This article offers a development of traditional approaches to Irish Great War literature which focus on issues of national identity towards a wider transnational field. It investigates two war narratives by Dublin-born Anglo-Irish writer Jessie Louisa Moore Rickard (1876–1963): her 1915 article for New Ireland ‘The Munsters at Rue du Bois’ and her 1918 home front novel The Fire of Green Boughs, both of which contain intertextual references to the Italian Risorgimento (1815–1871), or the unification of the Italian peninsula. By framing her works within the Italian context, Rickard establishes new paradigms of interpretation for both the representations of Ireland in First World War fiction and the Italian Risorgimento in English literature. In her works, Great War Ireland is no longer perceived as an essentially domestic conflict but rather as connected to other events across time and space, inscribing First World War Ireland within a more global context. Representations of the Risorgimento are also expanded in her work. So far, Irish scholarship has established strong links between the Italian struggle for independence and Irish nationalism. Rickard’s work, however, shows that the Risorgimento can also become a model for the Union between Ireland and England.
{"title":"‘Unfailing Unity’: Jessie Louisa Moore Rickard, Great War Ireland and the Italian Risorgimento","authors":"C. Thewissen","doi":"10.3366/iur.2022.0566","DOIUrl":"https://doi.org/10.3366/iur.2022.0566","url":null,"abstract":"This article offers a development of traditional approaches to Irish Great War literature which focus on issues of national identity towards a wider transnational field. It investigates two war narratives by Dublin-born Anglo-Irish writer Jessie Louisa Moore Rickard (1876–1963): her 1915 article for New Ireland ‘The Munsters at Rue du Bois’ and her 1918 home front novel The Fire of Green Boughs, both of which contain intertextual references to the Italian Risorgimento (1815–1871), or the unification of the Italian peninsula. By framing her works within the Italian context, Rickard establishes new paradigms of interpretation for both the representations of Ireland in First World War fiction and the Italian Risorgimento in English literature. In her works, Great War Ireland is no longer perceived as an essentially domestic conflict but rather as connected to other events across time and space, inscribing First World War Ireland within a more global context. Representations of the Risorgimento are also expanded in her work. So far, Irish scholarship has established strong links between the Italian struggle for independence and Irish nationalism. Rickard’s work, however, shows that the Risorgimento can also become a model for the Union between Ireland and England.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43864288","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 refigures conventional partitions of local and global spaces by uncovering the fate of rural labour, as it became the showpiece of an Irish state attempting to attract American material support after the Second World War. As Ireland advertised its rural land in an aggressive drive to attract American tourists – referring to itself as ‘Ireland of the Welcomes’ – Patrick Kavanagh found his local expertise and the focus of The Great Hunger becoming everyone’s business. This essay argues that it is by considering Kavanagh’s competition with agencies of cultural export, especially in the pages of his self-published newspaper Kavanagh’s Weekly and his lyrics of the 1950s, that we can comprehend his late redefinition of the long poem as a genre paradoxically too small to match the even longer reach of what he called ‘this superstructure of finance, this fairyland.’
{"title":"‘Whatever I Say Goes’: Cultural Relations and Patrick Kavanagh's Global Parochialism","authors":"G. Londe","doi":"10.3366/iur.2022.0569","DOIUrl":"https://doi.org/10.3366/iur.2022.0569","url":null,"abstract":"This essay refigures conventional partitions of local and global spaces by uncovering the fate of rural labour, as it became the showpiece of an Irish state attempting to attract American material support after the Second World War. As Ireland advertised its rural land in an aggressive drive to attract American tourists – referring to itself as ‘Ireland of the Welcomes’ – Patrick Kavanagh found his local expertise and the focus of The Great Hunger becoming everyone’s business. This essay argues that it is by considering Kavanagh’s competition with agencies of cultural export, especially in the pages of his self-published newspaper Kavanagh’s Weekly and his lyrics of the 1950s, that we can comprehend his late redefinition of the long poem as a genre paradoxically too small to match the even longer reach of what he called ‘this superstructure of finance, this fairyland.’","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48927214","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: Carolyn Swift and the Pike Theatre","authors":"B. Houlihan","doi":"10.3366/iur.2022.0573","DOIUrl":"https://doi.org/10.3366/iur.2022.0573","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"121 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69555843","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":"Rosaleen McDonagh and the Fractured Heart","authors":"Declan Kavanagh","doi":"10.3366/iur.2022.0562","DOIUrl":"https://doi.org/10.3366/iur.2022.0562","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49017908","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":"Stephen Behrendt (editor), Romantic-Era Irish Women Poets in English","authors":"Andrew Carpenter","doi":"10.3366/iur.2022.0580","DOIUrl":"https://doi.org/10.3366/iur.2022.0580","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44953457","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 played by magazine culture in the exclusion of women writers from the traditional Irish short story canon by looking at the presence and representation of women writers in The Bell (1940–1954), Ireland’s most influential mid-twentieth century literary periodical. The magazine did much to promote aspiring short story writers, but was less willing to perform their role as cultivator of new talent typical of periodical publication when it came to women apprentices. The first part of the essay gives a general picture of women’s presence in the magazine. The second part probes the underlying assumptions with have led to the systematic curtailment of women writers, and the final section maps the wider impact of these processes on the short story canon in Ireland. Despite The Bell’s progressive and inclusive credentials, the magazine proved to be an uncongenial place for women writers: with its masculine rhetoric, its representation of authorship as a male preserve, its persistent othering of women writers, its foregrounding of male experience in its fiction, and the effects of male gatekeeping, The Bell uncritically reflected and reproduced the rigid binary divisions that separated male and female spheres in Irish society at large, and ultimately contributed to the marginalization of women writers in the short story canon in Ireland.
{"title":"‘Perfect in her own perfection’: Women Writers in The Bell","authors":"Phyllis Boumans, Elke D’hoker","doi":"10.3366/iur.2022.0563","DOIUrl":"https://doi.org/10.3366/iur.2022.0563","url":null,"abstract":"This essay examines the role played by magazine culture in the exclusion of women writers from the traditional Irish short story canon by looking at the presence and representation of women writers in The Bell (1940–1954), Ireland’s most influential mid-twentieth century literary periodical. The magazine did much to promote aspiring short story writers, but was less willing to perform their role as cultivator of new talent typical of periodical publication when it came to women apprentices. The first part of the essay gives a general picture of women’s presence in the magazine. The second part probes the underlying assumptions with have led to the systematic curtailment of women writers, and the final section maps the wider impact of these processes on the short story canon in Ireland. Despite The Bell’s progressive and inclusive credentials, the magazine proved to be an uncongenial place for women writers: with its masculine rhetoric, its representation of authorship as a male preserve, its persistent othering of women writers, its foregrounding of male experience in its fiction, and the effects of male gatekeeping, The Bell uncritically reflected and reproduced the rigid binary divisions that separated male and female spheres in Irish society at large, and ultimately contributed to the marginalization of women writers in the short story canon in Ireland.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46249264","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":"Joep Leerssen (editor), Parnell and His Times","authors":"A. Fogarty","doi":"10.3366/iur.2022.0579","DOIUrl":"https://doi.org/10.3366/iur.2022.0579","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47131788","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 explores a unique set of documents, comprising letters and postcards, sent by Teresa Deevy to her friend and fellow Waterford playwright, James Cheasty. To date, Deevy’s correspondence has not been considered separately from her dramatic texts, nor has Cheasty’s work received scholarly attention. Taking a feminist theatre historiographic approach, the essay theorizes the challenges of working with women’s archives, Deevy’s in particular, and conceptualizes the Deevy-Cheasty correspondence as high status research documents that raise Deevy’s archival profile. The thematic analysis of the material focuses on Deevy‘s role as Cheasty’s mentor and illuminates her engagement with Irish theatre practice of the 1950s and 60s. The essay reveals previously unknown aspects of her personal and professional life and contributes new insights relevant to scholars, practitioners, archivists, and students that redirect prevailing narratives concerning Deevy’s ambitions as a playwright and her involvement with Irish theatre practice post 1940.
{"title":"Writing from the Margins: Re-framing Teresa Deevy’s Archive and her Correspondence with James Cheasty c.1952–1962","authors":"Kate McCarthy, Úna Kealy","doi":"10.3366/iur.2022.0570","DOIUrl":"https://doi.org/10.3366/iur.2022.0570","url":null,"abstract":"This essay explores a unique set of documents, comprising letters and postcards, sent by Teresa Deevy to her friend and fellow Waterford playwright, James Cheasty. To date, Deevy’s correspondence has not been considered separately from her dramatic texts, nor has Cheasty’s work received scholarly attention. Taking a feminist theatre historiographic approach, the essay theorizes the challenges of working with women’s archives, Deevy’s in particular, and conceptualizes the Deevy-Cheasty correspondence as high status research documents that raise Deevy’s archival profile. The thematic analysis of the material focuses on Deevy‘s role as Cheasty’s mentor and illuminates her engagement with Irish theatre practice of the 1950s and 60s. The essay reveals previously unknown aspects of her personal and professional life and contributes new insights relevant to scholars, practitioners, archivists, and students that redirect prevailing narratives concerning Deevy’s ambitions as a playwright and her involvement with Irish theatre practice post 1940.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43872002","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 article explores the small press publishing trends of 1960s Dublin and identifies how Derek Mahon benefitted from the coteries of editors and poets inhabiting the city while composing his early works, which are marked by a divided sense of self, experimentation with perspectives and awareness of socio-historic realities. I shall combine close readings with methods postulated by book historians, that assess the publishing contexts in which the texts are produced along with the poems, to derive a deeper understanding of Mahon’s poems and literary ideology. I shall provide a new and historical perspective on aspects of the poet’s style that were shaped during his years in Dublin before he witnessed the Troubles in Northern Ireland.
{"title":"‘Mere Technique and True Vision’: Derek Mahon’s Early Works in Little Magazines","authors":"Tapasya Narang","doi":"10.3366/iur.2022.0571","DOIUrl":"https://doi.org/10.3366/iur.2022.0571","url":null,"abstract":"This article explores the small press publishing trends of 1960s Dublin and identifies how Derek Mahon benefitted from the coteries of editors and poets inhabiting the city while composing his early works, which are marked by a divided sense of self, experimentation with perspectives and awareness of socio-historic realities. I shall combine close readings with methods postulated by book historians, that assess the publishing contexts in which the texts are produced along with the poems, to derive a deeper understanding of Mahon’s poems and literary ideology. I shall provide a new and historical perspective on aspects of the poet’s style that were shaped during his years in Dublin before he witnessed the Troubles in Northern Ireland.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43859758","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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