Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.4
Brian Ó Conchubhair
{"title":"Brendan Behan and the Irish Language: A Reconsideration","authors":"Brian Ó Conchubhair","doi":"10.14712/2571452x.2024.67.4","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.4","url":null,"abstract":"","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 98","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141680592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.9
David Livingstone
{"title":"Rowdy and Rough: Brendan Behan Sings Songs from The Hostage","authors":"David Livingstone","doi":"10.14712/2571452x.2024.67.9","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.9","url":null,"abstract":"","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.8
James Little
: Brendan Behan was a writer for whom collaboration was a central part of the creative process. His work for the inherently social art of theatre thus provides a fascinating case study through which to examine collaborative textual geneses, particularly when there is an archival trail that enables us to analyse these collaborations. Building on the recent turn in genetic criticism towards the study of collaborative creative processes, this article draws on the recently acquired papers, at the University of Galway, of Pike Theatre co-founder Carolyn Swift, who was central to the editing of Behan’s plays for performance. Focusing on drafts of The Quare Fellow (first staged 1954), the essay shows that Swift deleted multiple instances of violent language from Behan’s manuscript, suggesting that the play’s violence was censored by this key collaborator. Bringing the tools of genetic criticism to bear on Behan’s theatre work demonstrates the significance of Swift’s role in Behan’s collaborative creative practice and the centrality of collaboration to his aesthetic. In conclusion, the article calls for a revised reader’s edition of Behan’s plays which would take into account the collaborative nature of his theatre work.
{"title":"“The most cooperative of writers”: Brendan Behan’s Collaboration with Carolyn Swift on The Quare Fellow","authors":"James Little","doi":"10.14712/2571452x.2024.67.8","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.8","url":null,"abstract":": Brendan Behan was a writer for whom collaboration was a central part of the creative process. His work for the inherently social art of theatre thus provides a fascinating case study through which to examine collaborative textual geneses, particularly when there is an archival trail that enables us to analyse these collaborations. Building on the recent turn in genetic criticism towards the study of collaborative creative processes, this article draws on the recently acquired papers, at the University of Galway, of Pike Theatre co-founder Carolyn Swift, who was central to the editing of Behan’s plays for performance. Focusing on drafts of The Quare Fellow (first staged 1954), the essay shows that Swift deleted multiple instances of violent language from Behan’s manuscript, suggesting that the play’s violence was censored by this key collaborator. Bringing the tools of genetic criticism to bear on Behan’s theatre work demonstrates the significance of Swift’s role in Behan’s collaborative creative practice and the centrality of collaboration to his aesthetic. In conclusion, the article calls for a revised reader’s edition of Behan’s plays which would take into account the collaborative nature of his theatre work.","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.5
Deirdre McMahon
{"title":"Brendan Behan: A Late Modernist Writer Engagé in Postwar Paris","authors":"Deirdre McMahon","doi":"10.14712/2571452x.2024.67.5","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.5","url":null,"abstract":"","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.6
Nathalie Lamprecht
: Following Patricia Coughlan’s prompt to question representations of women in the writing of male authors, this article sets out to analyse the representations of women in the work of Brendan Behan, more specifically his short fiction. As a working-class writer, the issue of the portrayal of his own neighbourhood and community quickly emerged as a central concern for Behan. As Michael Pierse has argued, within the oppressed group of the Dublin working class, it was women who were most at odds with the status-quo, suffering double marginalisation through both gender and class. When looking at Behan’s depictions of women in his short stories, no straightforward conclusions may be drawn. Behan can hardly be classified as a feminist writer, but he treats most of his female characters with similar empathy as he does his male characters, allowing them the capacity to be anything from self-denying saints to “screwy bitches.” Some of his stories are written in homage to the women who raised him, others seem to criticise a society that victimises them.
{"title":"“A splendid figure of revolting womanhood”: The Women of Brendan Behan’s Short Fiction","authors":"Nathalie Lamprecht","doi":"10.14712/2571452x.2024.67.6","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.6","url":null,"abstract":": Following Patricia Coughlan’s prompt to question representations of women in the writing of male authors, this article sets out to analyse the representations of women in the work of Brendan Behan, more specifically his short fiction. As a working-class writer, the issue of the portrayal of his own neighbourhood and community quickly emerged as a central concern for Behan. As Michael Pierse has argued, within the oppressed group of the Dublin working class, it was women who were most at odds with the status-quo, suffering double marginalisation through both gender and class. When looking at Behan’s depictions of women in his short stories, no straightforward conclusions may be drawn. Behan can hardly be classified as a feminist writer, but he treats most of his female characters with similar empathy as he does his male characters, allowing them the capacity to be anything from self-denying saints to “screwy bitches.” Some of his stories are written in homage to the women who raised him, others seem to criticise a society that victimises them.","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.3
Radvan Markus
{"title":"“Gael an Taobh Thuaidh”: The Irish Language in Brendan Behan’s Journalistic Writing","authors":"Radvan Markus","doi":"10.14712/2571452x.2024.67.3","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.3","url":null,"abstract":"","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.2
John Brannigan
: Between 1951 and 1956, Brendan Behan published more than one hundred articles in The Irish Press newspaper, which have now been collected into a single volume, A Bit of a Writer: Brendan Behan’s Collected Short Prose . The collection augments the critical appreciation of Behan’s talents as a writer, but it also raises important questions for the late modernist period of writing, about the relationship between “Literature,” as a distinct and valued art form
{"title":"“Literature and the Hack”: Brendan Behan and the Newspapers","authors":"John Brannigan","doi":"10.14712/2571452x.2024.67.2","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.2","url":null,"abstract":": Between 1951 and 1956, Brendan Behan published more than one hundred articles in The Irish Press newspaper, which have now been collected into a single volume, A Bit of a Writer: Brendan Behan’s Collected Short Prose . The collection augments the critical appreciation of Behan’s talents as a writer, but it also raises important questions for the late modernist period of writing, about the relationship between “Literature,” as a distinct and valued art form","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-04DOI: 10.14712/2571452x.2024.67.7
Klára Witzany Hutková
: Born only a few years apart, Brendan Behan (1923) and Maeve Brennan (1917) were children of independent Ireland, raised by Republican families on the opposite banks of the Liffey. Although they probably never met – in Dublin or New York – there are fascinating parallels, as well as contrasts, in their biographies and in their writing. This article compares Behan’s and Brennan’s life-writing short prose, published predominantly in The Irish Press (1951-1957) and The New Yorker ( c . 1950s-1960s), respectively. Brennan’s contributions to the “Talk of the Town” column under the pseudonym The Long-Winded Lady, as well as a few other autobiographical pieces, are analysed as a counterpart to Behan’s Irish Press column. The essay focuses on three common areas in the selected writing: irony as Brennan’s and Behan’s response to their positions of a female and working-class writer, respectively, their revisiting of personal and collective memories of traumatic moments in modern Irish history, and a socially aware and compassionate chronicling of the lives of ordinary people.
:布兰登-贝汉（Brendan Behan，1923 年出生）和梅芙-布伦南（Maeve Brennan，1917 年出生）是独立爱尔兰的孩子，在利菲河两岸的共和党家庭长大。虽然他们可能从未在都柏林或纽约见过面，但在他们的传记和写作中，却有着引人入胜的相似之处和鲜明对比。本文比较了贝汉和布伦南分别主要发表在《爱尔兰报》（1951-1957 年）和《纽约客》（1950-1960 年代）上的生平短篇散文。文章分析了布伦南以 "长舌妇"（The Long-Winded Lady）为笔名为 "Talk of the Town "专栏撰写的文章，以及其他几篇自传体作品，将其作为贝汉的爱尔兰报刊专栏的对立面。文章重点讨论了所选文章中的三个共同点：布伦南和贝汉分别作为女性作家和工人阶级作家对自身地位的反讽；他们对爱尔兰现代史上创伤时刻的个人和集体记忆的重温；以及对普通人生活的社会意识和同情的记录。
{"title":"Irony, Trauma, and Compassion: Brendan Behan’s and Maeve Brennan’s Mid-century Short Prose","authors":"Klára Witzany Hutková","doi":"10.14712/2571452x.2024.67.7","DOIUrl":"https://doi.org/10.14712/2571452x.2024.67.7","url":null,"abstract":": Born only a few years apart, Brendan Behan (1923) and Maeve Brennan (1917) were children of independent Ireland, raised by Republican families on the opposite banks of the Liffey. Although they probably never met – in Dublin or New York – there are fascinating parallels, as well as contrasts, in their biographies and in their writing. This article compares Behan’s and Brennan’s life-writing short prose, published predominantly in The Irish Press (1951-1957) and The New Yorker ( c . 1950s-1960s), respectively. Brennan’s contributions to the “Talk of the Town” column under the pseudonym The Long-Winded Lady, as well as a few other autobiographical pieces, are analysed as a counterpart to Behan’s Irish Press column. The essay focuses on three common areas in the selected writing: irony as Brennan’s and Behan’s response to their positions of a female and working-class writer, respectively, their revisiting of personal and collective memories of traumatic moments in modern Irish history, and a socially aware and compassionate chronicling of the lives of ordinary people.","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":" 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141678297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-01DOI: 10.14712/2571452x.2023.66.2
Roslyn Irving
{"title":"Literary Form and Coastal Sublimity in Ann Radcliffe’s The Romance of the Forest","authors":"Roslyn Irving","doi":"10.14712/2571452x.2023.66.2","DOIUrl":"https://doi.org/10.14712/2571452x.2023.66.2","url":null,"abstract":"","PeriodicalId":36301,"journal":{"name":"Litteraria Pragensia","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139815580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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