Pub Date : 2023-10-02DOI: 10.1080/09670882.2023.2264230
Ashley M. Morin
"Noraid and the Northern Ireland troubles, 1970–1994." Irish Studies Review, ahead-of-print(ahead-of-print), pp. 1–2
“Noraid和北爱尔兰问题，1970-1994。”爱尔兰研究评论，印刷前(印刷前)，第1-2页
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Pub Date : 2023-09-27DOI: 10.1080/09670882.2023.2260313
Allan Hepburn
ABSTRACTJohn Banville identifies style as an attribute of world literature. As a novelist, he admires authors who make wit, word play, linguistic theatricality and virtuosity literary ends in themselves. In reviews and articles, he praises Henry James, James Joyce, Samuel Beckett, Vladimir Nabokov, Raymond Chandler, and other writers for their highly polished prose styles. In turn, critics single out Banville’s own finely tuned style as the defining trait of his novels. Invoking world literature theory, this essay works towards a definition of literary style and more particularly Irish style, such as Banville perceives it. As an aspect of world literature, certain novels display “extensibility,” which is to say that they borrow from and build upon prior novels, not just by repurposing characters, but also by adopting premises, situations, vocabularies, and style. Banville creates extensions of Nabokov’s Lolita in The Untouchable, James’s The Portrait of a Lady in Mrs Osmond, and Chandler’s detective novels in The Black-Eyed Blonde, published under the pseudonym Benjamin Black. Through such extensions, Banville elaborates a world style that enhances literary prestige and contributes to the system of world literature.KEYWORDS: John Banvillestylenovelworld literatureextensibilitycomedy Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. Pater, “Style,” 412.2. Banville, “A Talk,” 14.3. Banville, “Foreword,” xi.4. Banville, Birchwood, 22; original emphasis.5. Banville, “Heavenly Alchemy,” 28.6. Banville, “The Only Begetter,” 24.7. Banville, The Blue Guitar, 3.8. Ibid., 24.9. Ibid., 151.10. Ibid., 13.11. Ibid.12. Conley, “John Banville,” n.p.13. Acocella, “Doubling Down,” 104.14. Tonkin, “The Wrong Choice in a List Packed with Delights,” 3.15. Macfarlane, “The World at Arm’s Length,” 19.16. “scrimshaw, n.” OED.17. Phillips, “The Case of Isabel Archer,” n.p.18. Ibid.19. Flaubert, The Letters of Gustave Flaubert 1830–1857 Vol. 1, 154.20. Banville, “It Is Only A Novel,” 23. Connolly “In Conversation with John Banville and Ed Victor,” 27:54.21. Ellmann, Elizabeth Bowen, 145.22. Hogan, “A Blessed World, in Which We Know Nothing except through Style,” n.p.23. Arnold, The Study of Celtic Literature, 121.24. Ibid.25. Pfeiffer, “To Make Fiction as Dense and Demanding as Poetry,” 27.26. Boxall, “Unknown Unity: Ireland and Europe in Beckett and Banville,” 48.27. McKeon, “John Banville: The Art of Fiction No. 200,” 134.28. Haughton and Radley, “An Interview with John Banville,” 860.29. Banville, The Singularities 97.30. Wilde, The Plays of Oscar Wilde, 415.31. Banville, The Singularities, 175.32. Banville’s precursors are almost uniformly European and male, as Michael Springer notes, with reference to Banville’s “persistent and searching interrogation of a range of literary, philosophical, and artistic forebears is a way of understanding the place of the work of literature in European culture and thought.” Springer, “Introdu
【摘要】约翰·班维尔认为风格是世界文学的一种属性。作为一名小说家，他欣赏那些以机智、文字游戏、语言戏剧性和精湛技艺为文学目的的作家。在评论和文章中，他赞扬了亨利·詹姆斯、詹姆斯·乔伊斯、塞缪尔·贝克特、弗拉基米尔·纳博科夫、雷蒙德·钱德勒和其他作家高度精炼的散文风格。反过来，评论家们挑出班维尔自己精心调整的风格作为他的小说的决定性特征。引用世界文学理论，本文试图定义文学风格，尤其是Banville所认为的爱尔兰风格。作为世界文学的一个方面，某些小说表现出“延伸性”，也就是说，它们借鉴并建立在之前的小说之上，不仅是通过改变角色，还通过采用前提、情境、词汇和风格。班维尔创作了纳博科夫的《不可触碰》中的洛丽塔、詹姆斯的《奥斯蒙德夫人》中的淑女画像以及钱德勒的侦探小说《黑眼睛的金发女郎》(以本杰明·布莱克的笔名出版)的延伸。通过这样的延伸，班维尔阐述了一种世界风格，这种风格提高了文学声望，为世界文学体系做出了贡献。关键词:约翰·班维尔风格小说世界文学可扩展性喜剧披露声明作者未报告潜在的利益冲突。Pater， " Style "， 412.2。班维尔，《谈话》，14.3页。Banville，“前言”，xi.4。班维尔，伯奇伍德，22岁;原始emphasis.5。班维尔，《天堂炼金术》，28.6页。班维尔，《独生子女》，24.7页。班维尔，《蓝色吉他》，3.8分。如上,24.9。如上,151.10。如上,13.11。Ibid.12。康利，《约翰·班维尔》，n.p 13。Acocella，“加倍下注”，104.14。Tonkin，“在一个充满乐趣的列表中错误的选择”，3.15。麦克法兰，《保持距离的世界》，19.16。《斯克林肖，n.n》，第17期。菲利普斯，《伊莎贝尔·阿切尔案》，第18页。Ibid.19。福楼拜，古斯塔夫·福楼拜书信1830-1857卷1,154.20。班维尔，《这只是一部小说》，第23页。《与约翰·班维尔和埃德·维克多的对话》，27:54.21。伊丽莎白·鲍恩，埃尔曼，145.22。霍根，《一个幸福的世界，在那里我们除了通过风格什么都不知道》，第23页。《凯尔特文学研究》，第121.24页。Ibid.25。Pfeiffer，“使小说像诗歌一样密集和苛刻”，27.26。《未知的统一:贝克特和班维尔的爱尔兰和欧洲》，第48.27页。麦基恩，<约翰·班维尔:小说艺术第200期>，134.28页。霍顿和拉德利，《约翰·班维尔访谈》，860.29页。班维尔，《奇点》，97.30。王尔德，《奥斯卡·王尔德的戏剧》，415.31页。班维尔，《奇点》，175.32。正如迈克尔·斯普林格(Michael Springer)所指出的那样，班维尔的先驱者几乎都是欧洲男性，他“对一系列文学、哲学和艺术先驱者进行了持续而深入的询问，这是理解文学作品在欧洲文化和思想中的地位的一种方式”。斯普林格，《导论》，5.33页。班维尔，《布卢姆日，血腥的布卢姆日》，210.34。班维尔，《等待最后的判决》，36.35页。约翰·班维尔，42岁36岁。康诺利，《与约翰·班维尔和埃德·维克多的对话》，21:40.37。班维尔，《这只是一部小说》，23.38页。班维尔，《愤怒的小说家》，22.39页。达姆罗施:什么是世界文学?5.40点。如上。6。关于世界文学是否构成一个“体系”存在争议。卡萨诺瓦(Pascale Casanova)用这个词来指代在世界文学领域内分层的来自不同地区和国家的文本集合。世界文学作为一个系统，具有自构性和可变性。系统分析意味着社会学方法，正如卡萨诺瓦和莫雷蒂所采取的那样，而不是对文学作品价值的评估。一些批评家，带着皮埃尔·布迪厄(Pierre Bourdieu)对文化差异和品味的分析，更喜欢用“领域”而不是“系统”这个词。术语和利害关系由Theo D 'haen, The Routledge简明世界文学史，100-16.41总结。莫雷蒂，《猜想》，152.42页。同上，157,158;原始emphasis.43。如上,159.44。华威研究集体，综合与不均衡发展，8,14;原始emphasis.45。达姆罗施，《文献比较》，269.46。克利里，现代主义，帝国，世界文学，155.47。如上,191.48。班维尔，《等待最后的判决》，36.49。引自corcorting， " Beckett ' s Masters， " 512.50。班维尔，《等待最后的判决》，36.51页。莫洛伊·贝克特，8.52。布莱克，《银天鹅》，220,53。班维尔，《证据之书》，24,54,95.54。如上,4.55。布莱克，《狐猴》，9.56分。《约翰·班维尔:小说艺术》，第200期，140.57页。班维尔，《证据书》，169.58。《约翰·班维尔:小说艺术》，第200期，140.59页。如上,138.60。班维尔，《贱民》307.61页。如上,252.62。如上,109.63。如上,101.64。如上,321.65。如上,279.66。如上,317.67。班维尔，《面包还是玛德琳蛋糕》，20页。
{"title":"“We know nothing except through style”: John Banville’s worldliness","authors":"Allan Hepburn","doi":"10.1080/09670882.2023.2260313","DOIUrl":"https://doi.org/10.1080/09670882.2023.2260313","url":null,"abstract":"ABSTRACTJohn Banville identifies style as an attribute of world literature. As a novelist, he admires authors who make wit, word play, linguistic theatricality and virtuosity literary ends in themselves. In reviews and articles, he praises Henry James, James Joyce, Samuel Beckett, Vladimir Nabokov, Raymond Chandler, and other writers for their highly polished prose styles. In turn, critics single out Banville’s own finely tuned style as the defining trait of his novels. Invoking world literature theory, this essay works towards a definition of literary style and more particularly Irish style, such as Banville perceives it. As an aspect of world literature, certain novels display “extensibility,” which is to say that they borrow from and build upon prior novels, not just by repurposing characters, but also by adopting premises, situations, vocabularies, and style. Banville creates extensions of Nabokov’s Lolita in The Untouchable, James’s The Portrait of a Lady in Mrs Osmond, and Chandler’s detective novels in The Black-Eyed Blonde, published under the pseudonym Benjamin Black. Through such extensions, Banville elaborates a world style that enhances literary prestige and contributes to the system of world literature.KEYWORDS: John Banvillestylenovelworld literatureextensibilitycomedy Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. Pater, “Style,” 412.2. Banville, “A Talk,” 14.3. Banville, “Foreword,” xi.4. Banville, Birchwood, 22; original emphasis.5. Banville, “Heavenly Alchemy,” 28.6. Banville, “The Only Begetter,” 24.7. Banville, The Blue Guitar, 3.8. Ibid., 24.9. Ibid., 151.10. Ibid., 13.11. Ibid.12. Conley, “John Banville,” n.p.13. Acocella, “Doubling Down,” 104.14. Tonkin, “The Wrong Choice in a List Packed with Delights,” 3.15. Macfarlane, “The World at Arm’s Length,” 19.16. “scrimshaw, n.” OED.17. Phillips, “The Case of Isabel Archer,” n.p.18. Ibid.19. Flaubert, The Letters of Gustave Flaubert 1830–1857 Vol. 1, 154.20. Banville, “It Is Only A Novel,” 23. Connolly “In Conversation with John Banville and Ed Victor,” 27:54.21. Ellmann, Elizabeth Bowen, 145.22. Hogan, “A Blessed World, in Which We Know Nothing except through Style,” n.p.23. Arnold, The Study of Celtic Literature, 121.24. Ibid.25. Pfeiffer, “To Make Fiction as Dense and Demanding as Poetry,” 27.26. Boxall, “Unknown Unity: Ireland and Europe in Beckett and Banville,” 48.27. McKeon, “John Banville: The Art of Fiction No. 200,” 134.28. Haughton and Radley, “An Interview with John Banville,” 860.29. Banville, The Singularities 97.30. Wilde, The Plays of Oscar Wilde, 415.31. Banville, The Singularities, 175.32. Banville’s precursors are almost uniformly European and male, as Michael Springer notes, with reference to Banville’s “persistent and searching interrogation of a range of literary, philosophical, and artistic forebears is a way of understanding the place of the work of literature in European culture and thought.” Springer, “Introdu","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"327 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135581060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2235763
B. English
ABSTRACT The perceived social liberalisation of Irish culture over the past ten years has significantly impacted Irish writing, resulting in discussions of formerly tabooed topics like psychosis, menstruation, and infertility. This shift is particularly evident in the recent rise in public interest in creative non-fiction writing. This article examines the rise in popularity of illness narratives: tales of patients’ and care-takers’ embodied experiences of mental and physical ailments in light of Irish medical-historical developments. Focusing on chapters from recent Irish essay collections by Emilie Pine, Sinéad Gleeson, and Sophie White, this article considers how writing about the gendered experiences of women in Irish medical and mental institutions can shape political action and contribute to the formation of radical new cultures of care.
{"title":"“The sick body has its own narrative impulse”: contemporary Irish illness narratives and institutions of care","authors":"B. English","doi":"10.1080/09670882.2023.2235763","DOIUrl":"https://doi.org/10.1080/09670882.2023.2235763","url":null,"abstract":"ABSTRACT The perceived social liberalisation of Irish culture over the past ten years has significantly impacted Irish writing, resulting in discussions of formerly tabooed topics like psychosis, menstruation, and infertility. This shift is particularly evident in the recent rise in public interest in creative non-fiction writing. This article examines the rise in popularity of illness narratives: tales of patients’ and care-takers’ embodied experiences of mental and physical ailments in light of Irish medical-historical developments. Focusing on chapters from recent Irish essay collections by Emilie Pine, Sinéad Gleeson, and Sophie White, this article considers how writing about the gendered experiences of women in Irish medical and mental institutions can shape political action and contribute to the formation of radical new cultures of care.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"379 - 390"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47925404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2233324
Orlaith Darling
ABSTRACT In this article, I analyse the literary realism of four women novelists in the context of the Celtic Phoenix. While realism has always been closely associated with capitalism as a genre and form, a neo-modernist turn emerged in Irish fiction writing in the years following 2012. This has been analysed in terms of a formal reaction to or against the capitalist realism of austerity policies. The realist novel, however, has remained popular with contemporary women writers, and, in this article I examine novels by Naoise Dolan, Niamh Campbell, Sara Baume, and Sally Rooney, asking how their work subverts or critiques capitalism not just in content, but in form. In particular, artmaking emerges as a self-reflexive motif through which these writers gain critical distance from the totalising capitalist systems they inhabit, and consider the ethics of creative production within this system.
{"title":"The Celtic Phoenix, capitalist realism, and contemporary Irish women’s novels","authors":"Orlaith Darling","doi":"10.1080/09670882.2023.2233324","DOIUrl":"https://doi.org/10.1080/09670882.2023.2233324","url":null,"abstract":"ABSTRACT In this article, I analyse the literary realism of four women novelists in the context of the Celtic Phoenix. While realism has always been closely associated with capitalism as a genre and form, a neo-modernist turn emerged in Irish fiction writing in the years following 2012. This has been analysed in terms of a formal reaction to or against the capitalist realism of austerity policies. The realist novel, however, has remained popular with contemporary women writers, and, in this article I examine novels by Naoise Dolan, Niamh Campbell, Sara Baume, and Sally Rooney, asking how their work subverts or critiques capitalism not just in content, but in form. In particular, artmaking emerges as a self-reflexive motif through which these writers gain critical distance from the totalising capitalist systems they inhabit, and consider the ethics of creative production within this system.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"348 - 362"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46830681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2233325
Aran Ward Sell
ABSTRACT This article chronicles the history of the phrase “Celtic Phoenix.” It began in sincere right-wing Celtic Tiger revivalism, but was popularised instead in a satirical mode, through Paul Howard’s parodic upper-class Dublin persona “Ross O’Carroll-Kelly.” In Howard’s play Breaking Dad (2014), a fascistic character exults that “Oh, the Celtic Tiger was a wonderful thing […] But the Celtic Phoenix – well, it’s going to be even better.” The phrase was quickly rehabilitated into mainstream economic analysis, via The Economist in 2015, and grew widespread in the mid-2010s: a 2018 article even speculated whether the “Phoenix” had already “passed its peak.” Subsequently, a cynical cast returned to the phrase’s currency, with negative connotations of Celtic Tiger shortsightedness observable in its usage in late-2010s and early-2020s journalism and criticism. The shifting usage of this term reflects a country still reckoning with the Celtic Tiger and the 2008–9 financial crash. This is seen in the written literature of “Celtic Phoenix” Ireland, in work by writers including Caoilinn Hughes, Kevin Power and Sally Rooney. To these newer writers, the crash is a previous generation’s disaster: an old but healing wound capable of being explained away as “something to do with capitalism.”
{"title":"Even better than the real thing: a conceptual history of the “Celtic Phoenix”","authors":"Aran Ward Sell","doi":"10.1080/09670882.2023.2233325","DOIUrl":"https://doi.org/10.1080/09670882.2023.2233325","url":null,"abstract":"ABSTRACT This article chronicles the history of the phrase “Celtic Phoenix.” It began in sincere right-wing Celtic Tiger revivalism, but was popularised instead in a satirical mode, through Paul Howard’s parodic upper-class Dublin persona “Ross O’Carroll-Kelly.” In Howard’s play Breaking Dad (2014), a fascistic character exults that “Oh, the Celtic Tiger was a wonderful thing […] But the Celtic Phoenix – well, it’s going to be even better.” The phrase was quickly rehabilitated into mainstream economic analysis, via The Economist in 2015, and grew widespread in the mid-2010s: a 2018 article even speculated whether the “Phoenix” had already “passed its peak.” Subsequently, a cynical cast returned to the phrase’s currency, with negative connotations of Celtic Tiger shortsightedness observable in its usage in late-2010s and early-2020s journalism and criticism. The shifting usage of this term reflects a country still reckoning with the Celtic Tiger and the 2008–9 financial crash. This is seen in the written literature of “Celtic Phoenix” Ireland, in work by writers including Caoilinn Hughes, Kevin Power and Sally Rooney. To these newer writers, the crash is a previous generation’s disaster: an old but healing wound capable of being explained away as “something to do with capitalism.”","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"331 - 347"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43157644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2234694
Lauren Clark
{"title":"Art history at the crossroads of Ireland and the United States","authors":"Lauren Clark","doi":"10.1080/09670882.2023.2234694","DOIUrl":"https://doi.org/10.1080/09670882.2023.2234694","url":null,"abstract":"","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"453 - 454"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49482183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2233328
Moonyoung Hong
ABSTRACT This article examines representations of Asia and Asian characters in contemporary Irish writing, drawing on the discourse on Orientalism and other postcolonial theories. Orientalism in Irish studies has undergone multiple phases: from the Celtic-Oriental ties that stressed cross-colonial identification with Eastern countries as a way to bolster nationalist narratives during the Celtic Revival, to the comparison with new and futuristic, late capitalist East Asian “Tiger” societies from the 1990s to the present day. Irish Orientalism thus stands uneasily between traditional Anglo-European Orientalism, which continues to reproduce certain stereotypes of the Other, and anti-imperial agendas that challenge established colonial discourses. While differing from its British counterpart, Irish literature has often been complicit in producing and sustaining Orientalist images, especially in its representations of migrants. By analysing Yan Ge’s short stories set in Ireland, this article offers a rare perspective from the Other side. Yan Ge’s thematic and formal consideration of her status as an Asian outsider aims to dis-orient and re-orient Irish readers. By looking steadily back at the Orientalist gaze, the portrayals of cross-cultural encounters in Yan Ge’s works help to create more fruitful and equitable conversations regarding Ireland’s role in the global order and its changing relationship with Asia.
{"title":"Dis-orienting Orientalism in contemporary Irish writing: Yan Ge’s Irish short stories","authors":"Moonyoung Hong","doi":"10.1080/09670882.2023.2233328","DOIUrl":"https://doi.org/10.1080/09670882.2023.2233328","url":null,"abstract":"ABSTRACT This article examines representations of Asia and Asian characters in contemporary Irish writing, drawing on the discourse on Orientalism and other postcolonial theories. Orientalism in Irish studies has undergone multiple phases: from the Celtic-Oriental ties that stressed cross-colonial identification with Eastern countries as a way to bolster nationalist narratives during the Celtic Revival, to the comparison with new and futuristic, late capitalist East Asian “Tiger” societies from the 1990s to the present day. Irish Orientalism thus stands uneasily between traditional Anglo-European Orientalism, which continues to reproduce certain stereotypes of the Other, and anti-imperial agendas that challenge established colonial discourses. While differing from its British counterpart, Irish literature has often been complicit in producing and sustaining Orientalist images, especially in its representations of migrants. By analysing Yan Ge’s short stories set in Ireland, this article offers a rare perspective from the Other side. Yan Ge’s thematic and formal consideration of her status as an Asian outsider aims to dis-orient and re-orient Irish readers. By looking steadily back at the Orientalist gaze, the portrayals of cross-cultural encounters in Yan Ge’s works help to create more fruitful and equitable conversations regarding Ireland’s role in the global order and its changing relationship with Asia.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"420 - 433"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48127274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2234685
S. Grace
important contribution to the study of popular women’s magazines in Ireland. If there is one thing missing, it is the behind-the-scenes materials: circulation numbers, financial records, and editorial letters. These archival documents may not always be available, but they would have greatly enriched the book, providing insights into the operation of the magazine publishing business: how the editors selected the letters, how they responded and dealt with controversies, and the extent to which economic concerns influenced editorial decisions. Nonetheless, A Woman’s Place? is a carefully researched book, filled with brilliantly analysed examples from popular women’s magazines. It will be of interest to researchers in women’s history, periodical studies, and beyond.
{"title":"Haunted Heaney: Spectres and the Poetry","authors":"S. Grace","doi":"10.1080/09670882.2023.2234685","DOIUrl":"https://doi.org/10.1080/09670882.2023.2234685","url":null,"abstract":"important contribution to the study of popular women’s magazines in Ireland. If there is one thing missing, it is the behind-the-scenes materials: circulation numbers, financial records, and editorial letters. These archival documents may not always be available, but they would have greatly enriched the book, providing insights into the operation of the magazine publishing business: how the editors selected the letters, how they responded and dealt with controversies, and the extent to which economic concerns influenced editorial decisions. Nonetheless, A Woman’s Place? is a carefully researched book, filled with brilliantly analysed examples from popular women’s magazines. It will be of interest to researchers in women’s history, periodical studies, and beyond.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"123 5","pages":"461 - 463"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41292217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2235869
Eoghan Smith, S. Workman
The focus of this special edition of the Irish Studies Review is on responses in Irish writing to the social, political, economic, and cultural realignments in Irish life that began after the collapse of the Celtic Tiger in 2008. In particular, the essays here examine how Irish writers have reckoned with the rise of the so-called “Celtic Phoenix,” a term that gained currency in the middle of the 2010s, and how the form, direction, and dissemination of Irish literature have evolved during this period. Obviously, to provide a completely exhaustive account of Irish literature from 2008 to the present would require significantly more space than is available here, and it need hardly be stated that it was not possible to comprehensively survey the entire literary landscape over the course of eight essays, nor was that our intention. Furthermore, although poetry, film, and, to a lesser extent, drama have flour-ished during this period, the scope of this special edition encompasses primarily prose fiction, with some attention paid to non-fiction. The short story and the novel, in particular, have been characterised as central to a current literary “renaissance” in Ireland, and the formal daring and thematic boldness of this new writing has been enabled and engendered by the “agility” and “dynamism of Ireland’s publishing scene.” 1 The authors here engage with some of the key literary directions, trends, and concerns, mostly, though not exclusively, in the work of writers who have emerged over the last decade and a half, and it is our aim that this scholarship will usefully contribute to the growing body of critical work on what now appears, even at this close juncture, to be one of the most significant 10 to 15 years in modern Irish literary history. The phrase “Celtic Phoenix” requires some elucidation. As a locution, it clearly evokes the term “Celtic Tiger” and substitutes the image of a ruthless, rapacious predator with the immortal figure of the phoenix – a periodically self-immolating and miraculously resur-recting bird of myth. While both phrases could be viewed as potentially glib or reductive, they are important signifiers that have gained significant
{"title":"The rise of the phoenix: restoration and renaissance in contemporary Irish writing","authors":"Eoghan Smith, S. Workman","doi":"10.1080/09670882.2023.2235869","DOIUrl":"https://doi.org/10.1080/09670882.2023.2235869","url":null,"abstract":"The focus of this special edition of the Irish Studies Review is on responses in Irish writing to the social, political, economic, and cultural realignments in Irish life that began after the collapse of the Celtic Tiger in 2008. In particular, the essays here examine how Irish writers have reckoned with the rise of the so-called “Celtic Phoenix,” a term that gained currency in the middle of the 2010s, and how the form, direction, and dissemination of Irish literature have evolved during this period. Obviously, to provide a completely exhaustive account of Irish literature from 2008 to the present would require significantly more space than is available here, and it need hardly be stated that it was not possible to comprehensively survey the entire literary landscape over the course of eight essays, nor was that our intention. Furthermore, although poetry, film, and, to a lesser extent, drama have flour-ished during this period, the scope of this special edition encompasses primarily prose fiction, with some attention paid to non-fiction. The short story and the novel, in particular, have been characterised as central to a current literary “renaissance” in Ireland, and the formal daring and thematic boldness of this new writing has been enabled and engendered by the “agility” and “dynamism of Ireland’s publishing scene.” 1 The authors here engage with some of the key literary directions, trends, and concerns, mostly, though not exclusively, in the work of writers who have emerged over the last decade and a half, and it is our aim that this scholarship will usefully contribute to the growing body of critical work on what now appears, even at this close juncture, to be one of the most significant 10 to 15 years in modern Irish literary history. The phrase “Celtic Phoenix” requires some elucidation. As a locution, it clearly evokes the term “Celtic Tiger” and substitutes the image of a ruthless, rapacious predator with the immortal figure of the phoenix – a periodically self-immolating and miraculously resur-recting bird of myth. While both phrases could be viewed as potentially glib or reductive, they are important signifiers that have gained significant","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"325 - 330"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46265675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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