Pub Date : 2023-07-31DOI: 10.36253/sijis-2239-3978-14658
Alberto Mini, Fabio Luppi, Giovanna Tallone, Paolo Bertinetti, Daniele Serafini, Giuseppe Serpillo, Richard Allen Cave
{"title":"Recensioni / Reviews","authors":"Alberto Mini, Fabio Luppi, Giovanna Tallone, Paolo Bertinetti, Daniele Serafini, Giuseppe Serpillo, Richard Allen Cave","doi":"10.36253/sijis-2239-3978-14658","DOIUrl":"https://doi.org/10.36253/sijis-2239-3978-14658","url":null,"abstract":"","PeriodicalId":40876,"journal":{"name":"Studi irlandesi-A Journal of Irish Studies","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135208927","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 : 2023-07-31DOI: 10.36253/sijis-2239-3978-14615
Somaya Abdul Wahhab Al-Samahy
Since the dawn of civilisation human life has witnessed multifarious modes of resistance. As an arena for cultivating human experience, literature provides enriching representations of resisting acts. As a matter of fact, the emergence of postcolonial dialectics in the second half of the twentieth century has rendered resistance a prevalent literary theme. Owing to the turbulences that had always cast their shadow upon this magnificent country, Ireland has maintained a unique literary tradition replete with images of resistance. Certainly, poetry, that has been a cornerstone to this tradition, has its ample share of these images. The Irish Canon had contributed a number of master poets such as W.B. Yeats, Seamus Heaney, and George William Russell, all of whom have used their poetic output as a vehicle for resistance against British hegemony. Yet, this rich poetic tradition did not secure a position for women poets. Irish women poets were not officially welcomed into the poetic arena until the second half of the nineteenth century. Their emergence, however, was shaped by their perception by their male contemporaries. Such a strict patriarchal society as the Irish would not have acknowledged their existence easily. Irish women poets then had led a double resistance. This dilemma is amply depicted in Eavan Boland’s poetry. Born in 1944, Boland chronicles various aspects of post-independent Irish life. Her poetry tends to tackle women’s lives and domestic affairs during times of unrest and turmoil as well as her attempts to establish herself as a woman poet. The proposed paper tends to investigate the techniques and imagery employed by Boland as a means of resisting both political hegemony and patriarchal domination.
{"title":"Resuscitating the Self through Verse: Alternative Histories in the Poetry of Eavan Boland","authors":"Somaya Abdul Wahhab Al-Samahy","doi":"10.36253/sijis-2239-3978-14615","DOIUrl":"https://doi.org/10.36253/sijis-2239-3978-14615","url":null,"abstract":"Since the dawn of civilisation human life has witnessed multifarious modes of resistance. As an arena for cultivating human experience, literature provides enriching representations of resisting acts. As a matter of fact, the emergence of postcolonial dialectics in the second half of the twentieth century has rendered resistance a prevalent literary theme. Owing to the turbulences that had always cast their shadow upon this magnificent country, Ireland has maintained a unique literary tradition replete with images of resistance. Certainly, poetry, that has been a cornerstone to this tradition, has its ample share of these images. The Irish Canon had contributed a number of master poets such as W.B. Yeats, Seamus Heaney, and George William Russell, all of whom have used their poetic output as a vehicle for resistance against British hegemony. Yet, this rich poetic tradition did not secure a position for women poets. Irish women poets were not officially welcomed into the poetic arena until the second half of the nineteenth century. Their emergence, however, was shaped by their perception by their male contemporaries. Such a strict patriarchal society as the Irish would not have acknowledged their existence easily. Irish women poets then had led a double resistance. This dilemma is amply depicted in Eavan Boland’s poetry. Born in 1944, Boland chronicles various aspects of post-independent Irish life. Her poetry tends to tackle women’s lives and domestic affairs during times of unrest and turmoil as well as her attempts to establish herself as a woman poet. The proposed paper tends to investigate the techniques and imagery employed by Boland as a means of resisting both political hegemony and patriarchal domination.","PeriodicalId":40876,"journal":{"name":"Studi irlandesi-A Journal of Irish Studies","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84898210","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 : 2023-07-31DOI: 10.36253/sijis-2239-3978-14617
María Del Mar González Chacón
Iphigenia in Aulis has been adapted by Irish contemporary playwrights such as Marina Carr, Edna O’Brien or Andy Hinds. This article offers an introductory analysis of the reasons behind the Irish interest towards the Greek tragedy, followed by a comparative study of the three versions mentioned. The identification of the overarching themes will unveil the spaces for transformation: while Carr focuses on the depiction of a modern and corrupt Agamemnon and the rewriting of strong women, O’Brien adds extra plots and characters to highlight feminist voices, and Hinds eliminates, adds and relocates lines from the original play, to write a more performable version. Conclusions reveal the rewriting of the concept of sacrificial women, and present the three plays as relevant contributions to the reception of Euripides in Ireland.
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Pub Date : 2023-07-31DOI: 10.36253/sijis-2239-3978-14621
Vito Carrassi
W.B. Yeats had a key role in the Irish folklore. Before writing his masterpieces, often arising froman original encounter between folklore and literature, the young Yeats was directly concerned withthe collecting of folklore. Initially he had worked as an editor, drawing his material from a varietyof XIX century’s narrative collections; however, through this editing he had already sketched hisown idea of folklore. With his later work, The Celtic Twilight, Yeats became a first-hand collector,thus acting as a folklorist. A singular kind of folklorist, indeed, who addressed his materialaccording to views and goals quite distant from the canonical approach of an ethnographic research.His was the approach of a writer seeking in folklore a different kind of literature. Hence, are welegitimized to regard Yeats as a folklorist? How to evaluate his unorthodox methodology? Was hisapproach unsuitable? Or, perhaps, by treating his material as a dynamic, living issue, rather than astatic, outdated item, was this approach more fitting for understanding folklore? These are somequestions I discuss in my paper, so as to develop a critical reassessment of the concept of folklore,its methods and aims.
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Pub Date : 2023-07-31DOI: 10.36253/sijis-2239-3978-14623
R. Haslam
Despite growing scholarly interest in how Oscar Wilde’s Irish heritage shaped the form and content of his creative works, critics exploring this area have paid less attention to his three society plays than to his fiction and his final play The Importance of Being Earnest. In seeking to rectify that imbalance, this essay first addresses the analytical implications of Wilde’s suggestion in 1893 that his own performed and planned society plays, along with certain works by his countryman George Bernard Shaw, constituted an “Hibernian” or “Celtic School”, whose key goals were to celebrate Henrik Ibsen, to deprecate theatrical censorship, and to extirpate the English “intellectual fogs” of Puritanism and Philistinism. Examining Wilde’s depictions of Puritanism, London society, and English national character in the three plays, the essay argues that their Irish facets turn out to be relatively modest in scale, consisting not of the allegorically encoded political commentaries previous critics claimed to discover in Wilde’s fiction and The Importance of Being Earnest, but instead strategies of plot, characterization, and dialogue designed to alert England to the urgent need “to clear” away its “intellectual fogs”.
{"title":"Fog-Clearing and the “Irish Dimension” in Oscar Wilde’s Three Society Plays","authors":"R. Haslam","doi":"10.36253/sijis-2239-3978-14623","DOIUrl":"https://doi.org/10.36253/sijis-2239-3978-14623","url":null,"abstract":"Despite growing scholarly interest in how Oscar Wilde’s Irish heritage shaped the form and content of his creative works, critics exploring this area have paid less attention to his three society plays than to his fiction and his final play The Importance of Being Earnest. In seeking to rectify that imbalance, this essay first addresses the analytical implications of Wilde’s suggestion in 1893 that his own performed and planned society plays, along with certain works by his countryman George Bernard Shaw, constituted an “Hibernian” or “Celtic School”, whose key goals were to celebrate Henrik Ibsen, to deprecate theatrical censorship, and to extirpate the English “intellectual fogs” of Puritanism and Philistinism. Examining Wilde’s depictions of Puritanism, London society, and English national character in the three plays, the essay argues that their Irish facets turn out to be relatively modest in scale, consisting not of the allegorically encoded political commentaries previous critics claimed to discover in Wilde’s fiction and The Importance of Being Earnest, but instead strategies of plot, characterization, and dialogue designed to alert England to the urgent need “to clear” away its “intellectual fogs”.","PeriodicalId":40876,"journal":{"name":"Studi irlandesi-A Journal of Irish Studies","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89937374","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 : 2023-07-31DOI: 10.36253/sijis-2239-3978-14624
Luca Sarti
The bond between fairies and nature is as old as the world. Based on this assumption, this study aims to reflect on the relationship between fairy faith and respect for nature through the work of the Irish storyteller and activist Eddie Lenihan. After a brief introduction to the art of storytelling in the Emerald Isle, the first part of the article will revolve around the seanchaí and his commitment to preserving the Irish cultural heritage. The second part will then centre on Meeting the Other Crowd: The Fairy Stories of Hidden Ireland (2003), an anthology of what I call “(ever)green” stories collected by Lenihan since the 1970s in southwest Ireland. Specifically, I will focus on some fairy tales emblematic of the close connection between the natural world and the Good People of Éire, in particular on stories that function as a warning to those who intend to interfere with nature in order to pursue their interests often in the name of a supposed technological progress.
{"title":"Tra rispetto per la natura e fairy faith: i racconti (ever)green di Eddie Lenihan","authors":"Luca Sarti","doi":"10.36253/sijis-2239-3978-14624","DOIUrl":"https://doi.org/10.36253/sijis-2239-3978-14624","url":null,"abstract":"The bond between fairies and nature is as old as the world. Based on this assumption, this study aims to reflect on the relationship between fairy faith and respect for nature through the work of the Irish storyteller and activist Eddie Lenihan. After a brief introduction to the art of storytelling in the Emerald Isle, the first part of the article will revolve around the seanchaí and his commitment to preserving the Irish cultural heritage. The second part will then centre on Meeting the Other Crowd: The Fairy Stories of Hidden Ireland (2003), an anthology of what I call “(ever)green” stories collected by Lenihan since the 1970s in southwest Ireland. Specifically, I will focus on some fairy tales emblematic of the close connection between the natural world and the Good People of Éire, in particular on stories that function as a warning to those who intend to interfere with nature in order to pursue their interests often in the name of a supposed technological progress.","PeriodicalId":40876,"journal":{"name":"Studi irlandesi-A Journal of Irish Studies","volume":"196 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75583960","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 : 2023-07-31DOI: 10.36253/sijis-2239-3978-14627
A. Antonielli
As the very idea of authorship is changed by the digital environment, so is the role of the author, their practices, their centrality inside the text undergoing a radical transformation. The analogic author sees their works operating in a traditional, typically ‘Gutenberg’ environment, whereas the digital author exploits information technology to explore what Poster calls a “networked authorship” (2002, 490). A scattered authorship (Landow 1992, 130) and a collective/cooperative notion of writing are typical features of the digital framework, and of hyperliterary works that enable a multisequential reading. The assumptions above inform the empirical investigation developed in this study. It looks at the ways digital authorship tools have contributed to deconstructing the idea of “one strong authorial voice”. In its place, these tools have introduced a “mild”, plural alternative, which is currently being circulated on the Internet. Therefore, the unity of a digital text appears to be in its destination, not its origin. This essay considers several Irish digital works as case studies. It shows how the fragmented nature of digital literary works, which resemble the hypertextual links, moves close to Barthes’s “lexias” which, with their “galaxie[s] de signifiants” (Barthes 1984, 11) establish intra- and inter-textual connections dismantling the unity of the text and implement the notion of a multiple, collective authorship.
{"title":"Digital Hyperworks: A Few Irish e-Lit Examples","authors":"A. Antonielli","doi":"10.36253/sijis-2239-3978-14627","DOIUrl":"https://doi.org/10.36253/sijis-2239-3978-14627","url":null,"abstract":"As the very idea of authorship is changed by the digital environment, so is the role of the author, their practices, their centrality inside the text undergoing a radical transformation. The analogic author sees their works operating in a traditional, typically ‘Gutenberg’ environment, whereas the digital author exploits information technology to explore what Poster calls a “networked authorship” (2002, 490). A scattered authorship (Landow 1992, 130) and a collective/cooperative notion of writing are typical features of the digital framework, and of hyperliterary works that enable a multisequential reading. The assumptions above inform the empirical investigation developed in this study. It looks at the ways digital authorship tools have contributed to deconstructing the idea of “one strong authorial voice”. In its place, these tools have introduced a “mild”, plural alternative, which is currently being circulated on the Internet. Therefore, the unity of a digital text appears to be in its destination, not its origin. This essay considers several Irish digital works as case studies. It shows how the fragmented nature of digital literary works, which resemble the hypertextual links, moves close to Barthes’s “lexias” which, with their “galaxie[s] de signifiants” (Barthes 1984, 11) establish intra- and inter-textual connections dismantling the unity of the text and implement the notion of a multiple, collective authorship.","PeriodicalId":40876,"journal":{"name":"Studi irlandesi-A Journal of Irish Studies","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80830898","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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