The Irish context informs the process of composition of A Portrait of the Artist as a Young Man and Joyce’s use of historical allusions is an essential literary device when recontextualising the novel in its original cultural dynamics. Varied in form and elusive to the eye, allusions function as textual signs that introduce multiple layers of contextual meaning, unveiling the main characters’ contradictions and the workings of coercive ideologies. Joycean allusions thus act as metonymic portmanteau signs; they become the true “portals” of discovery of a less apparent portrait: that of Ireland as a British colony.
{"title":"“Portals of Discovery”: Historical Allusions in Joyce’s Portrait","authors":"M. Á. Conde-Parrilla","doi":"10.24162/ei2020-9296","DOIUrl":"https://doi.org/10.24162/ei2020-9296","url":null,"abstract":"The Irish context informs the process of composition of A Portrait of the Artist as a Young Man and Joyce’s use of historical allusions is an essential literary device when recontextualising the novel in its original cultural dynamics. Varied in form and elusive to the eye, allusions function as textual signs that introduce multiple layers of contextual meaning, unveiling the main characters’ contradictions and the workings of coercive ideologies. Joycean allusions thus act as metonymic portmanteau signs; they become the true “portals” of discovery of a less apparent portrait: that of Ireland as a British colony.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"13-25"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49072609","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":"Staging the Outcast in Brendan Behan’s Three Prison Dramas","authors":"W. Kao","doi":"10.24162/ei2020-9316","DOIUrl":"https://doi.org/10.24162/ei2020-9316","url":null,"abstract":"","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"51-61"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47944992","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}
Production, defined here as the application of one’s energies to the production of a good or service and Reflection, meaning the pursuit of a purely contemplative life, with the benefit of sharing the fruits of this reflection with others, are projected in this study to Chapters 4 to 7 of John McGahern’s novel The Dark (1965). By overlaying these terms in an Aristotelian sense to McGahern’s work, the dysfunctionalised adolescent’s guideless struggle between Production and Reflection is manifested, but the resultant diminishment of the positive section of self is also depicted, translated as destruction of self-esteem and privileging of negative selfworth via the chapters’ portrayal of corruption of body, mind and spirit.
{"title":"The “Production” of “Reflection”: Adolescent Choices in John McGahern’s The Dark","authors":"M. Keaveney","doi":"10.24162/ei2020-9351","DOIUrl":"https://doi.org/10.24162/ei2020-9351","url":null,"abstract":"Production, defined here as the application of one’s energies to the production of a good or service and Reflection, meaning the pursuit of a purely contemplative life, with the benefit of sharing the fruits of this reflection with others, are projected in this study to Chapters 4 to 7 of John McGahern’s novel The Dark (1965). By overlaying these terms in an Aristotelian sense to McGahern’s work, the dysfunctionalised adolescent’s guideless struggle between Production and Reflection is manifested, but the resultant diminishment of the positive section of self is also depicted, translated as destruction of self-esteem and privileging of negative selfworth via the chapters’ portrayal of corruption of body, mind and spirit.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"62-72"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41849623","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 – 2019","authors":"Tony Tracy, Roddy Flynn","doi":"10.24162/ei2020-9568","DOIUrl":"https://doi.org/10.24162/ei2020-9568","url":null,"abstract":"","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"296-329"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46716680","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}
Irish Gothic fiction in the nineteenth century experiences a significant yet progressive change – a move from the more brutal, physical threat present in the early forms of the genre to that of a subtle, psychological menace. Read in postcolonial terms, this signifies a change in the presence and perception of the colonized other, who now is presented as a mental danger; thus, vampires, werewolves and other physically threatening beings are left in the vault while, simultaneously, a new form of threat emerges in the shape of beings whose physical presence is conspicuously less hostile but whose psychological sphere threatens to engulf the troubled Anglo-Irish elite. The narratives of J.C. Mangan are paradigmatic of this change in so far as they already present the characteristics which later writers of the genre were to deploy. As this paper shows, by appropriating and abrogating the colonial gaze and utilizing British/AngloIrish perceptions of the East, J.C. Mangan manages to unveil the fact that, ultimately, AngloIrish fears of the Catholic other are, in fact, a product of their own paranoia, therefore, debasing their claim to both land and their appropriation of Irish identity.
{"title":"Disrupting Colonial Views: Savvy Nabobs, Oriental Dreams. Colonial Appropriations in J.C. Mangan’s “An Extraordinary Adventure in the Shades” and “The Thirty Flasks”","authors":"Richard Jorge Fernández","doi":"10.24162/ei2020-9310","DOIUrl":"https://doi.org/10.24162/ei2020-9310","url":null,"abstract":"Irish Gothic fiction in the nineteenth century experiences a significant yet progressive change – a move from the more brutal, physical threat present in the early forms of the genre to that of a subtle, psychological menace. Read in postcolonial terms, this signifies a change in the presence and perception of the colonized other, who now is presented as a mental danger; thus, vampires, werewolves and other physically threatening beings are left in the vault while, simultaneously, a new form of threat emerges in the shape of beings whose physical presence is conspicuously less hostile but whose psychological sphere threatens to engulf the troubled Anglo-Irish elite. The narratives of J.C. Mangan are paradigmatic of this change in so far as they already present the characteristics which later writers of the genre were to deploy. As this paper shows, by appropriating and abrogating the colonial gaze and utilizing British/AngloIrish perceptions of the East, J.C. Mangan manages to unveil the fact that, ultimately, AngloIrish fears of the Catholic other are, in fact, a product of their own paranoia, therefore, debasing their claim to both land and their appropriation of Irish identity.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"39-59"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48534572","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 Mélusine story is an international migratory legend (“Migratory Legend Suggested Irish Type”, MLSIT 4081), whose essential ingredients are an Otherworld bride and an interdiction. First attested in medieval Irish literature (Macha), the narrative has survived in modern Irish folklore, with possible influences from the French Romance of Mélusine. This article examines both medieval written and modern oral forms of the narrative from a novel perspective: their place-lore dimension.
{"title":"Place-lore in the Mélusine Narrative from Irish Tradition","authors":"Tiziana Soverino","doi":"10.24162/ei2020-9335","DOIUrl":"https://doi.org/10.24162/ei2020-9335","url":null,"abstract":"The Mélusine story is an international migratory legend (“Migratory Legend Suggested Irish Type”, MLSIT 4081), whose essential ingredients are an Otherworld bride and an interdiction. First attested in medieval Irish literature (Macha), the narrative has survived in modern Irish folklore, with possible influences from the French Romance of Mélusine. This article examines both medieval written and modern oral forms of the narrative from a novel perspective: their place-lore dimension.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"101-115"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43893379","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 present article is devoted to the exposition of Samuel Beckett’s aesthetics as formulated and exemplified in the key poems from Echo’s Bones: “The Vulture”, “Alba”, and “Dortmunder”. These texts emerge as poetic manifestos, in which Beckett explores the sources and materials of poetry, and addresses broader philosophical questions about poetry and art in general. Among his chief aesthetic concerns are the office of poetry vis-à-vis the human condition, as well as the efficacy of verbal magic, intimately connected with the possibility of artistic transcendence, or in other words, with the redemptive power of verbal art. These poems provide ample evidence that Beckett was already grappling with the notion of the (f)utility of art in a world filled with inevitable suffering and trying to formulate a poetic response to the pain and struggle of existence, while entertaining the possibility of redemption or transcendence through artistic creation and aesthetic contemplation. Especially “Alba” and “Dortmunder” seem to suggest that poetry or art momentarily eclipses the phenomenal world and offers a surrogate salvation, and an aesthetic experience emerges as a palliative to the anguish and turmoil of existence, two notions to which Beckett had remained faithful throughout his long literary career.
{"title":"Echo’s Bones and Samuel Beckett’s Early Aesthetics: “The Vulture”, “Alba” and “Dortmunder” as Poetic Manifestos","authors":"Sławomir Studniarz","doi":"10.24162/ei2020-9357","DOIUrl":"https://doi.org/10.24162/ei2020-9357","url":null,"abstract":"The present article is devoted to the exposition of Samuel Beckett’s aesthetics as formulated and exemplified in the key poems from Echo’s Bones: “The Vulture”, “Alba”, and “Dortmunder”. These texts emerge as poetic manifestos, in which Beckett explores the sources and materials of poetry, and addresses broader philosophical questions about poetry and art in general. Among his chief aesthetic concerns are the office of poetry vis-à-vis the human condition, as well as the efficacy of verbal magic, intimately connected with the possibility of artistic transcendence, or in other words, with the redemptive power of verbal art. These poems provide ample evidence that Beckett was already grappling with the notion of the (f)utility of art in a world filled with inevitable suffering and trying to formulate a poetic response to the pain and struggle of existence, while entertaining the possibility of redemption or transcendence through artistic creation and aesthetic contemplation. Especially “Alba” and “Dortmunder” seem to suggest that poetry or art momentarily eclipses the phenomenal world and offers a surrogate salvation, and an aesthetic experience emerges as a palliative to the anguish and turmoil of existence, two notions to which Beckett had remained faithful throughout his long literary career.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"116-129"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41763845","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 explores the representation of the Irishman in Maria Edgeworth’s “The Limerick Gloves” (Popular Tales 1804). By using Homi K. Bhabha’s theory, I argue that in this tale, sexual and colonial oppression are coupled together. Edgeworth questions racial stereotypes, and more specifically the idea of “Irishness” as opposed to Englishness. The use of irony and the narrator’s desire to introduce Ireland to the English reader are in consonance with Edgeworth’s enlightened philosophy and both reveal her rejection of sectarianism. “The Limerick Gloves” also shows Edgeworth’s early reliance on the Union and is particularly interesting since it was relatively free from Richard Lovell Edgeworth’s tutelage.
{"title":"“Cannot an Irishman be a good man?”: Maria Edgeworth’s “The Limerick Gloves” (1804) as a Tale of Irish Identity","authors":"C. M. Fernández-Rodríguez","doi":"10.24162/ei2020-9304","DOIUrl":"https://doi.org/10.24162/ei2020-9304","url":null,"abstract":"This paper explores the representation of the Irishman in Maria Edgeworth’s “The Limerick Gloves” (Popular Tales 1804). By using Homi K. Bhabha’s theory, I argue that in this tale, sexual and colonial oppression are coupled together. Edgeworth questions racial stereotypes, and more specifically the idea of “Irishness” as opposed to Englishness. The use of irony and the narrator’s desire to introduce Ireland to the English reader are in consonance with Edgeworth’s enlightened philosophy and both reveal her rejection of sectarianism. “The Limerick Gloves” also shows Edgeworth’s early reliance on the Union and is particularly interesting since it was relatively free from Richard Lovell Edgeworth’s tutelage.","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"26-38"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43128479","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}
Lee Dunne's Goodbye to the Hill (1965) follows the life of Paddy Maguire in the Dublin suburb of Ranelagh during the mid-20 th century. As a Bildungsroman, Dunne’s novel charts the rites of passage necessary for Maguire to take his place in society among his peers. An important rite of passage for Maguire is his entrance into Dublin pubs as a way of achieving the ideals of local hegemonic masculinity. J.P. Donleavy’s novel The Ginger Man (1955) then chronicles the psychological breakdown of the protagonist Sebastian Dangerfield. His breakdown is marked by frantic visits to public houses around Dublin where he seeks solace and a sense of re-masculinisation from his anxieties. This essay argues how Irish pubs are depicted in 20 th century fiction as ideological vehicles charged with assimilating Irish men into the ranks of homosocial society, inculcating the ideals of local hegemonic masculinity. This essay also demonstrates how, as a space from which women were barred until the 1960s in Ireland, pubs were used as essential hubs for homosocial interaction and markers of Irish masculinity. When women were gradually allowed into pubs, their presence was often sanctioned with certain caveats, often conducive to regulating additional aspects of local hegemonic masculinity
{"title":"“A Pint of Plain is Your Only Man”: Masculinities and the Pub in Twentieth Century Irish Fiction","authors":"Loic Wright","doi":"10.24162/ei2020-9371","DOIUrl":"https://doi.org/10.24162/ei2020-9371","url":null,"abstract":"Lee Dunne's Goodbye to the Hill (1965) follows the life of Paddy Maguire in the Dublin suburb of Ranelagh during the mid-20 th century. As a Bildungsroman, Dunne’s novel charts the rites of passage necessary for Maguire to take his place in society among his peers. An important rite of passage for Maguire is his entrance into Dublin pubs as a way of achieving the ideals of local hegemonic masculinity. J.P. Donleavy’s novel The Ginger Man (1955) then chronicles the psychological breakdown of the protagonist Sebastian Dangerfield. His breakdown is marked by frantic visits to public houses around Dublin where he seeks solace and a sense of re-masculinisation from his anxieties. This essay argues how Irish pubs are depicted in 20 th century fiction as ideological vehicles charged with assimilating Irish men into the ranks of homosocial society, inculcating the ideals of local hegemonic masculinity. This essay also demonstrates how, as a space from which women were barred until the 1960s in Ireland, pubs were used as essential hubs for homosocial interaction and markers of Irish masculinity. When women were gradually allowed into pubs, their presence was often sanctioned with certain caveats, often conducive to regulating additional aspects of local hegemonic masculinity","PeriodicalId":53822,"journal":{"name":"Estudios Irlandeses","volume":"1 1","pages":"143-155"},"PeriodicalIF":0.2,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42793602","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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