{"title":"IRISH STUDIES IN SPAIN-2022","authors":"M. T. Caneda-Cabrera","doi":"10.24162/ei2023-11621","DOIUrl":"https://doi.org/10.24162/ei2023-11621","url":null,"abstract":"IRISH STUDIES IN SPAIN-2022","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":"47206241","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 Cranberries have been considered to be one of the major rock bands from Ireland. From 1993 until 2019, they released eight studio albums, and hit the world charts with songs such as “Linger” and “Zombie”, before disbanding following singer Dolores O’Riordan’s death. After two very successful and critically acclaimed records, The Cranberries’ third release To The Faithful Departed (1996) became the target of harsh criticism, as the press considered it to be lyrically shallow. As a result, The Cranberries’ third album has been traditionally analysed in that way. This paper aims at providing a new, comprehensive analysis of The Cranberries’ To The Faithful Departed by bringing the band’s then recently achieved stardom into focus, as such an experience had a significant impact on the four members’ emotional state, and hence in the songwriting. Thus, it is hoped that the present article will provide a greater understanding of how the lyrics of The Cranberries’ 1996 album reflect the struggles of a band achieving celebrity status in the music industry. This essay can be viewed as innovative for two reasons: firstly, there has been a lack of academic research on The Cranberries, and secondly, it offers a new reading of their third record To The Faithful Departed.
小红莓乐队被认为是来自爱尔兰的主要摇滚乐队之一。从1993年到2019年，他们发行了8张录音室专辑，并以《Linger》和《Zombie》等歌曲登上了世界排行榜，但在歌手多洛丽丝·奥瑞奥丹去世后，他们解散了。在两张非常成功且广受好评的唱片之后，小红莓乐队的第三张专辑《To The Faithful Departed》(1996年)成为了严厉批评的目标，因为媒体认为它的歌词肤浅。因此，小红莓乐队的第三张专辑一直被传统地以这种方式进行分析。本文旨在对The Cranberries乐队的《To The Faithful Departed》进行一个全新的、全面的分析，将乐队当时刚刚成名的经历纳入焦点，因为这样的经历对四位成员的情绪状态产生了重大影响，因此对歌曲创作也产生了重大影响。因此，我们希望本文能够更好地理解the Cranberries 1996年专辑的歌词是如何反映一个乐队在音乐界获得名人地位的斗争的。这篇文章可以被视为创新的原因有两个:首先，缺乏对蔓越莓的学术研究，其次，它提供了一个新的阅读他们的第三张唱片To The Faithful Departed。
{"title":"“Not So Glamorous at All”: The Consequences of Fame and Celebrity Status in The Cranberries’ To The Faithful Departed","authors":"Josep Baró Casanovas","doi":"10.24162/ei2023-11440","DOIUrl":"https://doi.org/10.24162/ei2023-11440","url":null,"abstract":"The Cranberries have been considered to be one of the major rock bands from Ireland. From 1993 until 2019, they released eight studio albums, and hit the world charts with songs such as “Linger” and “Zombie”, before disbanding following singer Dolores O’Riordan’s death. After two very successful and critically acclaimed records, The Cranberries’ third release To The Faithful Departed (1996) became the target of harsh criticism, as the press considered it to be lyrically shallow. As a result, The Cranberries’ third album has been traditionally analysed in that way. This paper aims at providing a new, comprehensive analysis of The Cranberries’ To The Faithful Departed by bringing the band’s then recently achieved stardom into focus, as such an experience had a significant impact on the four members’ emotional state, and hence in the songwriting. Thus, it is hoped that the present article will provide a greater understanding of how the lyrics of The Cranberries’ 1996 album reflect the struggles of a band achieving celebrity status in the music industry. This essay can be viewed as innovative for two reasons: firstly, there has been a lack of academic research on The Cranberries, and secondly, it offers a new reading of their third record To The Faithful Departed.","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":"41969482","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 translation offers the Spanish version of “Scenes of Spain”, the fifth chapter in Traveller in Time (1935) by the «London-Irish» journalist, writer and critic Mairin Mitchell. An original view of Spain through imaginary letters of her fictional protagonist, Colm MacColgan, it is mixed with Mitchell’s own clever observations and proves not only Mitchell’s love for the country, but her interest in meticulously tracing Irish historical and cultural aspects in Spain. This study includes an introduction with Mitchell’s profile and works, the original English text and the Spanish translation with notes.
{"title":"The Translation into Spanish of “Scenes of Spain” in Traveller in Time (1935) by Mairin Mitchell","authors":"María Losada-Friend","doi":"10.24162/ei2023-11375","DOIUrl":"https://doi.org/10.24162/ei2023-11375","url":null,"abstract":"This translation offers the Spanish version of “Scenes of Spain”, the fifth chapter in Traveller in Time (1935) by the «London-Irish» journalist, writer and critic Mairin Mitchell. An original view of Spain through imaginary letters of her fictional protagonist, Colm MacColgan, it is mixed with Mitchell’s own clever observations and proves not only Mitchell’s love for the country, but her interest in meticulously tracing Irish historical and cultural aspects in Spain. This study includes an introduction with Mitchell’s profile and works, the original English text and the Spanish translation with notes.","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":"41955636","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}
James Joyce visited Galway and the Aran Islands in 1912 and took advantage of the occasion to write two articles in Italian that he published in Il Piccolo della Sera in 1912. I analyse the vision that Joyce conveyed of the Spanish Armada both in these articles and later in Ulysses (1922) and in Finnegans Wake (1939). Joyce’s knowledge of the 1588-Armada episode and of the shipwrecks of several Spanish vessels in the vicinity of Galway are the result of both the propagandistic narration usually provided by pro-British historiography and by his presumed readings on the history of the city and the nearby Aran Islands. In such writings, Joyce may have intended, on the one hand, to reflect his tacit acceptance of the imperialism exercised by post-Victorian Britain over Ireland, fully convinced that the decline of the Spanish Empire had begun with the Armada’s defeat against Elizabethan England in 1588. He believed this event gave rise to the birth of the British Empire. On the other hand, Joyce reflects in them his only moderate Irish pride for the supposed humanitarian actions of the population of Galway (the birthplace of Nora), a city he described both as “Spanish” and as sympathetic towards the Armada castaways in Ireland. Joyce’s employment of the Irish chapter of the Gran Armada’s historical episode contributes with a relevant insight about his perception of British imperialism in Ireland.
{"title":"Joyce, Galway and the Spanish Armada","authors":"José Ruiz-Mas","doi":"10.24162/ei2023-11386","DOIUrl":"https://doi.org/10.24162/ei2023-11386","url":null,"abstract":"James Joyce visited Galway and the Aran Islands in 1912 and took advantage of the occasion to write two articles in Italian that he published in Il Piccolo della Sera in 1912. I analyse the vision that Joyce conveyed of the Spanish Armada both in these articles and later in Ulysses (1922) and in Finnegans Wake (1939). Joyce’s knowledge of the 1588-Armada episode and of the shipwrecks of several Spanish vessels in the vicinity of Galway are the result of both the propagandistic narration usually provided by pro-British historiography and by his presumed readings on the history of the city and the nearby Aran Islands. In such writings, Joyce may have intended, on the one hand, to reflect his tacit acceptance of the imperialism exercised by post-Victorian Britain over Ireland, fully convinced that the decline of the Spanish Empire had begun with the Armada’s defeat against Elizabethan England in 1588. He believed this event gave rise to the birth of the British Empire. On the other hand, Joyce reflects in them his only moderate Irish pride for the supposed humanitarian actions of the population of Galway (the birthplace of Nora), a city he described both as “Spanish” and as sympathetic towards the Armada castaways in Ireland. Joyce’s employment of the Irish chapter of the Gran Armada’s historical episode contributes with a relevant insight about his perception of British imperialism 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":"43657302","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 paper aims to analyze the construction of the character JJ in Emma Donoghue’s short story “The Welcome” (2006). The story portrays Luce’s sexual awakening for JJ, the new resident of the women-only cooperative living residence, The Welcome. The shyness of JJ and her supposed indifference to the attempt at a romantic approach and friendship made by Luce is a reaction to the process of transgenderism. If, as the Argentine critic Ricardo Piglia (2000) argues, all short stories narrate two stories, the first is a frustrated love story, and the second is about JJ’s revelation as a transgender person. The critical intervention undertaken in this article challenges and exposes internalized images and racial regimes of representation by demonstrating that the signs and elements which prepare the reader for JJ’s revelation represent her as an abject character. From being fundamental to the theory of subjectivity (Kristeva 1988, McAfee 2004) to a signifying practice of the body and sexuality (Butler 1999), abjection is a common signifier of blackness (Scott 2010). By intersecting race, gender, and sexual identities, the short story fails to represent JJ as a complete subject because it articulates stereotypical images around blackness and transgenderism, casting, at once, both terms as abjection. Thus, the centralization of Luce’s desire and the representation of JJ as an abject character suggest the impossibility of intimacy for the black queer body within the homonormative parameters of gender, sexuality, and race.
{"title":"“Not that her being black had anything to do with it, for me”: Blackness in Emma Donoghue’s “The Welcome”","authors":"Victor Augusto da Cruz Pacheco","doi":"10.24162/ei2023-11470","DOIUrl":"https://doi.org/10.24162/ei2023-11470","url":null,"abstract":"The paper aims to analyze the construction of the character JJ in Emma Donoghue’s short story “The Welcome” (2006). The story portrays Luce’s sexual awakening for JJ, the new resident of the women-only cooperative living residence, The Welcome. The shyness of JJ and her supposed indifference to the attempt at a romantic approach and friendship made by Luce is a reaction to the process of transgenderism. If, as the Argentine critic Ricardo Piglia (2000) argues, all short stories narrate two stories, the first is a frustrated love story, and the second is about JJ’s revelation as a transgender person. The critical intervention undertaken in this article challenges and exposes internalized images and racial regimes of representation by demonstrating that the signs and elements which prepare the reader for JJ’s revelation represent her as an abject character. From being fundamental to the theory of subjectivity (Kristeva 1988, McAfee 2004) to a signifying practice of the body and sexuality (Butler 1999), abjection is a common signifier of blackness (Scott 2010). By intersecting race, gender, and sexual identities, the short story fails to represent JJ as a complete subject because it articulates stereotypical images around blackness and transgenderism, casting, at once, both terms as abjection. Thus, the centralization of Luce’s desire and the representation of JJ as an abject character suggest the impossibility of intimacy for the black queer body within the homonormative parameters of gender, sexuality, and race.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41593456","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 main objective of this research is to analyse the main similarities and differences in the way the political leaders of the Irish political parties Fianna Fáil and Fine Gael are portrayed in the political posters of the general election campaigns of 2016 and 2020 in Ireland. The analysis of the posters will shed light on how the visual and linguistic characteristics contribute to the portrayal of the politicians and to the way they are empowered as leaders. Therefore, this article highlights the importance of the poster in the creation of political power. The politicians in the posters will be approached as social actors and the political poster understood as a multimodal text. Kress and van Leeuwen’s visual grammar (2021) will be used to analyse the compositional design of the poster. Moreover, van Leeuwen’s model of visual social actors (2008) will be used to analyse how social distance, social relation and social interaction contribute to establishing a relationship between the politician represented and the audience. The results of the research will show the main strategies employed in order to persuade people to vote for one party instead of another, in the sample selected.
{"title":"A Multimodal Critical Discourse Analysis of a Sample of Posters Used in the 2016 and 2020 Election Campaigns in Ireland","authors":"M. Martínez-Lirola","doi":"10.24162/ei2023-11447","DOIUrl":"https://doi.org/10.24162/ei2023-11447","url":null,"abstract":"The main objective of this research is to analyse the main similarities and differences in the way the political leaders of the Irish political parties Fianna Fáil and Fine Gael are portrayed in the political posters of the general election campaigns of 2016 and 2020 in Ireland. The analysis of the posters will shed light on how the visual and linguistic characteristics contribute to the portrayal of the politicians and to the way they are empowered as leaders. Therefore, this article highlights the importance of the poster in the creation of political power. The politicians in the posters will be approached as social actors and the political poster understood as a multimodal text. Kress and van Leeuwen’s visual grammar (2021) will be used to analyse the compositional design of the poster. Moreover, van Leeuwen’s model of visual social actors (2008) will be used to analyse how social distance, social relation and social interaction contribute to establishing a relationship between the politician represented and the audience. The results of the research will show the main strategies employed in order to persuade people to vote for one party instead of another, in the sample selected.","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":"48325607","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 STUDIES PUBLICATIONS AROUND THE WORLD -2022","authors":"M. O'connor","doi":"10.24162/ei2023-11479","DOIUrl":"https://doi.org/10.24162/ei2023-11479","url":null,"abstract":"IRISH STUDIES PUBLICATIONS AROUND THE WORLD -2022","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":"48230689","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}
When Lady Augusta Gregory (1852-1932) effected her famous mid-life self-reinvention from Anglo-Irish landlady to revivalist dramatist, healing women from her locality provided significant guides and models for her new life and work. This article will discuss what Gregory learned from the lore of a local healer, the shadowy Bridget Ruane (who died c.1899). It will analyse how Gregory worked Ruane’s folk medical knowledge into her prose writings and plays, including The Pot of Broth (1904). In restoring the name of this non-elite woman from the west of Ireland, this article suggests the benefits of casting the net more widely for names to stand alongside Gregory’s as creators of Revival-era culture.
{"title":"Revivalist: Medical Herbs and Rejuvenation in the Works of Lady Augusta Gregory","authors":"Holly May Walker-Dunseith","doi":"10.24162/ei2023-11431","DOIUrl":"https://doi.org/10.24162/ei2023-11431","url":null,"abstract":"When Lady Augusta Gregory (1852-1932) effected her famous mid-life self-reinvention from Anglo-Irish landlady to revivalist dramatist, healing women from her locality provided significant guides and models for her new life and work. This article will discuss what Gregory learned from the lore of a local healer, the shadowy Bridget Ruane (who died c.1899). It will analyse how Gregory worked Ruane’s folk medical knowledge into her prose writings and plays, including The Pot of Broth (1904). In restoring the name of this non-elite woman from the west of Ireland, this article suggests the benefits of casting the net more widely for names to stand alongside Gregory’s as creators of Revival-era culture.","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":"46259390","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}
With Shift Mia Gallagher put together a collection of short stories which have been in the making for about thirty years. As many stories had been published separately in journals, they were given an overhaul to fit the new context: narrative perspectives were rewritten, layers added, so that the fifteen stories formed a new composition, variations on a theme. The collection forms a fugue building towards increasing weirdness, using faery tale techniques and magic realism to illustrate different shades of the uncanny. Emotions, originating in the protagonists’ unconscious, in a family’s past, whirl around yet are tightly structured. Gallagher’s prose is physical but focusing on the in-between: people’s perceptions shift, gender is fluid, objects metamorphose constantly. Her aesthetics are inspired by Baroque theatre, David Lynch and Francis Bacon.
Mia Gallagher与Shift一起创作了一系列短篇小说，这些短篇小说已经酝酿了大约三十年。由于许多故事都是单独发表在期刊上的，因此对它们进行了彻底的修改，以适应新的背景：叙事视角被改写，层次被增加，因此这15个故事形成了一个新的组成部分，一个主题的变体。该系列形成了一个越来越怪异的赋格建筑，使用童话技巧和魔幻现实主义来展示不同的神秘色彩。情感源于主人公的无意识，在一个家庭的过去，旋转着，但结构紧密。加拉格尔的散文是身体的，但关注的是两者之间的关系：人们的观念发生了变化，性别是流动的，物体不断变形。她的美学灵感来自巴洛克戏剧、大卫·林奇和弗朗西斯·培根。
{"title":"“The act of reading is a bodily experience”: an Interview with Mia Gallagher","authors":"H. Schwall","doi":"10.24162/EI2021-9975","DOIUrl":"https://doi.org/10.24162/EI2021-9975","url":null,"abstract":"With Shift Mia Gallagher put together a collection of short stories which have been in the making for about thirty years. As many stories had been published separately in journals, they were given an overhaul to fit the new context: narrative perspectives were rewritten, layers added, so that the fifteen stories formed a new composition, variations on a theme. The collection forms a fugue building towards increasing weirdness, using faery tale techniques and magic realism to illustrate different shades of the uncanny. Emotions, originating in the protagonists’ unconscious, in a family’s past, whirl around yet are tightly structured. Gallagher’s prose is physical but focusing on the in-between: people’s perceptions shift, gender is fluid, objects metamorphose constantly. Her aesthetics are inspired by Baroque theatre, David Lynch and Francis Bacon.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"183-195"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48831642","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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