In the wake of the era of Trump and Brexit, legacies and values of European Enlightenment seem under threat as never before. Cosmopolitanism in particular, generally understood as an Enlightenment virtue, has come to be associated with a sort of rootlessness, and has not, as generally understood, valued local affiliation. For David Goodhart, writing in 2017, this characteristic has resulted in a polarisation between “anywheres” (liberal middle-class cosmopolitans) and “somewheres” (broadly speaking, conservative working-class voters who have strong attachments to their nation and places of origin). An Irish Tory monarchist who sought in his poem The Deserted Village (1770) to defend rural communities from the ravages of economic modernity, Oliver Goldsmith (1728-74) was also in other key works a cosmopolitan commentator who compared countries in order to warn Britain against the dangers of economic liberalism, as he did in The Traveller, or a Prospect of Society (1764). Thus, he could be thought of as a more conservative cosmopolitan than many of his British and French peers; as such his particular enlightenment legacy is his example of a middle ground between the “anywheres” and “somewheres” of Goodhart’s thesis.
{"title":"Citizen of Nowhere? Cosmopolitanism, Liberalism and Local Affiliation in Oliver Goldsmith","authors":"Michael Griffin","doi":"10.24162/ei2023-12085","DOIUrl":"https://doi.org/10.24162/ei2023-12085","url":null,"abstract":"In the wake of the era of Trump and Brexit, legacies and values of European Enlightenment seem under threat as never before. Cosmopolitanism in particular, generally understood as an Enlightenment virtue, has come to be associated with a sort of rootlessness, and has not, as generally understood, valued local affiliation. For David Goodhart, writing in 2017, this characteristic has resulted in a polarisation between “anywheres” (liberal middle-class cosmopolitans) and “somewheres” (broadly speaking, conservative working-class voters who have strong attachments to their nation and places of origin). An Irish Tory monarchist who sought in his poem The Deserted Village (1770) to defend rural communities from the ravages of economic modernity, Oliver Goldsmith (1728-74) was also in other key works a cosmopolitan commentator who compared countries in order to warn Britain against the dangers of economic liberalism, as he did in The Traveller, or a Prospect of Society (1764). Thus, he could be thought of as a more conservative cosmopolitan than many of his British and French peers; as such his particular enlightenment legacy is his example of a middle ground between the “anywheres” and “somewheres” of Goodhart’s thesis.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"119 4","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138964981","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}
These poems form part of a sequence on the life of Bridget Cleary (1867-1895). Cleary was killed by her husband, who claimed at trial to be acting under the belief that his wife had been abducted by fairies and replaced with a changeling. A conversation with Joe Lines establishes the poems’ context and development.
{"title":"Poems from Into the Night that Flies So Fast","authors":"Milena Williamson","doi":"10.24162/ei2023-12242","DOIUrl":"https://doi.org/10.24162/ei2023-12242","url":null,"abstract":"These poems form part of a sequence on the life of Bridget Cleary (1867-1895). Cleary was killed by her husband, who claimed at trial to be acting under the belief that his wife had been abducted by fairies and replaced with a changeling. A conversation with Joe Lines establishes the poems’ context and development.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":" 39","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138995005","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}
This article reads A Modest Proposal from the darker side of the westernised/anglicised Enlightenment. Firstly, it critically engages with the proclivity within the Anglocentric academy to celebrate English language literary figures associated with “The Enlightenment” in Ireland without a questioning of their role in the colonial project and in shaping its discourses of racism and sexism. Secondly, it focuses on how, from an Irish decolonial perspective, Jonathan Swift can be understood as a manager of the colonial racial/patriarchal matrix of power. Thirdly, it argues that the satire written by Jonathan Swift should be understood as an Anglocentric geo-cultural category and may be understood as westernised/anglicised Enlightenment satire. Finally, A Modest Proposal is analysed in terms of the exceptionality principle of irony, Swift’s project of improvement and salvation of the colonised, and modernity/coloniality’s rhetorical promise yet inability to solve the problems it produces.
{"title":"The Darker Side of Jonathan Swift: On the Coloniality of Being in A Modest Proposal (1729)","authors":"Eoin Ó CUINNEAGÁIN","doi":"10.24162/ei2023-12110","DOIUrl":"https://doi.org/10.24162/ei2023-12110","url":null,"abstract":"This article reads A Modest Proposal from the darker side of the westernised/anglicised Enlightenment. Firstly, it critically engages with the proclivity within the Anglocentric academy to celebrate English language literary figures associated with “The Enlightenment” in Ireland without a questioning of their role in the colonial project and in shaping its discourses of racism and sexism. Secondly, it focuses on how, from an Irish decolonial perspective, Jonathan Swift can be understood as a manager of the colonial racial/patriarchal matrix of power. Thirdly, it argues that the satire written by Jonathan Swift should be understood as an Anglocentric geo-cultural category and may be understood as westernised/anglicised Enlightenment satire. Finally, A Modest Proposal is analysed in terms of the exceptionality principle of irony, Swift’s project of improvement and salvation of the colonised, and modernity/coloniality’s rhetorical promise yet inability to solve the problems it produces.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"9 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138995240","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}
This essay looks at post 1798 tensions in Belfast, Antrim and Down, using a survey of literary and cultural texts. It notes a range of responses to the first two decades of the nineteenth century in those associated with United Irish aspiration and those associated with maintaining establishment control. On one hand there was a maintenance of the publication of United Irish political, cultural thought and language in the first two decades after the union through continued publication of collections of poetry and other works (Samuel Thomson, James Orr, William Drennan). The essay explores how this work took shape and how it responded to the trauma of 1798, particularly in how the Scots language was deployed as a cultural tool/ weapon in the early 1800s. Alongside this, I discuss the creation and development of a range of “Enlightenment” ventures such as Academical Institution, Poor House, Literary Society and question the extent of these undertakings by looking at how far these were “enlightenment” or were generated by factional, mercantile interests operating under the guise of philanthropic endeavours (e.g. extension of cotton industry in Belfast, economic expansion built on Transatlantic slave trade, imperialist/colonialist animus of many ventures, rewriting of recent history to fit establishment view). These developments are contextualised and questioned alongside the creation of post-Union “Union-ist” Agendas and Groupings (Conservative Anglican and Presbyterian alliances in the cultural sphere in the work of Bishop Thomas Percy, Thomas Romney Robinson, Hugh Porter and Thomas Stott). The trauma and memory of the late eighteenth century left a legacy played out in Belfast’s development post Union and in its articulation, or non-articulation as an Enlightenment space.
{"title":"Between the Bishop’s Hall and the Hurchin: Enlightenment Legacies in Post-Union Antrim and Down","authors":"Frank Ferguson","doi":"10.24162/ei2023-12200","DOIUrl":"https://doi.org/10.24162/ei2023-12200","url":null,"abstract":"This essay looks at post 1798 tensions in Belfast, Antrim and Down, using a survey of literary and cultural texts. It notes a range of responses to the first two decades of the nineteenth century in those associated with United Irish aspiration and those associated with maintaining establishment control. On one hand there was a maintenance of the publication of United Irish political, cultural thought and language in the first two decades after the union through continued publication of collections of poetry and other works (Samuel Thomson, James Orr, William Drennan). The essay explores how this work took shape and how it responded to the trauma of 1798, particularly in how the Scots language was deployed as a cultural tool/ weapon in the early 1800s. Alongside this, I discuss the creation and development of a range of “Enlightenment” ventures such as Academical Institution, Poor House, Literary Society and question the extent of these undertakings by looking at how far these were “enlightenment” or were generated by factional, mercantile interests operating under the guise of philanthropic endeavours (e.g. extension of cotton industry in Belfast, economic expansion built on Transatlantic slave trade, imperialist/colonialist animus of many ventures, rewriting of recent history to fit establishment view). These developments are contextualised and questioned alongside the creation of post-Union “Union-ist” Agendas and Groupings (Conservative Anglican and Presbyterian alliances in the cultural sphere in the work of Bishop Thomas Percy, Thomas Romney Robinson, Hugh Porter and Thomas Stott). The trauma and memory of the late eighteenth century left a legacy played out in Belfast’s development post Union and in its articulation, or non-articulation as an Enlightenment space.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":" 43","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138995283","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}
In Doireann Ní Ghríofa’s A Ghost in the Throat, the first-person narrator details her scholarly endeavour to translate into English Caoineadh Airt Uí Laoghaire – the Irish-language lament of the eighteenth-century Kerry woman, Eibhlín Dubh Ní Chonaill, on the death of her husband, Art Ó Laoghaire. Interwoven with this narrative, is the narrator’s intimate account of her lived personal experience whilst researching and translating this caoineadh. And yet, even as her search for the Caoineadh’s origins grows increasingly fervent, the narrator becomes ever more wary of the viability and implications of such historical retrieval. Caught between a desire to recover Ní Chonaill’s voice and presence and a recognition of the illusory nature of such longings, Ní Ghríofa’s text probes the interstices between the Caoineadh and its myriad iterations in performance, transcription, and translation. In this way, Ní Ghríofa confronts longstanding European anxieties regarding the relationship between writing and orality. Drawing on Jacques Derrida’s seminal critique of this eighteenth-century crisis of writing, this article commences by revealing the caoineadh as an unacknowledged yet ongoing flashpoint in Enlightenment debates concerning orality and textuality. The article then turns to a discussion of Derrida’s associated reflections on haunting to consider the ways in which Ní Ghríofa responds to the marginalisation and silencing of the matrilineal tradition of keening in which she engages. Departing from Derrida’s genealogy of political inheritance, it argues that Ní Ghríofa’s narrative rehearses an alternative gothic textuality in which the oral and the written are intricately interwoven within Ireland’s past, present, and future. In so doing, it eschews the androcentric, ethnocentric and, as the text’s conclusion lays bare, anthropocentric hierarchies that continue to impinge upon both the Caoineadh’s legacy and the Irish literary canon in the twenty-first century.
在 Doireann Ní Ghríofa 的《喉咙里的幽灵》一书中，第一人称叙述者详细介绍了她将 Caoineadh Airt Uí Laoghaire 翻译成英语的学术努力--这是十八世纪凯里妇女 Eibhlín Dubh Ní Chonaill 用爱尔兰语对其丈夫 Art Ó Laoghaire 去世的哀悼。叙述者在研究和翻译这首哀歌的过程中，将自己的亲身经历与这一叙述交织在一起。然而，即使她对 Caoineadh 起源的探寻越来越热切，叙述者对这种历史追溯的可行性和影响也越来越警惕。既渴望找回尼-乔奈儿的声音和存在，又认识到这种渴望的虚幻性，尼-格里奥法的文字在《卡奥尼阿德》及其在表演、转录和翻译中的无数次迭代之间探寻夹缝。通过这种方式，Ní Ghríofa 直面了欧洲人长期以来对写作与口述之间关系的焦虑。本文借鉴雅克-德里达（Jacques Derrida）对十八世纪写作危机的开创性批判，首先揭示了 Caoineadh 是启蒙运动关于口述性和文本性争论中一个未被承认但却持续存在的爆发点。然后，文章转而讨论德里达对闹鬼的相关反思，以思考尼-格里奥法如何回应她所参与的母系吟唱传统的边缘化和沉默。本书从德里达的政治继承谱系出发，认为尼-格里奥法的叙事演绎了另一种哥特式的文本性，在这种文本性中，口头和书面在爱尔兰的过去、现在和未来中错综复杂地交织在一起。在这样做的过程中，它摒弃了以雄性为中心、以种族为中心以及（正如文本结尾所揭示的）以人类为中心的等级制度，这些制度在 21 世纪继续影响着考伊纳德的遗产和爱尔兰文学典籍。
{"title":"Oral Textuality, Gender and the Gothic in Doireann Ní Ghríofa’s A Ghost in the Throat (2020)","authors":"Sonja Lawrenson","doi":"10.24162/ei2023-12043","DOIUrl":"https://doi.org/10.24162/ei2023-12043","url":null,"abstract":"In Doireann Ní Ghríofa’s A Ghost in the Throat, the first-person narrator details her scholarly endeavour to translate into English Caoineadh Airt Uí Laoghaire – the Irish-language lament of the eighteenth-century Kerry woman, Eibhlín Dubh Ní Chonaill, on the death of her husband, Art Ó Laoghaire. Interwoven with this narrative, is the narrator’s intimate account of her lived personal experience whilst researching and translating this caoineadh. And yet, even as her search for the Caoineadh’s origins grows increasingly fervent, the narrator becomes ever more wary of the viability and implications of such historical retrieval. Caught between a desire to recover Ní Chonaill’s voice and presence and a recognition of the illusory nature of such longings, Ní Ghríofa’s text probes the interstices between the Caoineadh and its myriad iterations in performance, transcription, and translation. In this way, Ní Ghríofa confronts longstanding European anxieties regarding the relationship between writing and orality. Drawing on Jacques Derrida’s seminal critique of this eighteenth-century crisis of writing, this article commences by revealing the caoineadh as an unacknowledged yet ongoing flashpoint in Enlightenment debates concerning orality and textuality. The article then turns to a discussion of Derrida’s associated reflections on haunting to consider the ways in which Ní Ghríofa responds to the marginalisation and silencing of the matrilineal tradition of keening in which she engages. Departing from Derrida’s genealogy of political inheritance, it argues that Ní Ghríofa’s narrative rehearses an alternative gothic textuality in which the oral and the written are intricately interwoven within Ireland’s past, present, and future. In so doing, it eschews the androcentric, ethnocentric and, as the text’s conclusion lays bare, anthropocentric hierarchies that continue to impinge upon both the Caoineadh’s legacy and the Irish literary canon in the twenty-first century.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"25 3","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138964976","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}
The abundance of contemporary Irish fiction dealing with crime seems hard to refute. While most works have been produced in the literary field, cinema has also explored Ireland’s contemporary situation through the lens of crime fiction. The aim of this article is to analyse the relationship between crime, crisis, and capital in a contemporary Irish thriller: Peter Murphy and Rachael Moriarty’s Traders (2015). The film creates a bleak and acidic depiction of Ireland’s financial world and how in times of crisis, crime and capital are negotiated and articulated. A brief introduction of what the Celtic Tiger era and its subsequent crisis meant for Ireland will be followed by an exploration of its relation to the crime thriller. By studying crime and its intersections with class structures, economic conditions, and the shaping of its space in the film, I will attempt to undertake an economic and aesthetic reading. Moreover, I will consider how the film delineates a portrait of Ireland’s post-Celtic Tiger society and all its consequences.
{"title":"The Economy of Murder: Capital, Crime, and Crisis in Peter Murphy’s and Rachael Moriarty’s Traders (2015)","authors":"Diana Ortega Martín","doi":"10.24162/ei2023-11459","DOIUrl":"https://doi.org/10.24162/ei2023-11459","url":null,"abstract":"The abundance of contemporary Irish fiction dealing with crime seems hard to refute. While most works have been produced in the literary field, cinema has also explored Ireland’s contemporary situation through the lens of crime fiction. The aim of this article is to analyse the relationship between crime, crisis, and capital in a contemporary Irish thriller: Peter Murphy and Rachael Moriarty’s Traders (2015). The film creates a bleak and acidic depiction of Ireland’s financial world and how in times of crisis, crime and capital are negotiated and articulated. A brief introduction of what the Celtic Tiger era and its subsequent crisis meant for Ireland will be followed by an exploration of its relation to the crime thriller. By studying crime and its intersections with class structures, economic conditions, and the shaping of its space in the film, I will attempt to undertake an economic and aesthetic reading. Moreover, I will consider how the film delineates a portrait of Ireland’s post-Celtic Tiger society and all its consequences.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43841321","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}
This paper focuses on Irish writer, playwright and television screenwriter Eugene McCabe’s fictional representation of the Northern Irish ‘Troubles’ in his trilogy Victims, published in the collection Heaven Lies about Us (2005). Living most of his life on his family farm on the Monaghan/Fermanagh border between Northern Ireland and the Republic, McCabe had a deep understanding of the historically entrenched hatreds, bigotry and fundamentalisms of its inhabitants, and his fiction reflects the human tragedy underlying the violence. This paper draws on an eco-philosophical framework to suggest that by capturing the entanglement between the natural and cultural place-world McCabe’s poetics offers, from a liberal humanist perspective, an indictment of anthropocentric patriarchy at the root of violent dispute. McCabe’s literary world, evoking natural and cultural landscapes, encapsulates the absurdity of isolating territories via false political borders, marginalizing the value of bioregion and diversity and ignoring the vital oneness of humanity. Thus, though McCabe’s short stories are indeed culturally and politically specific, in shedding light on the self-destructiveness of human behaviour they are ultimately timeless and universal.
{"title":"“The World is still Beautiful”: An Eco-philosophical Reading of Eugene McCabe’s Victims Trilogy","authors":"C. Howes","doi":"10.24162/ei2023-11702","DOIUrl":"https://doi.org/10.24162/ei2023-11702","url":null,"abstract":"This paper focuses on Irish writer, playwright and television screenwriter Eugene McCabe’s fictional representation of the Northern Irish ‘Troubles’ in his trilogy Victims, published in the collection Heaven Lies about Us (2005). Living most of his life on his family farm on the Monaghan/Fermanagh border between Northern Ireland and the Republic, McCabe had a deep understanding of the historically entrenched hatreds, bigotry and fundamentalisms of its inhabitants, and his fiction reflects the human tragedy underlying the violence. This paper draws on an eco-philosophical framework to suggest that by capturing the entanglement between the natural and cultural place-world McCabe’s poetics offers, from a liberal humanist perspective, an indictment of anthropocentric patriarchy at the root of violent dispute. McCabe’s literary world, evoking natural and cultural landscapes, encapsulates the absurdity of isolating territories via false political borders, marginalizing the value of bioregion and diversity and ignoring the vital oneness of humanity. Thus, though McCabe’s short stories are indeed culturally and politically specific, in shedding light on the self-destructiveness of human behaviour they are ultimately timeless and universal.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42773768","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}
Drawing upon theoretical frameworks, such as Sara Ahmed’s “strange encounters” (2000), “willful subjects” (2014), and Judith Butler’s vulnerability (2004), the present article aims to explore female agency and action in The Wonder as fundamental steps to achieve transformation and change. For this purpose, I first offer a brief introduction to the vulnerability of the female body in Irish history, as it counts on a significant tradition firmly rooted in religious and class politics. Significantly, the novel foregrounds a reformulation of religious superstitions into new patterns of existence. Lib’s watchfulness and vigil astutely enact a self-displaying activity that offers the promise of a more communicative and empathic interaction with Anna. In addition, attention will be also paid to the narrative techniques that depict Lib’s failure to read Anna’s body fully as a wounded individual, thus revealing an encounter with alterity that can only work when there is will, love and affection. The story, then, challenges an aesthetics of grief and guilt and enacts, in turn, a new pattern of existence for both Anna and Lib. Such a pattern demands an ethics of attention and communication aimed to restore the self and display a more affective stance, which is necessary in order to encounter the limits of intelligibility and find out the perverse truth behind Anna’s “wonderful anomaly” (Donoghue 2016: 97).
{"title":"Estrangement and the Ethics of Attention in Emma Donoghue’s The Wonder","authors":"Maite Escudero-Alías","doi":"10.24162/ei2023-11616","DOIUrl":"https://doi.org/10.24162/ei2023-11616","url":null,"abstract":"Drawing upon theoretical frameworks, such as Sara Ahmed’s “strange encounters” (2000), “willful subjects” (2014), and Judith Butler’s vulnerability (2004), the present article aims to explore female agency and action in The Wonder as fundamental steps to achieve transformation and change. For this purpose, I first offer a brief introduction to the vulnerability of the female body in Irish history, as it counts on a significant tradition firmly rooted in religious and class politics. Significantly, the novel foregrounds a reformulation of religious superstitions into new patterns of existence. Lib’s watchfulness and vigil astutely enact a self-displaying activity that offers the promise of a more communicative and empathic interaction with Anna. In addition, attention will be also paid to the narrative techniques that depict Lib’s failure to read Anna’s body fully as a wounded individual, thus revealing an encounter with alterity that can only work when there is will, love and affection. The story, then, challenges an aesthetics of grief and guilt and enacts, in turn, a new pattern of existence for both Anna and Lib. Such a pattern demands an ethics of attention and communication aimed to restore the self and display a more affective stance, which is necessary in order to encounter the limits of intelligibility and find out the perverse truth behind Anna’s “wonderful anomaly” (Donoghue 2016: 97).","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46669087","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}
Despite the publication of three books directly addressing the intersection between text and visual artworks — Fishing for Amber (1999), Shamrock Tea (2001), Still Life (2019) — Ciaran Carson’s work has not been given significant attention in terms of his contribution to the subject of ekphrastic poetry in Irish literature. Several texts, on the other hand, have been devoted to discussing his work in relation to the spatial, place-bound quality of his poetry and prose. This article seeks to bridge this gap by reframing the ekphrastic mode as the intimate but illusory coming into contact between author, reader, and work. Using the dual role of the ‘study’ as both a practice drawing and a private room, this paper argues Ciaran Carson’s final collection, Still Life, represents a new interpretation of how intimate connections in domestic spaces can be portrayed in Northern Irish literature.
{"title":"‘Look at it beside me’: Ekphrasis and the Illusion of Intimacy in Ciaran Carson’s Still Life (2019)","authors":"Francisca Fernández-Arce","doi":"10.24162/ei2023-11359","DOIUrl":"https://doi.org/10.24162/ei2023-11359","url":null,"abstract":"Despite the publication of three books directly addressing the intersection between text and visual artworks — Fishing for Amber (1999), Shamrock Tea (2001), Still Life (2019) — Ciaran Carson’s work has not been given significant attention in terms of his contribution to the subject of ekphrastic poetry in Irish literature. Several texts, on the other hand, have been devoted to discussing his work in relation to the spatial, place-bound quality of his poetry and prose. This article seeks to bridge this gap by reframing the ekphrastic mode as the intimate but illusory coming into contact between author, reader, and work. Using the dual role of the ‘study’ as both a practice drawing and a private room, this paper argues Ciaran Carson’s final collection, Still Life, represents a new interpretation of how intimate connections in domestic spaces can be portrayed in Northern Irish literature.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43313770","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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