{"title":"Antonio Bibbò, Irish Literature in Italy in the Era of the World Wars","authors":"Clíona Ní Ríordáin","doi":"10.3366/iur.2023.0630","DOIUrl":"https://doi.org/10.3366/iur.2023.0630","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"2014 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139295264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In the Archives: Crossing the Atlantic with Irish Archives in the Stuart A. Rose Manuscript, Archives, and Rare Book Library","authors":"Francis Ittenbach, Jennifer Gunter King","doi":"10.3366/iur.2023.0623","DOIUrl":"https://doi.org/10.3366/iur.2023.0623","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"39 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139300987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
W. B. Yeats's long-term interest in meditation practices gained new impetus in 1931 when he obtained a copy of The Secret of the Golden Flower, a Daoist manual translated from Chinese. Alongside detailed instructions on meditation, this book includes a commentary by C. G. Jung. Taking Faust as a model for the Western psyche, Jung cautions that Asian meditation techniques are unsuitable for Europeans. Yeats responds to Jung in his introduction to another translation, Patanjali's Aphorisms of Yoga (1938). Here Yeats adopts Faust as a paradigm for the meditating subject and equates Goethe's Faust with Buddhist and Hindu processes of enlightenment. Late poems such as ‘Mohini Chatterjee’, ‘The Circus Animals’ Desertion’, and ‘The Statues’ contain evidence that Yeats came to see an earlier project, Unity of Culture, as a quest for collective, national enlightenment. Thus, Yeats's regret at acquiring authoritative guidance on meditation so late in life indicates not only his wish to experiment with the discipline, but also that he understood meditation as a practice that would have advanced his plans for Ireland's self-realization.
W.1931 年，叶芝获得了一本从中文翻译过来的道教手册《金花诀》，这为他长期以来对冥想的兴趣注入了新的动力。除了关于冥想的详细说明外，这本书还包括荣格（C. G. Jung）的评论。荣格将《浮士德》作为西方心理的典范，告诫说亚洲的冥想技巧不适合欧洲人。叶芝在另一本译著《帕坦伽利的瑜伽箴言》（1938 年）的导言中对荣格做出了回应。在这里，叶芝将《浮士德》作为冥想主体的范例，并将歌德的《浮士德》等同于佛教和印度教的启蒙过程。莫希妮-查特吉》、《马戏团动物的遗弃》和《雕像》等晚期诗作表明，叶芝开始将早期的 "文化统一 "计划视为对集体和民族启蒙的追求。因此，叶芝对晚年才获得冥想方面的权威指导感到遗憾，这不仅表明他希望尝试冥想，还表明他将冥想理解为一种可以推进他的爱尔兰自我实现计划的实践。
{"title":"Yeats’s Faustian Meditations: Jung, Yoga, and The Secret of the Golden Flower","authors":"Chris Murray","doi":"10.3366/iur.2023.0616","DOIUrl":"https://doi.org/10.3366/iur.2023.0616","url":null,"abstract":"W. B. Yeats's long-term interest in meditation practices gained new impetus in 1931 when he obtained a copy of The Secret of the Golden Flower, a Daoist manual translated from Chinese. Alongside detailed instructions on meditation, this book includes a commentary by C. G. Jung. Taking Faust as a model for the Western psyche, Jung cautions that Asian meditation techniques are unsuitable for Europeans. Yeats responds to Jung in his introduction to another translation, Patanjali's Aphorisms of Yoga (1938). Here Yeats adopts Faust as a paradigm for the meditating subject and equates Goethe's Faust with Buddhist and Hindu processes of enlightenment. Late poems such as ‘Mohini Chatterjee’, ‘The Circus Animals’ Desertion’, and ‘The Statues’ contain evidence that Yeats came to see an earlier project, Unity of Culture, as a quest for collective, national enlightenment. Thus, Yeats's regret at acquiring authoritative guidance on meditation so late in life indicates not only his wish to experiment with the discipline, but also that he understood meditation as a practice that would have advanced his plans for Ireland's self-realization.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"2 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139301327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vona Groarke, Hereafter: The Telling Life of Ellen O'Hara","authors":"Elizabeth Brewer Redwine","doi":"10.3366/iur.2023.0633","DOIUrl":"https://doi.org/10.3366/iur.2023.0633","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"11 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139305526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his survey of Irish media over the last two centuries, Christopher Morash explains that, during the Revival years, Irish literature, politics, and public life existed ‘in a frenzy of print’, with hundreds of different nationalist newspapers and periodicals produced during these years – a print culture that ‘was not simply the vehicle for the literary revival; it was a constituent part of it’. R. F. Foster has emphasized that ‘little newspapers and magazines of the nationalist fringe’, more than High Culture, ‘galvanized the imaginations and opinions of young radicals” who would go on to shape Ireland's literary and political future. This essay explores Irish literature and periodical culture of the nationalist fringe through a close examination of Bean na hÉireann (‘Woman of Ireland’, 1908-1911), Ireland's first nationalist periodical expressly written for and by women. Tracking the radical networks cultivated by this one-penny monthly, it focuses on editor Helena Molony (1884-1967), who provided a forum for marginalized thinkers, such as women, trade unionists, and militants nationalists, to ‘have a voice and influence in the matters… of their country’. In noting the tensions present in Molony's radical networks, this essay illuminates the local and national networks of Irish journalism, whether in terms of business practices, models for political separatism, pragmatic organizing principles, or abstract philosophy concerning the imagined communities that were a primary readership for this journal.
克里斯托弗-莫拉什（Christopher Morash）在其对过去两个世纪爱尔兰媒体的调查中解释说，在复兴时期，爱尔兰文学、政治和公共生活 "处于印刷品的狂热之中"，这些年中出版了数百种不同的民族主义报纸和期刊--这种印刷文化 "不仅仅是文学复兴的载体，它还是文学复兴的组成部分"。R. F. Foster 强调说，"民族主义边缘的小报纸和杂志 "比 "高级文化 "更能 "激发年轻激进分子的想象力和观点"，而后者将继续塑造爱尔兰的文学和政治未来。这篇文章通过仔细研究 Bean na hÉireann（《爱尔兰妇女》，1908-1911 年），探讨了爱尔兰文学和民族主义边缘期刊文化，Bean na hÉireann（《爱尔兰妇女》，1908-1911 年）是爱尔兰第一份明确为妇女撰写并由妇女撰写的民族主义期刊。该书追踪了这份一分钱月刊所培养的激进网络，重点介绍了编辑海伦娜-莫洛尼（Helena Molony，1884-1967 年），她为边缘化的思想家，如妇女、工会成员和激进的民族主义者提供了一个 "在国家事务中......拥有发言权和影响力 "的论坛。这篇文章指出了莫洛尼激进网络中存在的紧张关系，揭示了爱尔兰新闻业的地方和国家网络，无论是在商业实践、政治分离主义模式、务实的组织原则方面，还是在与作为该杂志主要读者群的想象社区有关的抽象哲学方面。
{"title":"Helena Molony’s ‘Radical Reconceptualization of History’: Commemorating Revolution on the Stage and in the Streets","authors":"Karen Steele","doi":"10.3366/iur.2023.0620","DOIUrl":"https://doi.org/10.3366/iur.2023.0620","url":null,"abstract":"In his survey of Irish media over the last two centuries, Christopher Morash explains that, during the Revival years, Irish literature, politics, and public life existed ‘in a frenzy of print’, with hundreds of different nationalist newspapers and periodicals produced during these years – a print culture that ‘was not simply the vehicle for the literary revival; it was a constituent part of it’. R. F. Foster has emphasized that ‘little newspapers and magazines of the nationalist fringe’, more than High Culture, ‘galvanized the imaginations and opinions of young radicals” who would go on to shape Ireland's literary and political future. This essay explores Irish literature and periodical culture of the nationalist fringe through a close examination of Bean na hÉireann (‘Woman of Ireland’, 1908-1911), Ireland's first nationalist periodical expressly written for and by women. Tracking the radical networks cultivated by this one-penny monthly, it focuses on editor Helena Molony (1884-1967), who provided a forum for marginalized thinkers, such as women, trade unionists, and militants nationalists, to ‘have a voice and influence in the matters… of their country’. In noting the tensions present in Molony's radical networks, this essay illuminates the local and national networks of Irish journalism, whether in terms of business practices, models for political separatism, pragmatic organizing principles, or abstract philosophy concerning the imagined communities that were a primary readership for this journal.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"8 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139293076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay examines the role of the Irish, and the performance of Irishness, in the Windmill Row Theatre (1796–1804), which opened a mere eight years after the penal colony of Sydney Cove was established. Influenced by revisionist histories such as Grace Karskens’ The Colony: A History of Early Sydney (2010), and by recent research about the performativity of Irishness on the eighteenth-century London and Dublin stages, it enriches the view that the colony was intended to be ‘a society, not a gaol’. While it offers a corrective to the idea that Sydney Cove was ‘a subsistence colony that would transform felons into farmers’, it takes issue with Robert Jordan's argument in The Convict Theatres of Early Australia (2002) that the theatre would have had little impact on the Irish. It proposes that several plays that were staged constituted a social experiment to manage the gender imbalance in the colony, and also considers the impact of Irish political protest, the role of the 1798 Rising and the effect of the contentious ‘Union of Hearts’ of 1800 on the theatre. It further speculates about Irish convict access to Australia's first commercial theatre, which had its own specifically designed building, booking system, regime of admission prices, and paid staff and actors.
这篇文章探讨了爱尔兰人在风车行剧院（Windmill Row Theatre，1796-1804 年）中所扮演的角色，以及爱尔兰人的表演。受格蕾丝-卡斯肯斯（Grace Karskens）的《殖民地》（The Colony：A History of Early Sydney》（2010 年）等修正主义历史著作的影响，以及近期对十八世纪伦敦和都柏林舞台上爱尔兰人表演性的研究，丰富了该殖民地旨在成为 "社会而非监狱 "的观点。该书纠正了悉尼湾是 "将重刑犯改造成农民的自给自足的殖民地 "这一观点，同时对罗伯特-乔丹（Robert Jordan）在《早期澳大利亚的囚犯剧院》（The Convict Theatres of Early Australia）（2002 年）中提出的戏剧对爱尔兰人影响甚微的论点提出了质疑。该书提出，上演的几部戏剧是管理殖民地性别不平衡的一种社会实验，还考虑了爱尔兰政治抗议的影响、1798 年起义的作用以及 1800 年有争议的 "心灵联盟 "对剧院的影响。报告还进一步推测了爱尔兰囚犯进入澳大利亚第一家商业剧院的情况，该剧院拥有自己专门设计的建筑、预订系统、票价制度以及带薪的工作人员和演员。
{"title":"The Windmill Row Theatre and the Irish (1796–1804): Civilizing Sydney Cove’s Convict Society","authors":"P. Kuch","doi":"10.3366/iur.2023.0618","DOIUrl":"https://doi.org/10.3366/iur.2023.0618","url":null,"abstract":"This essay examines the role of the Irish, and the performance of Irishness, in the Windmill Row Theatre (1796–1804), which opened a mere eight years after the penal colony of Sydney Cove was established. Influenced by revisionist histories such as Grace Karskens’ The Colony: A History of Early Sydney (2010), and by recent research about the performativity of Irishness on the eighteenth-century London and Dublin stages, it enriches the view that the colony was intended to be ‘a society, not a gaol’. While it offers a corrective to the idea that Sydney Cove was ‘a subsistence colony that would transform felons into farmers’, it takes issue with Robert Jordan's argument in The Convict Theatres of Early Australia (2002) that the theatre would have had little impact on the Irish. It proposes that several plays that were staged constituted a social experiment to manage the gender imbalance in the colony, and also considers the impact of Irish political protest, the role of the 1798 Rising and the effect of the contentious ‘Union of Hearts’ of 1800 on the theatre. It further speculates about Irish convict access to Australia's first commercial theatre, which had its own specifically designed building, booking system, regime of admission prices, and paid staff and actors.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"19 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139293173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay argues that McGahern embodies a tension between nostalgia and anti-nostalgia through the silence of characters of a postmemory generation. Although McGahern neither pushes the limit of his works to the realm of political emancipation, nor pursues therapeutic working-through of trauma, he is an artist whose quest for postmemorial dynamics functions both anti-nostalgically as a traumatic symptom of the authoritative post-independence state, and nostalgically as an aesthetic strategy to reinvent the past. First, he describes silence as generational, representing both the space for a tentative truce between the generations and the means by which the postmemory generation can establish its critical identity. Second, McGahern's silence enables his postmemory-generation characters to reinvent the past. On the one hand, the silence reveals intragenerational memory war among members of the later generation as they form different versions of the past. On the other, the silence serves as a creative space for reflective nostalgia to reimagine, and cope with, the trauma of the past.
{"title":"The Silence of the Postmemory Generation in John McGahern’s Short Stories","authors":"Yeonmin Kim","doi":"10.3366/iur.2023.0613","DOIUrl":"https://doi.org/10.3366/iur.2023.0613","url":null,"abstract":"This essay argues that McGahern embodies a tension between nostalgia and anti-nostalgia through the silence of characters of a postmemory generation. Although McGahern neither pushes the limit of his works to the realm of political emancipation, nor pursues therapeutic working-through of trauma, he is an artist whose quest for postmemorial dynamics functions both anti-nostalgically as a traumatic symptom of the authoritative post-independence state, and nostalgically as an aesthetic strategy to reinvent the past. First, he describes silence as generational, representing both the space for a tentative truce between the generations and the means by which the postmemory generation can establish its critical identity. Second, McGahern's silence enables his postmemory-generation characters to reinvent the past. On the one hand, the silence reveals intragenerational memory war among members of the later generation as they form different versions of the past. On the other, the silence serves as a creative space for reflective nostalgia to reimagine, and cope with, the trauma of the past.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"21 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139299020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From small: on motherhoods","authors":"Claire Lynch","doi":"10.3366/iur.2023.0610","DOIUrl":"https://doi.org/10.3366/iur.2023.0610","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"18 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139300622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Why do Alice McDermott's narrators not acknowledge a statutory rape and a murder? Why does she make it hard for readers to detect who her narrators are? She compels us to work with her to construct her stories and makes the task unusually hard for the first-time reader. Laszlo F. Földényi's collection of essays, Dostoyevski Reads Hegel in Siberia and Bursts into Tears (2020), helps us to understand the philosophical basis for McDermott's narrative strategies in her depictions of Irish America. Her narrators reveal the emptiness occasioned by a false dichotomy between subject and object – a contemporary disease. McDermott restores mystery as the antidote to systems of knowledge. Analysis of her novels, especially Child of My Heart (2002), Someone (2013) and The Ninth Hour (2017), suggests McDermott's cure for the narrators’ quest for control over the stories they tell. Someone is a key novel for understanding what ails our contemporary consciousness.
为什么爱丽丝-麦克德莫特的叙述者不承认法定强奸罪和谋杀罪？为什么她让读者很难分辨出谁是她的叙述者？她迫使我们与她一起构建故事，并让初次阅读的读者感到异常困难。拉斯洛-弗尔德尼（Laszlo F. Földényi）的论文集《陀思妥耶夫斯基在西伯利亚读黑格尔并潸然泪下》（2020）有助于我们理解麦克德莫特在描写爱尔兰裔美国人时所采取的叙事策略的哲学基础。她的叙述者揭示了主体与客体之间虚假的二元对立所造成的空虚感--这是一种当代病。麦克德莫特恢复了神秘感，以此作为知识体系的解毒剂。对她的小说，尤其是《我心中的孩子》（2002年）、《某个人》（2013年）和《第九时辰》（2017年）的分析表明，麦克德莫特是治疗叙述者寻求控制自己讲述的故事的良方。某人》是了解我们当代意识病症的关键小说。
{"title":"Alice McDermott's Almost Invisible Narrators","authors":"Edward A. Hagan","doi":"10.3366/iur.2023.0622","DOIUrl":"https://doi.org/10.3366/iur.2023.0622","url":null,"abstract":"Why do Alice McDermott's narrators not acknowledge a statutory rape and a murder? Why does she make it hard for readers to detect who her narrators are? She compels us to work with her to construct her stories and makes the task unusually hard for the first-time reader. Laszlo F. Földényi's collection of essays, Dostoyevski Reads Hegel in Siberia and Bursts into Tears (2020), helps us to understand the philosophical basis for McDermott's narrative strategies in her depictions of Irish America. Her narrators reveal the emptiness occasioned by a false dichotomy between subject and object – a contemporary disease. McDermott restores mystery as the antidote to systems of knowledge. Analysis of her novels, especially Child of My Heart (2002), Someone (2013) and The Ninth Hour (2017), suggests McDermott's cure for the narrators’ quest for control over the stories they tell. Someone is a key novel for understanding what ails our contemporary consciousness.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"3 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139296077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Literariness of small: on motherhoods","authors":"Paige Reynolds","doi":"10.3366/iur.2023.0611","DOIUrl":"https://doi.org/10.3366/iur.2023.0611","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"24 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139298680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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