Literary critics have generally cast Derek Mahon as a humanist in dialogue with existentialist themes, or as a poet of exile, while highlighting the qualities of irony and skepticism that permeate his work. This paper is receptive to such readings, but proposes an alternative emphasis, situating Mahon as an anti-capitalist writer, his poetic ventures often serving to critique and counteract what he called “the bedlam of acquisitive force / That rules us, and would rule the universe” (2018a: 59). This discussion surveys Mahon’s long-standing respect for a variety of anti-capitalist poets and thinkers, from Brecht and Pasolini to Naomi Klein; sheds light on his penetrating investigations of warfare and ecological despoliation as offshoots of imperial and capitalist expansion; and explores his advocacy of poetry as a corrective to what he viewed as the glib commercialism and intellectual complacencies accompanying market-driven globalization, or in his words, “the explosive growth of high finance / directing thought” (2020h: 67). Over the course of this paper, my objective is to present a “new” Mahon: a poet whose self-described “left-wingery” informed, and found expression in, his work and practice (2017d: 82).
{"title":"Derek Mahon’s Anti-capitalist Ecologies","authors":"Ciaran O'rourke","doi":"10.24162/ei2023-11467","DOIUrl":"https://doi.org/10.24162/ei2023-11467","url":null,"abstract":"Literary critics have generally cast Derek Mahon as a humanist in dialogue with existentialist themes, or as a poet of exile, while highlighting the qualities of irony and skepticism that permeate his work. This paper is receptive to such readings, but proposes an alternative emphasis, situating Mahon as an anti-capitalist writer, his poetic ventures often serving to critique and counteract what he called “the bedlam of acquisitive force / That rules us, and would rule the universe” (2018a: 59). This discussion surveys Mahon’s long-standing respect for a variety of anti-capitalist poets and thinkers, from Brecht and Pasolini to Naomi Klein; sheds light on his penetrating investigations of warfare and ecological despoliation as offshoots of imperial and capitalist expansion; and explores his advocacy of poetry as a corrective to what he viewed as the glib commercialism and intellectual complacencies accompanying market-driven globalization, or in his words, “the explosive growth of high finance / directing thought” (2020h: 67). Over the course of this paper, my objective is to present a “new” Mahon: a poet whose self-described “left-wingery” informed, and found expression in, his work and practice (2017d: 82).","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":"46333972","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}
{"title":"IRISH FILM AND MEDIA STUDIES PUBLICATIONS 2022","authors":"Ciara Chambers","doi":"10.24162/ei2023-11476","DOIUrl":"https://doi.org/10.24162/ei2023-11476","url":null,"abstract":"IRISH FILM AND MEDIA STUDIES PUBLICATIONS 2022","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135295366","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}
{"title":"IRISH FILM AND TELEVISION – 2022","authors":"Roddy Flynn","doi":"10.24162/ei2023-11720","DOIUrl":"https://doi.org/10.24162/ei2023-11720","url":null,"abstract":"“The Irish Are Coming”: Irish Cinema Comes of Age","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135295440","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}
Especially prior to the twentieth century, invalid and convalescent cookery constituted an integral part of health care provided at home, as in many cases recovery of health was to be achieved by consuming appropriate food rather than through an application of medicine. Interestingly, in Irish culinary discourse convalescent cookery was still commonplace until the 1970s. This research, based on a qualitative content analysis of selected Irish culinary texts published from 1910 to 1970, aims to provide an overview of invalid and convalescent cookery in Ireland in the twentieth century. Exploring the prevalence of recipes and tips for home treatment of invalids in twentieth-century Ireland, this article attempts not only to add to the growing body of scholarship centred on feeding the sick at home but also in a broader context to contribute to the work on Irish culinary history and Irish women’s history.
{"title":"Beef Tea, Wine Whey or Calf’s Foot Jelly? Invalid and Convalescent Cookery in Twentieth-Century Ireland","authors":"Marzena Keating","doi":"10.24162/ei2023-11401","DOIUrl":"https://doi.org/10.24162/ei2023-11401","url":null,"abstract":"Especially prior to the twentieth century, invalid and convalescent cookery constituted an integral part of health care provided at home, as in many cases recovery of health was to be achieved by consuming appropriate food rather than through an application of medicine. Interestingly, in Irish culinary discourse convalescent cookery was still commonplace until the 1970s. This research, based on a qualitative content analysis of selected Irish culinary texts published from 1910 to 1970, aims to provide an overview of invalid and convalescent cookery in Ireland in the twentieth century. Exploring the prevalence of recipes and tips for home treatment of invalids in twentieth-century Ireland, this article attempts not only to add to the growing body of scholarship centred on feeding the sick at home but also in a broader context to contribute to the work on Irish culinary history and Irish women’s history.","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":"45519757","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 considers Seamus Heaney’s early pastoral poetry through the lens of Julia Kristeva’s notion of the abject, the fearful and feminine Other. Abjection offers a way of reading and understanding the creeping darkness and fearful fertility of Heaney’s early landscapes, which are often more complex and less celebratory than Heaney’s reputation as a nature poet would suggest. This essay utilizes abjection in order to propose a reading of these early poems that puts into conversation both the geopolitical reality of Northern Ireland and the role that gender traditionally has played in Irish poetry, complicating and clarifying both of these positions.
{"title":"They «smelt of rot»: Abjection and Infection in Seamus Heaney’s Early Work","authors":"Stephanie Alexander","doi":"10.24162/ei2023-11436","DOIUrl":"https://doi.org/10.24162/ei2023-11436","url":null,"abstract":"This essay considers Seamus Heaney’s early pastoral poetry through the lens of Julia Kristeva’s notion of the abject, the fearful and feminine Other. Abjection offers a way of reading and understanding the creeping darkness and fearful fertility of Heaney’s early landscapes, which are often more complex and less celebratory than Heaney’s reputation as a nature poet would suggest. This essay utilizes abjection in order to propose a reading of these early poems that puts into conversation both the geopolitical reality of Northern Ireland and the role that gender traditionally has played in Irish poetry, complicating and clarifying both of these positions.","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":"48060999","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 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.
{"title":"Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952","authors":"Martin G. Molony","doi":"10.24162/ei2023-11392","DOIUrl":"https://doi.org/10.24162/ei2023-11392","url":null,"abstract":"In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.","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":"48717256","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}
After the Celtic Tiger years, Irish society seems to have transitioned into a much more welcoming environment for the production of literature, and in general, for the arts. The proliferation of literature, and, more specifically, of women writers and portrayals of girlhood, is giving way to a significant visualization of female voices and female issues, Sally Rooney being one of those voices. Therefore, in this paper I aim to analyse her contribution to the current Irish literary landscape through her novels Conversations with Friends (2017) and Normal People (2018), where sex and female sexuality become two of the major themes. Trauma, guilt and shame (Free and Scully 2016), as key traits of recessionary Irish identity, will also be taken into account by looking into Rooney’s characters’ attitudes as they perform their own sexuality. Hence, both the advantage of a higher social awareness of female issues and the disadvantage of an ashamed Post-Celtic Tiger society mix, thus influencing the representation of 21st century Irish female sexuality, and also creating a definitely contradicted society (Crowley 2013), where social advances keep pushing forward while post-boom trauma and self-regulation keep them back.
在凯尔特虎时代之后，爱尔兰社会似乎已经转变为一个更受欢迎的文学创作环境，以及总体上的艺术创作环境。文学的激增，更具体地说，女性作家和少女时代的描绘，正在让位于对女性声音和女性问题的重要可视化，萨莉·鲁尼就是其中之一。因此，在本文中，我试图通过她的小说《与朋友的对话》（2017）和《普通人》（2018）来分析她对当前爱尔兰文学格局的贡献，在这两部小说中，性和女性性成为两个主要主题。创伤、内疚和羞耻（Free and Scully，2016），作为衰退的爱尔兰身份的关键特征，也将通过调查鲁尼角色在表现自己的性取向时的态度来考虑。因此，对女性问题有更高的社会意识的优势和后凯尔特之虎社会混合的劣势，从而影响了21世纪爱尔兰女性性行为的表现，也创造了一个绝对矛盾的社会（Crowley 2013），在这个社会中，社会进步不断向前推进，而后繁荣时期的创伤和自我调节使其倒退。
{"title":"The Continuum of Irish Female Sexuality in Sally Rooney’s Conversations with Friends and Normal People: A Contradicted Ireland","authors":"Sofía Alférez Mendía","doi":"10.24162/ei2023-11443","DOIUrl":"https://doi.org/10.24162/ei2023-11443","url":null,"abstract":"After the Celtic Tiger years, Irish society seems to have transitioned into a much more welcoming environment for the production of literature, and in general, for the arts. The proliferation of literature, and, more specifically, of women writers and portrayals of girlhood, is giving way to a significant visualization of female voices and female issues, Sally Rooney being one of those voices. Therefore, in this paper I aim to analyse her contribution to the current Irish literary landscape through her novels Conversations with Friends (2017) and Normal People (2018), where sex and female sexuality become two of the major themes. Trauma, guilt and shame (Free and Scully 2016), as key traits of recessionary Irish identity, will also be taken into account by looking into Rooney’s characters’ attitudes as they perform their own sexuality. Hence, both the advantage of a higher social awareness of female issues and the disadvantage of an ashamed Post-Celtic Tiger society mix, thus influencing the representation of 21st century Irish female sexuality, and also creating a definitely contradicted society (Crowley 2013), where social advances keep pushing forward while post-boom trauma and self-regulation keep them back.","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":"46810232","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 writer Mary O’Donnell (County Monaghan, 1954) is one of Ireland’s most prominent authors. She has published eight collections of poetry including Unlegendary Heroes (1998), The Ark Builders (2009), Those April Fevers (2015) and most recently Massacre of the Birds (2020), four novels, among them The Light-Makers (1992), The Elysium Testament (1999) and Where They Lie (2014), and three collections of short stories: Strong Pagans (1991), Storm over Belfast (2008) and Empire (2018). She has also published a dozen essays and hundreds of reviews of both theatre and books. Besides, she is a frequent contributor to RTE Radio. Her voice and presence in Irish letters has been closely connected to the culture of her country. Her literature reflects the spirit of the age in which it is produced and revolves around phenomena that deeply affect the world today. Her range of subjects includes gender identity crises, mental instability, marriage in relation to female experience, sexuality, domestic and gender violence, child abuse, the artist in crisis, infertility, dysfunctional families, ecology and the natural world and the “Troubles” in Northern Ireland. Her works, written with immense talent, vivacity, skill, cleverness and humor, have been translated into several languages. In this interview, Mary O’Donnell discusses her most recent works in poetry and narrative: her collection of poems Massacre of the Birds (2020), her collection of short stories Empire (2018) and the novel Where They Lie (2014).
{"title":"“The World in Terms of Mirror Imaging”: an Interview with Mary O’Donnell","authors":"Mª Elena Jaime de Pablos","doi":"10.24162/ei2023-11611","DOIUrl":"https://doi.org/10.24162/ei2023-11611","url":null,"abstract":"The writer Mary O’Donnell (County Monaghan, 1954) is one of Ireland’s most prominent authors. She has published eight collections of poetry including Unlegendary Heroes (1998), The Ark Builders (2009), Those April Fevers (2015) and most recently Massacre of the Birds (2020), four novels, among them The Light-Makers (1992), The Elysium Testament (1999) and Where They Lie (2014), and three collections of short stories: Strong Pagans (1991), Storm over Belfast (2008) and Empire (2018). She has also published a dozen essays and hundreds of reviews of both theatre and books. Besides, she is a frequent contributor to RTE Radio. Her voice and presence in Irish letters has been closely connected to the culture of her country. Her literature reflects the spirit of the age in which it is produced and revolves around phenomena that deeply affect the world today. Her range of subjects includes gender identity crises, mental instability, marriage in relation to female experience, sexuality, domestic and gender violence, child abuse, the artist in crisis, infertility, dysfunctional families, ecology and the natural world and the “Troubles” in Northern Ireland. Her works, written with immense talent, vivacity, skill, cleverness and humor, have been translated into several languages. In this interview, Mary O’Donnell discusses her most recent works in poetry and narrative: her collection of poems Massacre of the Birds (2020), her collection of short stories Empire (2018) and the novel Where They Lie (2014).","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":"48413219","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 this article, we analyse how Northern Irish playwright Stacey Gregg’s Override (2013) can be read through the lens of the Anthropocene, a term from the geological sciences that has been appropriated by the humanities to question issues of human exceptionalism. Firstly, we examine the ways in which the play, by means of Vi and Mark’s failed attempt to escape technological misuse, challenges the nature/culture dichotomy, which is central to the instrumentalisation of nature for human domination Secondly, we consider how ecogrief comes with the loss of social and humanistic elements that were once grounding and grounded, but are now unstable and murky, such as the idea of what entails a human being. Ultimately, we contend that that derives from the cognitive disconnect resulting from not being able to understand one’s role in the development of an ongoing catastrophe.
{"title":"“You’re like a vegetarian in leather shoes”: Cognitive Disconnect and Ecogrief in Stacey Gregg’s","authors":"Melina Pereira Savi, Alinne Balduino P. Fernandes","doi":"10.24162/ei2023-11472","DOIUrl":"https://doi.org/10.24162/ei2023-11472","url":null,"abstract":"In this article, we analyse how Northern Irish playwright Stacey Gregg’s Override (2013) can be read through the lens of the Anthropocene, a term from the geological sciences that has been appropriated by the humanities to question issues of human exceptionalism. Firstly, we examine the ways in which the play, by means of Vi and Mark’s failed attempt to escape technological misuse, challenges the nature/culture dichotomy, which is central to the instrumentalisation of nature for human domination Secondly, we consider how ecogrief comes with the loss of social and humanistic elements that were once grounding and grounded, but are now unstable and murky, such as the idea of what entails a human being. Ultimately, we contend that that derives from the cognitive disconnect resulting from not being able to understand one’s role in the development of an ongoing catastrophe.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"149 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69149766","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}
Northern Irish author Jan Carson was invited writer at the 20th International Conference of the Spanish Association for Irish Studies (AEDEI), organized by the Universidad de Burgos in 2022. There, she kindly talked about herself as a writer, about the intricacies of her creative work, and about the sensitive issues underlying the plot of The Raptures, her last novel. Violence, religion, rurality and death, are filtered through Hannah’s eyes, a young girl for whom reality and magic mingle inextricably.
{"title":"“When writing, I see myself as a drone”. An Interview with Jan Carson","authors":"María Amor Barros-del Río","doi":"10.24162/ei2023-11371","DOIUrl":"https://doi.org/10.24162/ei2023-11371","url":null,"abstract":"Northern Irish author Jan Carson was invited writer at the 20th International Conference of the Spanish Association for Irish Studies (AEDEI), organized by the Universidad de Burgos in 2022. There, she kindly talked about herself as a writer, about the intricacies of her creative work, and about the sensitive issues underlying the plot of The Raptures, her last novel. Violence, religion, rurality and death, are filtered through Hannah’s eyes, a young girl for whom reality and magic mingle inextricably.","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":"43618676","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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