This essay analyses Samuel Beckett’s Trilogy and Waiting for Godot through the enabling theoretical lens of Martin Heidegger’s Being and Time. Special attention shall be paid to key Heideggerian concepts: idle talk, authenticity, and inauthenticity. A Heideggerian reading of Beckett’s influential middle period allows for a rich exploration of how his works provide a vision of the psychological state of the formerly powerful Anglo-Irish in post-independence Ireland. A Beckettian reading of Heidegger demonstrates how Heideggerian thought has been at the forefront of elucidating key challenges posed in the Twentieth Century concerning ways of being-in-the-world and being-with-others that allows for the authenticity of individual subjectivities.
{"title":"“‘Idle Talk, Idle Talk, Idle Talk’: Samuel Beckett, Anglo-Ireland, and Heideggerian Thought”","authors":"G. Price","doi":"10.24162/EI2021-9972","DOIUrl":"https://doi.org/10.24162/EI2021-9972","url":null,"abstract":"This essay analyses Samuel Beckett’s Trilogy and Waiting for Godot through the enabling theoretical lens of Martin Heidegger’s Being and Time. Special attention shall be paid to key Heideggerian concepts: idle talk, authenticity, and inauthenticity. A Heideggerian reading of Beckett’s influential middle period allows for a rich exploration of how his works provide a vision of the psychological state of the formerly powerful Anglo-Irish in post-independence Ireland. A Beckettian reading of Heidegger demonstrates how Heideggerian thought has been at the forefront of elucidating key challenges posed in the Twentieth Century concerning ways of being-in-the-world and being-with-others that allows for the authenticity of individual subjectivities.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"13-27"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49080812","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 THE YEAR IN REVIEW – 2020","authors":"C. Chambers","doi":"10.24162/EI2021-10082","DOIUrl":"https://doi.org/10.24162/EI2021-10082","url":null,"abstract":"","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"284-301"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47005056","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}
At the outset of the Spanish Civil War, Ireland’s ruling party were faced with the challenge of maintaining political hegemony. Revealing the old fault lines of the Irish Civil War, the opposition cast the government’s Non-intervention policy as pro-Communist and anti-Catholic; a refusal to support Spanish insurgents in what was perceived by the majority as their defence of the Catholic faith. Following McNally, this paper utilises Gramsci’s theory of hegemony to explore political equilibrium in the contexts of the Irish and Spanish conflicts. The notion of the “organic intellectual” enables a Gramscian reading of war photography, finding common visual language in the works of Robert Capa and W.D. Hogan as they contributed to national and transnational projects of hegemony. Through such a reading, the author finds cultural compatibility between the conflicts and casts the Irish revolutionary period in new international light.
{"title":"“Propaganda for peace”: a Gramscian reading of Irish and Spanish Civil War photography","authors":"Nina White","doi":"10.24162/EI2021-10072","DOIUrl":"https://doi.org/10.24162/EI2021-10072","url":null,"abstract":"At the outset of the Spanish Civil War, Ireland’s ruling party were faced with the challenge of maintaining political hegemony. Revealing the old fault lines of the Irish Civil War, the opposition cast the government’s Non-intervention policy as pro-Communist and anti-Catholic; a refusal to support Spanish insurgents in what was perceived by the majority as their defence of the Catholic faith. Following McNally, this paper utilises Gramsci’s theory of hegemony to explore political equilibrium in the contexts of the Irish and Spanish conflicts. The notion of the “organic intellectual” enables a Gramscian reading of war photography, finding common visual language in the works of Robert Capa and W.D. Hogan as they contributed to national and transnational projects of hegemony. Through such a reading, the author finds cultural compatibility between the conflicts and casts the Irish revolutionary period in new international light.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"125-138"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47762998","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}
Seamus Heaney’s “Station Island” occupies an important place in Heaney’s work as it is an allegory of self-creation and subjectivation. It introduces a subject whose attempts at discovering and creating the self and identity are challenged by the socio-political atmosphere of Northern Ireland. This study sheds a new light on the process of aesthetic subjectivation, tracing the development of the subject's personal and artistic abilities. Informed by different views about the art of self-creation, from philosophy, asceticism and art, including the ideas of Foucault and Deleuze, it traces the archaeology of personal and collective identities in this poem. The subject advances through a constant “curved” movement in order to unfold and reveal the fragments of his self. This movement is part of a strategy to circumvent social obstacles as he confronts a hostile space, the Other. Moreover, it positions him in various points of view, the sites that help him reveal the fragments of his self, once put together, constitute a complex mosaic representing a new and strong identity.
{"title":"Aesthetic Subjectivation and Identity in Seamus Heaney’s “Station Island”","authors":"M. Ghorbanian","doi":"10.24162/EI2021-9968","DOIUrl":"https://doi.org/10.24162/EI2021-9968","url":null,"abstract":"Seamus Heaney’s “Station Island” occupies an important place in Heaney’s work as it is an allegory of self-creation and subjectivation. It introduces a subject whose attempts at discovering and creating the self and identity are challenged by the socio-political atmosphere of Northern Ireland. This study sheds a new light on the process of aesthetic subjectivation, tracing the development of the subject's personal and artistic abilities. Informed by different views about the art of self-creation, from philosophy, asceticism and art, including the ideas of Foucault and Deleuze, it traces the archaeology of personal and collective identities in this poem. The subject advances through a constant “curved” movement in order to unfold and reveal the fragments of his self. This movement is part of a strategy to circumvent social obstacles as he confronts a hostile space, the Other. Moreover, it positions him in various points of view, the sites that help him reveal the fragments of his self, once put together, constitute a complex mosaic representing a new and strong identity.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"28-41"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44211024","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}
During the First World War, Patrick MacGill served with the London Irish Rifles, although once in the conflict, he worked as a stretcher-bearer. On the battlefield, he wrote his war novels and his book of poetry, Soldier Songs, where the poems “The Cross”, “I Will Go Back” and “The Trench” are included. In this article, the reader will find the first translation into Spanish of these three poems and a critical profile, overviewing MacGill´s life from his birth in Glenties to his death in the United States and analyzing how all his literary production is related to his own experiences and certain decisions taken, which will influence both his successes and failures.
{"title":"Patrick MacGill: Traducción al español de una selección de sus poemas y semblanza crítica","authors":"J. M. Pulido","doi":"10.24162/EI2021-10068","DOIUrl":"https://doi.org/10.24162/EI2021-10068","url":null,"abstract":"During the First World War, Patrick MacGill served with the London Irish Rifles, although once in the conflict, he worked as a stretcher-bearer. On the battlefield, he wrote his war novels and his book of poetry, Soldier Songs, where the poems “The Cross”, “I Will Go Back” and “The Trench” are included. In this article, the reader will find the first translation into Spanish of these three poems and a critical profile, overviewing MacGill´s life from his birth in Glenties to his death in the United States and analyzing how all his literary production is related to his own experiences and certain decisions taken, which will influence both his successes and failures.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"205-220"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49543112","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 argues that through an engagement with cross-media hybridity, Irish comedy duo The Rubberbandits have established a dynamic cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement. Central to this process is The Rubberbandits’ ability to use their absurdist satire as a foundational tool that can serve as the basis of this cultural forum, while also facilitating the negotiation of social and political issues across a variety of media. Given that this cultural forum exists across different media, platforms, and formats, this paper sets out to analyse the various ways in which the duo have adapted their satirical style to suit the demands of these different media forms, and what implications this process of adaption has had on their work. Beginning with an analysis of the social and critical functions of satirical comedy more broadly, this paper will then focus on the specific brand of satirical social commentary employed by The Rubberbandits, paying particular attention to the role of absurdity in their critical engagement with prominent issues facing Irish society. As this paper will demonstrate, by embracing the hybridity of the cross-media environment, all the while maintaining their absurdist satirical style, The Rubberbandits have established a dynamic and carnivalesque cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement.
{"title":"The Rubberbandits’ Guide to Satire: Absurdism and Social Commentary in a Cross-Media Environment","authors":"Faye Mercier","doi":"10.24162/EI2021-9984","DOIUrl":"https://doi.org/10.24162/EI2021-9984","url":null,"abstract":"This paper argues that through an engagement with cross-media hybridity, Irish comedy duo The Rubberbandits have established a dynamic cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement. Central to this process is The Rubberbandits’ ability to use their absurdist satire as a foundational tool that can serve as the basis of this cultural forum, while also facilitating the negotiation of social and political issues across a variety of media. Given that this cultural forum exists across different media, platforms, and formats, this paper sets out to analyse the various ways in which the duo have adapted their satirical style to suit the demands of these different media forms, and what implications this process of adaption has had on their work. Beginning with an analysis of the social and critical functions of satirical comedy more broadly, this paper will then focus on the specific brand of satirical social commentary employed by The Rubberbandits, paying particular attention to the role of absurdity in their critical engagement with prominent issues facing Irish society. As this paper will demonstrate, by embracing the hybridity of the cross-media environment, all the while maintaining their absurdist satirical style, The Rubberbandits have established a dynamic and carnivalesque cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"79-94"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46697522","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 posthuman philosophy the human subject is not regarded as an entity but a relational process. Yet the historical construct of “the individual” remains the (unconscious) reference point in human perception, feeding ego- and anthropocentrism. This article will argue that in their call to revise the static ideal of the individual entity posthuman philosophers find “allies” in fiction. More specifically, the fantastic is a genre which offers great possibilities to drastically reshuffle basic tenets of perception. Mia Gallagher’s Shift offers a spectrum of fantastic stories in which protagonists relate to human and nonhuman agents such as animals, minerals, air and water. But, in this posthuman theory and fiction, not only human beings are deconstructed into relational nodes; the categories that constitute them are no independent concepts either, but mere interactional factors. This article’s analysis of Gallagher’s short stories focuses on the ways in which self and other, nature and culture, life and death, feminine and masculine, interior and exterior worlds interact.
{"title":"Forms of a Posthuman Fantastic in Mia Gallagher’s Shift","authors":"H. Schwall","doi":"10.24162/EI2021-10097","DOIUrl":"https://doi.org/10.24162/EI2021-10097","url":null,"abstract":"In posthuman philosophy the human subject is not regarded as an entity but a relational process. Yet the historical construct of “the individual” remains the (unconscious) reference point in human perception, feeding ego- and anthropocentrism. This article will argue that in their call to revise the static ideal of the individual entity posthuman philosophers find “allies” in fiction. More specifically, the fantastic is a genre which offers great possibilities to drastically reshuffle basic tenets of perception. Mia Gallagher’s Shift offers a spectrum of fantastic stories in which protagonists relate to human and nonhuman agents such as animals, minerals, air and water. But, in this posthuman theory and fiction, not only human beings are deconstructed into relational nodes; the categories that constitute them are no independent concepts either, but mere interactional factors. This article’s analysis of Gallagher’s short stories focuses on the ways in which self and other, nature and culture, life and death, feminine and masculine, interior and exterior worlds interact.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"1-12"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45927542","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 Smile (2017), Roddy Doyle represents a society that is still heavily influenced by the moral authority of the Catholic Church and that, therefore, avoids any open discussion about sexuality in any of its manifestations. In the midst of this climate, Victor Forde, the working-class protagonist of the novel, tries to disclose the sexual abuse he suffered as a child in a Christian Brotherhood School. In my article, I argue that the silences and taboos that permeate the society as represented in the novel, and the protagonist’s awareness that his social position made him the perfect target for abuse, condition Victor’s only opportunity for disclosure; this – and the absolute failure of his attempts at divulgence – ultimately frustrates his chances of healing from trauma and of leading an ordinary life.
{"title":"“It happened to all of us”: Disclosing Sexual Abuse in Catholic Ireland in Roddy Doyle’s Smile","authors":"Lluïsa Schlesier Corrales","doi":"10.24162/EI2021-10076","DOIUrl":"https://doi.org/10.24162/EI2021-10076","url":null,"abstract":"In Smile (2017), Roddy Doyle represents a society that is still heavily influenced by the moral authority of the Catholic Church and that, therefore, avoids any open discussion about sexuality in any of its manifestations. In the midst of this climate, Victor Forde, the working-class protagonist of the novel, tries to disclose the sexual abuse he suffered as a child in a Christian Brotherhood School. In my article, I argue that the silences and taboos that permeate the society as represented in the novel, and the protagonist’s awareness that his social position made him the perfect target for abuse, condition Victor’s only opportunity for disclosure; this – and the absolute failure of his attempts at divulgence – ultimately frustrates his chances of healing from trauma and of leading an ordinary life.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"165-182"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48155090","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 1993 Clare Boylan edited a collection of essays by diverse writers on the act of writing entitled The Agony and the Ego. The Art and Strategy of Fiction Writing Explored. Here, Boylan takes the double stance of an outsider, as a critic, and of an insider, as a writer, and her concern with other writers’ work highlights her own preoccupation with writing and creativity, thus providing an interesting insight into her own fiction too. Besides writing seven novels and three collections of short stories, Clare Boylan also produced personal, autobiographical and critical pieces in a variety of essays and newspaper articles. She also showed a rigorous stance as editor in the thorough and engaging Literary Companion to Cats (1994). In particular, Boylan’s non-fiction work includes essays on Kate O’Brien and Molly Keane, as well as an introduction to Maeve Brennan’s posthumous novella The Visitor. Her critical work shows rigorous attention to texts and imagery, but also patterns of affinities with the writers she takes into account. The purpose of this essay is to analyse samples of Clare Boylan’s critical work vis-à-vis her own fiction. Significant cross-references can be identified which cast new perspectives on her literary work.
{"title":"In Dialogue with Writing. Clare Boylan’s Non-Fiction","authors":"G. Tallone","doi":"10.24162/EI2021-9970","DOIUrl":"https://doi.org/10.24162/EI2021-9970","url":null,"abstract":"In 1993 Clare Boylan edited a collection of essays by diverse writers on the act of writing entitled The Agony and the Ego. The Art and Strategy of Fiction Writing Explored. Here, Boylan takes the double stance of an outsider, as a critic, and of an insider, as a writer, and her concern with other writers’ work highlights her own preoccupation with writing and creativity, thus providing an interesting insight into her own fiction too. Besides writing seven novels and three collections of short stories, Clare Boylan also produced personal, autobiographical and critical pieces in a variety of essays and newspaper articles. She also showed a rigorous stance as editor in the thorough and engaging Literary Companion to Cats (1994). In particular, Boylan’s non-fiction work includes essays on Kate O’Brien and Molly Keane, as well as an introduction to Maeve Brennan’s posthumous novella The Visitor. Her critical work shows rigorous attention to texts and imagery, but also patterns of affinities with the writers she takes into account. The purpose of this essay is to analyse samples of Clare Boylan’s critical work vis-à-vis her own fiction. Significant cross-references can be identified which cast new perspectives on her literary work.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"42-53"},"PeriodicalIF":0.2,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44958129","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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