Pub Date : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0018
T. Boynton
This chapter investigates the Irish response to modern mass media, in which Catholic and cultural nationalists converged in their efforts to de-anglicise the fledgling nation. For different reasons, both factions noisily condemned such modern vulgarities as tabloid journalism, Hollywood movies, music halls, bodice-rippers, and penny dreadfuls. The iconic figure of the young, female, Catholic reader loomed large in these invectives, with Catholic nationalists campaigning to preserve her purity while cultural nationalists bemoaned her seduction by the international culture industry. Boynton explores the relationship between these religious and gender pieties of the nationalist movement on the one hand and the emergence of Irish modernism on the other, tracing through the works of early, high, and late modernists – from W.B. Yeats to Samuel Beckett – a set of heretical strategies that challenge the representation of this consumer demographic as “pure, pious, and simple.”
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Pub Date : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0019
Lauren M. Rich
This chapter argues that Molly Keane’s heretical late novels violate every possible standard of good behaviour, especially in their scandalous emphasis on the unsavoury aspects of eating and excreting. Mesmerised by these nauseating details, critics have tended to overlook Keane’s affirmation of the pleasures of food and its redemptive value for her Anglo-Irish heroines, trapped as they are in the crumbling Big Houses of the moribund Protestant Ascendancy. Keane insists on the uncomfortably close relationship between the grotesque and the delicious in a context where denial of physical pleasure and suppression of appetite are important markers of class and gender, as elements of good behaviour. In Keane’s Big Houses, women seek out forbidden food as private consolation for their confinement and alienation.
{"title":"‘Stolen fruit is best of all’: The Pleasures of Subversive Consumption in the Late Novels of Molly Keane","authors":"Lauren M. Rich","doi":"10.3366/edinburgh/9781474456692.003.0019","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456692.003.0019","url":null,"abstract":"This chapter argues that Molly Keane’s heretical late novels violate every possible standard of good behaviour, especially in their scandalous emphasis on the unsavoury aspects of eating and excreting. Mesmerised by these nauseating details, critics have tended to overlook Keane’s affirmation of the pleasures of food and its redemptive value for her Anglo-Irish heroines, trapped as they are in the crumbling Big Houses of the moribund Protestant Ascendancy. Keane insists on the uncomfortably close relationship between the grotesque and the delicious in a context where denial of physical pleasure and suppression of appetite are important markers of class and gender, as elements of good behaviour. In Keane’s Big Houses, women seek out forbidden food as private consolation for their confinement and alienation.","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121496470","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 : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0011
K. Conrad
This chapter argues that Oscar Wilde’s The Importance of Being Earnest, described by its author as an ‘amusing thing with lots of fun and wit’, contains an explosive undercurrent of social critique. The funniest of Wilde’s plays, Earnest satirizes the subterfuge (‘Bunburying’) demanded of sexual heretics in Victorian society, where marginal identities and desires were excluded, suppressed, or in Wilde’s case, brutally penalized. Conrad investigates Wilde’s ambivalent attitude to direct revolutionary action such as the Fenian dynamite campaign of 1881-85 and French anarchist activities of the 1890s, attending particularly to the 1884 bomb explosion in the cloakroom at Victoria Station, the ‘terminus’ where Miss Prism left the infant Jack Worthing in a handbag containing her three-decker novel. As Conrad argues, ‘texts, bodies, and bombs all meet at Victoria Station’, and Wilde, as an Irishman and a homosexual, could himself be seen as ‘a potential bomb right at the terminus of Victorian society’.
{"title":"Rage’s Brother: The Bomb at the Centre of Wilde’s Trivial Comedy","authors":"K. Conrad","doi":"10.3366/edinburgh/9781474456692.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456692.003.0011","url":null,"abstract":"This chapter argues that Oscar Wilde’s The Importance of Being Earnest, described by its author as an ‘amusing thing with lots of fun and wit’, contains an explosive undercurrent of social critique. The funniest of Wilde’s plays, Earnest satirizes the subterfuge (‘Bunburying’) demanded of sexual heretics in Victorian society, where marginal identities and desires were excluded, suppressed, or in Wilde’s case, brutally penalized. Conrad investigates Wilde’s ambivalent attitude to direct revolutionary action such as the Fenian dynamite campaign of 1881-85 and French anarchist activities of the 1890s, attending particularly to the 1884 bomb explosion in the cloakroom at Victoria Station, the ‘terminus’ where Miss Prism left the infant Jack Worthing in a handbag containing her three-decker novel. As Conrad argues, ‘texts, bodies, and bombs all meet at Victoria Station’, and Wilde, as an Irishman and a homosexual, could himself be seen as ‘a potential bomb right at the terminus of Victorian society’.","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"141 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129136963","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 : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0015
Catherine F. Flynn
This chapter investigates Myles na gCopaleen’s long-running satirical column in the Irish Times, Cruiskeen Lawn, which began in 1940 during ‘The Emergency’. Written in both Irish and English and often juxtaposing these languages in a single instalment or transliterating one into the orthography of the other, Cruiskeen Lawn makes fun of nationalist piety about the Irish language, debunking the idea of a purely Irish voice. The column’s polyglot, polyvocal play mocks the idea of national or linguistic isolation, thereby challenging Eamon de Valera’s isolationist policy of neutrality in World War II. Heretical to nativism in its use of modernist polyglossia and fragmentation, Cruiskeen Lawn is also heretical to modernism insofar as it ‘moves outside of literary genres, and outside of the available genres of the newspaper, excerpting the discourse of its day and amplifying, distorting, and subverting it through linguistic play’.
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Pub Date : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0024
Sarah E. McKibben
This chapter challenges the exclusion of literature in Irish from orthodox accounts of Irish modernism. Taking up Robert Flaherty’s fictionalized docudrama Man of Aran, a highly romanticized portrait of the Aran islanders’ manly struggle for survival in a rugged, unforgiving landscape, McKibben shows that these islanders were much less insulated from modernity than the film acknowledges. But the film also suppresses the very hallmark of their supposed archaic authenticity: the Irish language. McKibben compares this ‘devoicing’ to Pádraic Ó Conaire’s 1910 novella in Irish, Deoraíocht (‘Exile’), a ‘gap-ridden’ text recounting the misfortunes of an Irish-speaking immigrant in London. The chapter concludes with a succinct account of the tribulations of the Irish language from the time of the Great Famine, when the language was nearly wiped out as a consequence of mass starvation and emigration, to the late nineteenth century, when Revivalist efforts to forge a new literary tradition out of a language deemed defunct undercut the orthodox identification of ‘progress’ with the English language and the British state.
这一章挑战了将爱尔兰文学排除在爱尔兰现代主义的正统叙述之外的观点。以罗伯特·弗莱厄蒂(Robert Flaherty)的虚构纪实片《阿兰人》(Man of Aran)为例，这部影片高度浪漫化地描绘了阿兰岛民在崎岖、无情的环境中为生存而进行的英勇斗争。麦基本表明，这些岛民远没有电影所承认的那样与现代社会隔绝。但影片也压制了他们所谓的古老真实性的标志:爱尔兰语。麦吉本将这种“奉献”比作Pádraic Ó科奈尔1910年的爱尔兰语中篇小说Deoraíocht(《流亡》)，这是一部“充满空白”的小说，讲述了一个说爱尔兰语的移民在伦敦的不幸遭遇。这一章的结尾简洁地描述了爱尔兰语的苦难，从大饥荒时期到19世纪后期，当复兴主义者努力从一种被认为已经消亡的语言中打造一种新的文学传统，削弱了英语和英国政府对“进步”的正统认同时，这种语言几乎被消灭了。
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Pub Date : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0007
M. Backus
This chapter explores the evolution of the literary faery changeling, reading this figure as a response to British white supremacy. Backus argues that both Joyce and Yeats transformed folkloric accounts of changelings into heretical representations of figures caught between different Irish orthodoxies.
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Pub Date : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0013
Kelly E. Sullivan
This chapter shows how the Irish Arts and Crafts movement introduced a bold new aesthetic in the visual arts that scandalised orthodox opinion. The early years of the twentieth century saw a renewed focus on the applied arts – including metalwork, stained glass, tapestries, and printed materials – designed and made for Catholic churches, state buildings, even domestic patrons. Such art reflected existing tensions between conservatism and innovation, by turns echoing and challenging competing cultural nationalist views. The work of Harry Clarke, Evie Hone, the Cuala Press, and others combined traditional materials, skills, and Irish symbolism with innovative aesthetics and sometimes shocking or offensive scenes of modern Irish life. Though church and state institutions that had briefly supported such cultural nationalist work ultimately came to view it as heretical, the chapter demonstrates the profound influence of such work on Irish visual arts modernism.
{"title":"Modernist Heresies: Irish Visual Culture and the Arts and Crafts Movement","authors":"Kelly E. Sullivan","doi":"10.3366/edinburgh/9781474456692.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456692.003.0013","url":null,"abstract":"This chapter shows how the Irish Arts and Crafts movement introduced a bold new aesthetic in the visual arts that scandalised orthodox opinion. The early years of the twentieth century saw a renewed focus on the applied arts – including metalwork, stained glass, tapestries, and printed materials – designed and made for Catholic churches, state buildings, even domestic patrons. Such art reflected existing tensions between conservatism and innovation, by turns echoing and challenging competing cultural nationalist views. The work of Harry Clarke, Evie Hone, the Cuala Press, and others combined traditional materials, skills, and Irish symbolism with innovative aesthetics and sometimes shocking or offensive scenes of modern Irish life. Though church and state institutions that had briefly supported such cultural nationalist work ultimately came to view it as heretical, the chapter demonstrates the profound influence of such work on Irish visual arts modernism.","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120872487","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 : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0008
Sarah L. Townsend
This chapter examines how Irish rural drama negotiates the tension between land as soil and land as property. Townsend argues that rural dramas such as Rutherford Mayne’s play Red Turf (1911), Padraic Colum’s The Land (1905), and T.C. Murray’s Birthright (1910) commit heresy against the pieties of cultural nationalism by positing material security rather than spiritual inheritance as the foundation for a prosperous Irish future. Largely neglected by literary criticism, these plays also challenge the orthodox story of modernism whereby old-fashioned realism is superseded by avant-garde experiment, much as the rural is superseded the urban. Often performed in the same venues as contemporary avant-garde plays, Irish rural dramas demonstrate that modernism did not progress in a straight line but along multiple intersecting paths.
{"title":"Legacies of Land and Soil: Irish Drama, European Integration and the Unfinished Business of Modernism","authors":"Sarah L. Townsend","doi":"10.3366/edinburgh/9781474456692.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456692.003.0008","url":null,"abstract":"This chapter examines how Irish rural drama negotiates the tension between land as soil and land as property. Townsend argues that rural dramas such as Rutherford Mayne’s play Red Turf (1911), Padraic Colum’s The Land (1905), and T.C. Murray’s Birthright (1910) commit heresy against the pieties of cultural nationalism by positing material security rather than spiritual inheritance as the foundation for a prosperous Irish future. Largely neglected by literary criticism, these plays also challenge the orthodox story of modernism whereby old-fashioned realism is superseded by avant-garde experiment, much as the rural is superseded the urban. Often performed in the same venues as contemporary avant-garde plays, Irish rural dramas demonstrate that modernism did not progress in a straight line but along multiple intersecting paths.","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115122162","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 : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0016
Vicki Mahaffey
This essay argues that Ireland developed a new form, Irish Christian Comedy, that does not make fun of religious values but instead lampoons the woodenness with which those values are understood and (mis)applied to daily life. It suggests that fiction is true to the meaning of events, and that it facilitates greater awareness of the mystery that lies behind spirituality. The hero of Irish Christian comedy is the daring, innovative reader.
{"title":"Irish Christian Comedy: Heresy or Reform?","authors":"Vicki Mahaffey","doi":"10.3366/edinburgh/9781474456692.003.0016","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456692.003.0016","url":null,"abstract":"This essay argues that Ireland developed a new form, Irish Christian Comedy, that does not make fun of religious values but instead lampoons the woodenness with which those values are understood and (mis)applied to daily life. It suggests that fiction is true to the meaning of events, and that it facilitates greater awareness of the mystery that lies behind spirituality. The hero of Irish Christian comedy is the daring, innovative reader.","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130607093","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 : 2020-08-31DOI: 10.3366/edinburgh/9781474456692.003.0009
J. Ulin
This chapter traces the evolution of the humble postage stamp in Ireland – especially from the 1920s to the 1950s – from nationalist heresy to nationalist orthodoxy. Stamps played a significant heretical role in asserting an Irish national identity – for both symbolic and fundraising purposes – and harnessing revolutionary energies pre-independence. Later, however, they promoted a nationalist orthodoxy intended to shape ideology domestically and perception of Ireland internationally, after the foundation of the Free State. Ulin examines the complex political constraints that stifled innovations in philatelic design and prevented postage stamps from emulating modernist experiments in print culture and modern design. (98)
{"title":"Ireland’s Philatelic Modernism","authors":"J. Ulin","doi":"10.3366/edinburgh/9781474456692.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474456692.003.0009","url":null,"abstract":"This chapter traces the evolution of the humble postage stamp in Ireland – especially from the 1920s to the 1950s – from nationalist heresy to nationalist orthodoxy. Stamps played a significant heretical role in asserting an Irish national identity – for both symbolic and fundraising purposes – and harnessing revolutionary energies pre-independence. Later, however, they promoted a nationalist orthodoxy intended to shape ideology domestically and perception of Ireland internationally, after the foundation of the Free State. Ulin examines the complex political constraints that stifled innovations in philatelic design and prevented postage stamps from emulating modernist experiments in print culture and modern design. (98)","PeriodicalId":371259,"journal":{"name":"The Edinburgh Companion to Irish Modernism","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122531861","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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