. http://www.theses.fr/1994PA040074.

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Le but de cette thèse est de dégager les constantes de l'écriture fantastique de Le Fanu dans ses nouvelles. L'étude s'organise autour de trois axes : la réécriture de contes irlandais,l'utilisation des codes du roman gothique,l'invention de nouvelles formes d'écriture qui lient explicitement fantastique et fantasmatique. Le fanu parvient à inscrire dans la fictionalité écrite l'expérience du conteur,qui redit sans répéter,qui signale tout par le fragment
This thesis aims at defining the specificity of Le Fanu's fantastic in his short stories. .
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Issa, Alexandra. "Hennes namn var Carmila : En queerteoretisk analys av Joseph Sheridan Le Fanus novell Carmilla." Thesis, Södertörns högskola, Lärarutbildningen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-31431.

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This dissertation is a text analysis of the short novel Carmilla (1872) by the Irish ghost story-author Joseph Sheridan Le Fanu. It is a close reading analysis where I apply a queer theoretical perspective using Mia Franck’s model to analyze different silence practices in Carmilla. I focus on the female vampire Carmilla and her companion Laura and how they are portrayed in this short novel. I will ask the questions: do the characters Carmilla and Laura show a non-heterosexual relationship, passion and desire? How do they depart from the gender norm and can they be seen as characters who deviate from what society considers ‘normal’ behaviour? And can Carmilla and Laura’s relationship be seen as an example of silenced homosexuality and in what way is it expressed? Carmilla and Laura’s behaviour can certainly be described as queer and it is effective to examine the novella using silence practices through a queer perspective. Many of the practices are written silences. Mostly, its things that the reader realizes before the storyteller Laura does herself. They reveal numerous oddities in the story, taking the form of narrative, camouflaged, performative, ritualized and existential silences. Prominent examples are the way Carmilla hides both her vampiric and lesbian sides which Laura is repelled at in addition to her own lustful and passionate emotions. As a future teacher, one of my most important jobs will be to educate my pupils about democratic values and that all kinds of discrimination should be discouraged. An essay of this sort is one way to educate them in how gender and sexuality can be seen from historical, political and cultural perspectives.
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Campos, Ludmila Rode de [UNESP]. "Carmilla e Sabella: em busca de uma identidade feminina em Joseph Sheridan Le Fanu e Tanith Lee." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/99126.

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Este trabalho teve como objetivo realizar uma análise comparativa entre duas obras literárias que têm como foco a questão da representação literária feminina. Ao analisar os textos Carmilla (1872), de Joseph Sheridan Le Fanu, e Sabella (1980), de Tanith Lee, buscamos apontar alguns traços comuns característicos quanto às descrições das personagens femininas e as posturas que assumem diante da sociedade na qual estão inseridas, a fim de encontrar alguns possíveis aspectos norteadores para a construção da identidade feminina literária. A partir de um olhar mais aprofundado para as personagens-título Carmilla e Sabella — ambas vampiras e representativas de dois momentos distintos da literatura de ficção inglesa — retratamos os contextos histórico-sociais em que os autores se inserem. A análise baseou-se em algumas teorias feministas desenvolvidas e disseminadas ao longo dos anos 70 e 80, que visam discutir os novos posicionamentos da mulher dentro de contextos sociais até então “proibidos”, tais como trabalho, política e sexualidade. Interagimos também com textos que relacionam a representação social da mulher ligada à figura mitológica do vampiro – representação essa diretamente associadas às transformações emocionais que tratam do embate primitivo do bem vs. o mal.
The aim of this study was to make a comparative analysis focusing on the female literary representations present in two English novels. Through the study of the novels Carmilla (1872), by Joseph Sheridan Le Fanu, and Sabella (1980), by Tanith Lee, we examined the main common characteristics from female characters and their attitudes within the society to which they belong, and with the purpose of finding some possible points leading to a literary female identity construction. From a deep contact with the title-characters Carmilla and Sabella – both female vampires and also representatives of distinct English literary fiction periods – we depict the social-historical contexts to which each author belongs. The analysis is based on some feminist theories developed and propagated along of the 70’s and the 80’s, which discuss the new places occupied by women in social contexts so far known as “banned”, like out-of-house works, politics and sexuality. We also interact with texts related to social female representations linked to the mythological vampire figure – a kind of representation directly associated to some emotional transformations dealing with the primitive opposition between good vs. evil.
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Campos, Ludmila Rode de. "Carmilla e Sabella : em busca de uma identidade feminina em Joseph Sheridan Le Fanu e Tanith Lee /." São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/99126.

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Orientador: Álvaro Luiz Hattnher
Banca: Nícea Helena de ALmeida Nogueira
Banca: Carla Alexandra Ferreira
Resumo: Este trabalho teve como objetivo realizar uma análise comparativa entre duas obras literárias que têm como foco a questão da representação literária feminina. Ao analisar os textos Carmilla (1872), de Joseph Sheridan Le Fanu, e Sabella (1980), de Tanith Lee, buscamos apontar alguns traços comuns característicos quanto às descrições das personagens femininas e as posturas que assumem diante da sociedade na qual estão inseridas, a fim de encontrar alguns possíveis aspectos norteadores para a construção da identidade feminina literária. A partir de um olhar mais aprofundado para as personagens-título Carmilla e Sabella - ambas vampiras e representativas de dois momentos distintos da literatura de ficção inglesa - retratamos os contextos histórico-sociais em que os autores se inserem. A análise baseou-se em algumas teorias feministas desenvolvidas e disseminadas ao longo dos anos 70 e 80, que visam discutir os novos posicionamentos da mulher dentro de contextos sociais até então "proibidos", tais como trabalho, política e sexualidade. Interagimos também com textos que relacionam a representação social da mulher ligada à figura mitológica do vampiro - representação essa diretamente associadas às transformações emocionais que tratam do embate primitivo do bem vs. o mal.
Abstract: The aim of this study was to make a comparative analysis focusing on the female literary representations present in two English novels. Through the study of the novels Carmilla (1872), by Joseph Sheridan Le Fanu, and Sabella (1980), by Tanith Lee, we examined the main common characteristics from female characters and their attitudes within the society to which they belong, and with the purpose of finding some possible points leading to a literary female identity construction. From a deep contact with the title-characters Carmilla and Sabella - both female vampires and also representatives of distinct English literary fiction periods - we depict the social-historical contexts to which each author belongs. The analysis is based on some feminist theories developed and propagated along of the 70's and the 80's, which discuss the new places occupied by women in social contexts so far known as "banned", like out-of-house works, politics and sexuality. We also interact with texts related to social female representations linked to the mythological vampire figure - a kind of representation directly associated to some emotional transformations dealing with the primitive opposition between good vs. evil.
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Silva, Danilo Tavares Marinho da. "O padre e o médico: as vozes de autoridade em In a glass darkly." Niterói, 2017. https://app.uff.br/riuff/handle/1/3745.

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Esse trabalho tem por objetivo analisar como os pensamentos religioso e científico se relacionam nos contos “O demônio familiar”, “Chá verde” e “Carmilla, a Vampira de Karnstein”, do autor irlandês Joseph Sheridan Le Fanu, incluídos na coletânea In a Glass Darkly. Nessas narrativas, os representantes da fé e da razão são apresentados com enfoques distintos, o que permite observar as diferentes maneiras como Le Fanu aborda a religião e a ciência. Com base nessas leituras, procura-se observar se o autor dá mais credibilidade a algum desses ramos ou se ambos se mostram ineficazes perante os elementos sobrenaturais. Neste estudo também será levada em consideração a ambientação das narrativas e a quem pertence a voz narrativa de cada um dos relatos, que não permanecem as mesmas em todos os contos. Para fins teóricos, foram utilizados autores que estudaram o gênero do fantástico – Todorov e Roas – e do horror – Carroll
This work aims to analyze how the religious and scientific mentalities relate in “The Familiar”, “Green Tea” and “Carmilla”,short stories included in the collection In a Glass Darkly, written by the Irish author Joseph Sheridan Le Fanu. In these short stories, the representatives of both faith and reason are presented in distinct perspectives, which makes it possible to observe Le Fanu’s different approaches to science and religion in these works. Based on these readings, there is an attempt to observe whether the author gives more credibility to any of these branches of thought or if both prove to be ineffective in dealing with the supernatural events. This study will also take into account the settings of these short stories and their narrative voices, which do not remain the same in all short stories considered here. Authors who worked with the fantastic genre – Todorov and Roas – and with horror – Carroll – provided the theoretical support for this dissertation
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Widén, Anders. "Drives of death and sexuality in John Polidori´s "The vampyre" and Joseph Sheridan Le Fanu´s Carmilla." Thesis, Karlstads universitet, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-27359.

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Ashman, Anne. "Beyond the gates : a psychobiographical study of death, mourning, and the Swedenborgian after-life in the later works of Joseph Sheridan Le Fanu." Thesis, University of Aberdeen, 2005. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=158292.

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Summary Joseph Thomas Sheridan Le Fanu (1814-1873) became a virtual recluse after the death of his wife in 1858. However, after this date he published much of his best work, mostly on supernatural themes. This thesis uses Freudian psychobiography to explore this paradox, examining Le Fanu's preoccupation with the subject of death and the after-life. Chapter One - explains the psychobiographical methodology; establishes the biographical facts that are connected with symptomatic features of Le Fanu's fiction; and introduces certain Freudian concepts that are relevant to Le Fanu's case. My aim is to construct a psychobiographical profile of Le Fanu based on Freud's theory of the death drive, in order to relate a key phase in his life - namely, the death of his wife - to the subsequent development of his writing. Chapter Two - applies Freud's theory of the death drive and the repetition compulsion to an interpretation of Le Fanu's fiction. I examine the main tenets of Beyond the Pleasure Principle, which encompasses Freud's theory of the repetition compulsion operating at the heart of the death drive, to offer an explanation for the extraordinary patterns of repetition in Le Fanu's fiction. I explore Le Fanu's development of repetitive narrative techniques; his repetition of names and settings (where the central image of a great house is linked with the human psyche); his repetition of images; and his obsession with suicide. Chapter Three - shows how the sense of guilt that Le Fanu developed following his wife's death led him directly into a fictive exploration of a continued state of existence between the realms of life and death. I begin with a literary history of the vampire and show how Le Fanu recreated the vampire myth. Consideration is then given to Freud's theory of 'The Uncanny' and to the psychological implications of Le Fanu's creation of a sensual, female vampire, and his introduction of the suggestion of lesbian love into vampire fiction. Attention is also given to the collapse of the life/death dialectic in Le Fanu's fiction, to show how Le Fanu confuses the issue as to whether characters are living or undead. Chapter Four - explores Le Fanu's conception of the after-life using Swedenborgian analogies. I examine Swedenborg's philosophy through a detailed study of the central concepts of Heaven and Hell, before providing an analysis of Le Fanu's so-called 'Swedenborgian' texts, which are concerned with a visit to the underworld and the opening of man's interior sight. I compare Swedenborg and Freud's understanding of man's dual nature, and refer to the late eighteenth and nineteenth-century writers who acknowledged their indebtedness to Swedenborg. The chapter concludes with a close reading of Le Fanu's Uncle Silas: A Tale of Bartram Haugh.
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Paquiot, Alethea. "Images de la transgression : Carmilla (1872), Dracula (1897) et les vampires d'Anne Rice." Thesis, Le Havre, 2016. http://www.theses.fr/2016LEHA0028.

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Devenu célèbre sous les traits de Dracula, le vampire est un monstre révélateur et résilient qui s'est fait archétype incontournable de la culture populaire et dont l'existence diégétique précède le roman de Bram Stoker. Du folklore à la fiction et de l'ombre à la lumière, son évolution est représentative des sociétés et des époques dans lequel il revient à la vie. A la fois transgressifs et normatifs, ses avatars jouent un rôle cathartique en incarnant le refus des lois humaines naturelles et divines, mais aussi la réitération de ces règles et la création de canons littéraires. Cette étude diachronique centrée sur "Carmilla" (1872), "Dracula" (1897) et les vampires d'Anne Rice démontre que leurs aventures invitent à réfléchir autant aux conséquances des fautes qu'à la validité des normes, à l'essence de la nature et des failles humaine et à la fonction libératrice des personnages de fiction et particulièrement des monstres
Known to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters
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Books on the topic "Joseph Sheridan Le Fanu"

1

Sheridan Le Fanu. Boston: Twayne Publishers, 1987.

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McCormack, W. J. Sheridan Le Fanu. 3rd ed. Stroud, Gloucestershire: Sutton, 1997.

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McCormack, W. J. Sheridan Le Fanu and Victorian Ireland. 2nd ed. Dublin: Lilliput Press, 1991.

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J. Sheridan Le Fanu: A bio-bibliography. Westport, Conn: Greenwood Press, 1995.

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Sage, Victor. Le Fanu's gothic: The rhetoric of darkness. Basingstoke: Palgrave Macmillan, 2004.

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Sage, Victor. Le Fanu's gothic: The rhetoric of darkness. New York: Palgrave Macmillan, 2003.

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Dissolute characters: Irish literary history through Balzac, Sheridan Le Fanu, Yeats, and Bowen. Manchester: Manchester University Press, 1993.

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Achilles, Jochen. Sheridan Le Fanu und die schauerromantische Tradition: Zur psychologischen Funktion der Motivik von Sensationsroman und Geistergeschichte. Tübingen: G. Narr, 1991.

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McCarter, Geraldine. The Cock and Anchor and Checkmate: A comparative study of two novels by J.T. Sheridan Le Fanu. [s.l: The Author], 1989.

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Whisler, Elizabeth A. English gothic tradition in Ireland and the United States of America: The short stories of Joseph Sheridan LeFanu and Nathaniel Hawthorne. [S.l: The Author], 1999.

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Book chapters on the topic "Joseph Sheridan Le Fanu"

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Achilles, Jochen. "Le Fanu, Joseph Sheridan." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8962-1.

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Achilles, Jochen. "Joseph Sheridan Le Fanu." In Kindler Kompakt: Horrorliteratur, 110–15. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04502-7_20.

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Achilles, Jochen. "Le Fanu, Joseph Sheridan: Uncle Silas." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8963-1.

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Killeen, Jarlath. "Joseph Sheridan Le Fanu and Ireland." In The Palgrave Handbook of Steam Age Gothic, 263–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40866-4_15.

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Achilles, Jochen. "Le Fanu, Joseph Sheridan: In a Glass Darkly." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8964-1.

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Milbank, Alison. "Joseph Sheridan Le Fanu: Gothic Grotesque and the Huguenot Inheritance." In A Companion to Irish Literature, 362–76. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch22.

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Jones, Anna Maria. "Sheridan Le Fanu." In A Companion to Sensation Fiction, 269–80. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342239.ch21.

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Milbank, Alison. "The Haunted House: Sheridan Le Fanu." In Daughters of the House, 158–73. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1057/9780230372412_8.

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Rance, Nicholas. "Conclusion: Sheridan Le Fanu and Sensation Fiction." In Wilkie Collins and Other Sensation Novelists, 157–68. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-11964-6_9.

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Imfeld, Zoë Lehmann. "‘These devils have made quite a saint of you’: Sheridan Le Fanu." In The Victorian Ghost Story and Theology, 107–39. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30219-5_5.

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Conference papers on the topic "Joseph Sheridan Le Fanu"

1

Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." In CBU International Conference on Integration and Innovation in Science and Education. Central Bohemia University, 2013. http://dx.doi.org/10.12955/cbup.2013.32.

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