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Emilie Morin is a Professor of Modern Literature. She joined the Department as Lecturer in 2008, after a PhD at Queen’s University Belfast, and was promoted to Senior Lecturer in 2015 and to Professor in 2019.
She works on modern and contemporary literature and drama, and she has a particular interest in transnational modernism, forms of political writing, literatures of exile and migration, and the intersections between literature and technology. She has published widely in these fields; her essays have appeared in various edited collections and journals including Modernism/modernity, Textual Practice and the Journal of Modern Literature. Her books include Beckett’s Political Imagination (Cambridge University Press, 2017), Samuel Beckett and the Problem of Irishness (Palgrave Macmillan, 2009), Theatre and Human Rights after 1945: Things Unspeakable (Palgrave Macmillan, 2015) and Theatre and Ghosts: Materiality, Performance and Modernity (Palgrave Macmillan, 2014). Her current research focuses on the transnational history of radiophonic forms. In 2021-2022 she will be in receipt of a Leverhulme research fellowship for a project titled ‘Radio Literature and the Radiophonic Imagination in Europe, 1924-1939.’
Emilie Morin’s publications include book chapters and journal articles on modern British and Irish literature, theatre history, sound studies, European modernism and the avant-garde, and the monographs Beckett’s Political Imagination (Cambridge University Press, 2017) and Samuel Beckett and the Problem of Irishness (Palgrave Macmillan, 2009). She has co-edited Theatre and Human Rights after 1945: Things Unspeakable (Palgrave Macmillan, 2015) and Theatre and Ghosts: Materiality, Performance and Modernity (Palgrave Macmillan, 2014), and special issues of SubStance, International Yeats Studies and Samuel Beckett Today/Aujourd’hui. With Lauren Arrington (Maynooth University), she is Series Editor for the Clemson University Press series ‘Modernist Constellations’.
Her most recent book, Beckett’s Political Imagination, challenges the ways in which Samuel Beckett – commonly understood as the perfect example of the apolitical artist – has been perceived. The book uncovers Beckett’s secretive political engagements and lifelong interest in political thought and political history. It discusses the many political causes that framed his writing, commitments, collaborations and friendships, from the Scottsboro Boys to the Black Panthers, from Irish communism to Spanish republicanism to Algerian nationalism, and from campaigns against Irish and British censorship to anti-apartheid and international human rights movements. The book was nominated as one of the 2017 Times Literary Supplement Books of the Year. It has been reviewed in a wide range of academic journals and trade publications including The New York Review of Books, the Dublin Review of Books, the Swedish newspapers Svenska Dagbladet and Dagens Nyheter, and the Polish magazine Dialog.
She welcomes enquiries from prospective PhD applicants interested in working on modernism, on modern and contemporary British and Irish literature more broadly, on modern theatre history, and any other facet of literary studies related to her research specialisms.
Emilie Morin teaches modern and contemporary literature on our BA programme, including The Age of Extremes: Twentieth-Century British & Irish Literature and Fictions of Human Rights. Her research-led modules include The European Avant-Garde (world literature module, Year 2) and Beckett’s World (advanced option module, Year 3).
At MA level she teaches Modern Theatre and the Political Imagination and contributes to core modules.
Recent external activities include a contribution to the Swedish Academy’s digital exhibition on Samuel Beckett’s Nobel Prize; talks on political theatre for the National Theatre, on Samuel Beckett for Poet in the City, on early radio for Pica Studios; and an AHRC-funded collaboration with York’s Centre for Applied Human Rights as part of the Development Alternatives network, which focused on the creation of an artist’s book by Bangladeshi artist Shohrab Jahan, with collaborators from the Chittagong University Institute of Fine Arts (Bangladesh), Jog Art Space (Bangladesh), Makerere University’s School of Languages, Literature and Communication (Uganda) and the Ugandan women writers’ association Femrite.