Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2234689
Sinéad Moynihan
Dublin to New York being documented (Éimear O’Connor); Morris Graves’ “new life” of painting in Ireland (Danielle M. Knapp) discussed and the photographer Dorothea Lange’s photo-anthropological project mostly in 1950s County Clare (James R. Swensen) scrutinised. Aside from its niche subject concern, this collection taps into emerging themes which have broached the academic scrutiny of artistic output, literature, and history since the 1990s. This is done obliquely, for instance, Clark’s chapter notes the “reciprocity is sacred” (176) between the kinship of Choctaw Nation peoples and Ireland through a brief examination of not only their (predominately female-composed) artwork and poetry but how this speaks of environmental and social degradation. These are themes befitting for Anthropocene scholars in Irish studies. A carefully traced historical relationship between Ulster Scots and Scottish emigrants and southeast tribes is given spanning 300 years by Clark expanding diasporic studies. Further, Irish artist Danny Devenny’s mural of African American abolitionist Frederick Douglass and the placement of Douglass’ sculpture to commemorate Douglass and Daniel O’Connell’s relationship by Irish activist and writer Don Mullan are carefully analysed by Fowler. The parallels between “transnational solidarity that support[s] resistance movements” (136) strike chords with and interpolate intersectionality debates across African American and Irish contexts in this detailed chapter which is historically informed. As Fowler admits in the introduction to Art History at the Crossroads of Ireland and the United States this is a “small contribution to the scholarship on transcultural exchange between Ireland and the United States” (5) designed to stimulate further dialogue on the topic. The essays are extremely short in length yet pithy and could be well served as seminar discussion pieces in the very teaching environment Elkins alluded to. This text could be helpful in visual studies art history field which have an Irish Studies focus or Irish locus. The collection is a novel intervention in subject matter and interdisciplinary in nature. At times too though, it must be said that some the writing felt partial with conclusions of some chapters ending rather abruptly, secondary sources wanting and further meditation on the new ideas proposed would have been helpful. Not that these represent complete ideas but the beginning of a discussion where the bombastic and conclusive cannot hold space. A thought-provoking and valuable read nonetheless, this collection will hopefully provoke pragmatic application in the seminar room and stimulate further theoretically and historically-framed output from the Irish Studies community.
{"title":"Race, politics, and Irish America: a Gothic history","authors":"Sinéad Moynihan","doi":"10.1080/09670882.2023.2234689","DOIUrl":"https://doi.org/10.1080/09670882.2023.2234689","url":null,"abstract":"Dublin to New York being documented (Éimear O’Connor); Morris Graves’ “new life” of painting in Ireland (Danielle M. Knapp) discussed and the photographer Dorothea Lange’s photo-anthropological project mostly in 1950s County Clare (James R. Swensen) scrutinised. Aside from its niche subject concern, this collection taps into emerging themes which have broached the academic scrutiny of artistic output, literature, and history since the 1990s. This is done obliquely, for instance, Clark’s chapter notes the “reciprocity is sacred” (176) between the kinship of Choctaw Nation peoples and Ireland through a brief examination of not only their (predominately female-composed) artwork and poetry but how this speaks of environmental and social degradation. These are themes befitting for Anthropocene scholars in Irish studies. A carefully traced historical relationship between Ulster Scots and Scottish emigrants and southeast tribes is given spanning 300 years by Clark expanding diasporic studies. Further, Irish artist Danny Devenny’s mural of African American abolitionist Frederick Douglass and the placement of Douglass’ sculpture to commemorate Douglass and Daniel O’Connell’s relationship by Irish activist and writer Don Mullan are carefully analysed by Fowler. The parallels between “transnational solidarity that support[s] resistance movements” (136) strike chords with and interpolate intersectionality debates across African American and Irish contexts in this detailed chapter which is historically informed. As Fowler admits in the introduction to Art History at the Crossroads of Ireland and the United States this is a “small contribution to the scholarship on transcultural exchange between Ireland and the United States” (5) designed to stimulate further dialogue on the topic. The essays are extremely short in length yet pithy and could be well served as seminar discussion pieces in the very teaching environment Elkins alluded to. This text could be helpful in visual studies art history field which have an Irish Studies focus or Irish locus. The collection is a novel intervention in subject matter and interdisciplinary in nature. At times too though, it must be said that some the writing felt partial with conclusions of some chapters ending rather abruptly, secondary sources wanting and further meditation on the new ideas proposed would have been helpful. Not that these represent complete ideas but the beginning of a discussion where the bombastic and conclusive cannot hold space. A thought-provoking and valuable read nonetheless, this collection will hopefully provoke pragmatic application in the seminar room and stimulate further theoretically and historically-framed output from the Irish Studies community.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"454 - 457"},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44023102","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: 10.1080/09670882.2023.2235859
S. Workman
ABSTRACT This article examines a new strand of speculative Irish fiction that has emerged in the post-Celtic Tiger era. Focusing on novels by Kevin Barry, Sarah Davis-Goff, Catherine Prasifka and Danny Denton, I analyse how the speculative mode, with its ontological obliquities and temporal distortions, is particularly commensurate to the environmental and socio-economic complexities and predicaments facing Ireland at present. Specifically, these novels centre on problems and crises that have national and regional manifestations, but are ultimately global in scale and extent: ecological degradation, sea-level rise, food scarcity, pandemics, and the social and psychic effects of neoliberalism and surveillance capitalism. In coming to terms with such issues, particularly the hyperobject of climate change, these novels are often at their most effective in moments that de-privilege anthropocentric perspectives by establishing existential intimacies and political affinities with the natural and non-human realms.
摘要本文探讨了后凯尔特虎时代出现的一股新的爱尔兰推理小说。以凯文·巴里（Kevin Barry）、莎拉·戴维斯·戈夫（Sarah Davis Goff）、凯瑟琳·普拉西夫卡（Catherine Prasifka）和丹尼·丹顿（Danny Denton。具体而言，这些小说聚焦于具有国家和地区表现形式的问题和危机，但最终在规模和程度上是全球性的：生态退化、海平面上升、粮食短缺、流行病，以及新自由主义和监视资本主义的社会和心理影响。在处理这些问题，特别是气候变化这一主题时，这些小说往往在最有效的时刻，通过建立与自然和非人类领域的存在亲密关系和政治亲密关系，使以人类为中心的观点失去特权。
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Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2233327
K. Powell
ABSTRACT Using Andrew Nugent’s Second Burial (2007) to exemplify the Celtic Tiger era crime fiction, this article compares Second Burial to two recent Celtic Phoenix era crime novels: Tana French’s The Trespasser (2016) and Brian O’Connor’s Bloodline (2017). In doing so, I show how Irish crime authors forge a complicated path from the isolated token immigrant figure to a more nuanced portrayal of belonging and non-belonging. I argue that, in case of recent Irish crime fiction, spaces of belonging are established and defined through visible but also through audible markers of difference. My essay demonstrates the stubborn persistence of a residual desire for delineating the aural and visual boundaries that separate the national “I” from strangers, citizens from non-belonging aliens.
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Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2237782
Selen Aktari-Sevgi
ABSTRACT This article explores Emma Donoghue’s The Pull of the Stars (2020) and Elaine Feeney’s As You Were (2020) within the context of the Celtic Phoenix (2013–the present) particularly in relation to the political discourses of recovery from the Great Recession (2008–2013), recently carried out national referendums, constitutional changes, the reports on the systemic abuse in Magdalene Laundries and The Mother and Baby Homes, and contemporary feminist hashtag activism. Set in hospital wards, both novels depict Irish women’s struggles with their health problems to address a variety of social, cultural, political, legal, and economic impediments they face throughout Ireland’s traumatic history and emphasise shared compassion and care that reinforce the experience of communal beingness and solidarity among them. These hospital wards can be regarded as matrixial borderspaces that transform its inhabitants by means of female bonding. This article argues that both novels challenge the neoliberal discourses of recovery in the Celtic Phoenix period by deploying the discourse of illness to expose violence, injustices and inequality against women and present the female body as a site of collective empowerment, emotional support and empathy.
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Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2234686
Brian Griffin
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Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2234695
Eamon Maher
Hickey notes “the element of pollution” in the “exhaust fumes, silage, traffic, and transatlantic flights” (93) in the poem. In would be easy, in some respects, to read the poem as a rebuke to a dematerialised, disembodied modernity that has lost all contact with the natural world, and that Tollund Man himself represents that lost connection. In this reading the poem is another iteration of the Derry versus Derrida contest through which Heaney characterised The Haw Lantern. But as with that earlier collection, such contests draw on false dichotomies. Tollund Man too is dematerialised and disembodied, and at the end of the poem he is “spirited [. . .] into the street.” The tensions in Heaney’s work, then, are not so much between ethereal spectres and solid, elemental reality, but rather between different types of haunting. Haunted Heaney consistently and persuasively makes this case, and centres haunting as a key preoccupation of Heaney’s work, but it is less successful at differentiating between different kinds of ghosts, and their multiple, shifting contexts and implications.
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Pub Date : 2023-07-03DOI: 10.1080/09670882.2023.2237780
Paul E. Delaney
ABSTRACT This essay engages with the practice of anthologisation in contemporary Irish short fiction. It takes as its starting point Sinéad Gleeson’s remark in The Art of the Glimpse (2020) that the anthology is a potentially generous art form since it constitutes “a gift” or “a gathering of possibilities” for the unsuspecting reader. The essay extends out from Gleeson’s suggestive analogy to examine some of the ways that the anthological form allows established and emerging writers to be placed in generative company. There are complications, of course, as every instance of anthologisation is also an exercise in gatekeeping, which presupposes acts of negotiation, selection, ratification, and compromise. Anthologies play a critical role in the process of canon formation and in the delineation of literary heritage; they help to shape expectations of genre and form; and they reorient the textual environment in which stories are received and interpreted. This essay investigates these and related issues by looking at a selection of contemporary anthologies of Irish short fiction, focusing especially on the Faber series of New Irish Short Stories which began with the late David Marcus in 2005, and which most recently includes Lucy Caldwell’s Being Various (2019).
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