Pub Date : 2023-04-03DOI: 10.1080/09670882.2023.2199114
Raita Merivirta
ABSTRACT This article analyses two films about the Irish republican prison protests and the hunger strikes of 1981 – Terry George’s Some Mother’s Son (1996) and Steve McQueen’s Hunger (2008) – as countermemories of the dominant British media coverage of the protests and the hunger strikes. Focusing on the use of the voice/image of British prime minister Margaret Thatcher in these films, the article asks for what purpose and to what effect these clips and recordings are employed and suggests that Thatcher’s gender does matter in these films. In contrast to the worried mothers of the incarcerated republican sons, prime minister Thatcher appears as the unbending Iron Lady of the British government in Some Mother’s Son, representing the gendered chief villain of the film. In Hunger, Thatcher’s cold, disembodied female voice – Thatcher as acousmêtre – is set against the resisting and suffering male body of Bobby Sands. This article addresses these gendered depictions and their construction through the use of voice and silence. In both films, the female presence of Thatcher is used to invoke the old and create new media memories of the hunger strike.
{"title":"Remembering otherwise: media memory, gender and Margaret Thatcher in Irish hunger strike films","authors":"Raita Merivirta","doi":"10.1080/09670882.2023.2199114","DOIUrl":"https://doi.org/10.1080/09670882.2023.2199114","url":null,"abstract":"ABSTRACT This article analyses two films about the Irish republican prison protests and the hunger strikes of 1981 – Terry George’s Some Mother’s Son (1996) and Steve McQueen’s Hunger (2008) – as countermemories of the dominant British media coverage of the protests and the hunger strikes. Focusing on the use of the voice/image of British prime minister Margaret Thatcher in these films, the article asks for what purpose and to what effect these clips and recordings are employed and suggests that Thatcher’s gender does matter in these films. In contrast to the worried mothers of the incarcerated republican sons, prime minister Thatcher appears as the unbending Iron Lady of the British government in Some Mother’s Son, representing the gendered chief villain of the film. In Hunger, Thatcher’s cold, disembodied female voice – Thatcher as acousmêtre – is set against the resisting and suffering male body of Bobby Sands. This article addresses these gendered depictions and their construction through the use of voice and silence. In both films, the female presence of Thatcher is used to invoke the old and create new media memories of the hunger strike.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"280 - 297"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49419646","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 : 2023-04-03DOI: 10.1080/09670882.2023.2200889
Conor Fitzgerald
theatrical works that were being produced at the same time as better known playwrights were creating their major pieces of theatre. Personally, this reviewer would have liked to see a more sustained analysis of playwrights Teresa Deevy and Mary Manning since they are two female Irish dramatists who are in need of a greater amount of scholarly attention. In the final analysis, Theatre and Archival Memory is an extremely valuable academic text that will appeal to both new and established scholars of modern Irish drama. It sheds new light on playwrights with whom readers might not be very familiar. The book emphatically demonstrates that “while Ireland’s modernisation [. . .] was often a hollow façade, the development of a modern drama inculcated a sense of excitement, possibility, and experimentation” (253). Although there are a certain number of typos contained within the text, that is a matter for which the editors are responsible rather than the author. With Theatre and Archival Memory, Barry Houlihan has created a work that deserves a place in the list of important studies of Irish drama in the twentieth century. For this reason, he can certainly be said to have done Irish academia some service.
{"title":"Ageing masculinities in Irish literature and visual culture","authors":"Conor Fitzgerald","doi":"10.1080/09670882.2023.2200889","DOIUrl":"https://doi.org/10.1080/09670882.2023.2200889","url":null,"abstract":"theatrical works that were being produced at the same time as better known playwrights were creating their major pieces of theatre. Personally, this reviewer would have liked to see a more sustained analysis of playwrights Teresa Deevy and Mary Manning since they are two female Irish dramatists who are in need of a greater amount of scholarly attention. In the final analysis, Theatre and Archival Memory is an extremely valuable academic text that will appeal to both new and established scholars of modern Irish drama. It sheds new light on playwrights with whom readers might not be very familiar. The book emphatically demonstrates that “while Ireland’s modernisation [. . .] was often a hollow façade, the development of a modern drama inculcated a sense of excitement, possibility, and experimentation” (253). Although there are a certain number of typos contained within the text, that is a matter for which the editors are responsible rather than the author. With Theatre and Archival Memory, Barry Houlihan has created a work that deserves a place in the list of important studies of Irish drama in the twentieth century. For this reason, he can certainly be said to have done Irish academia some service.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"313 - 315"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42370060","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 : 2023-04-03DOI: 10.1080/09670882.2023.2198081
Marisol Morales-ladrón
ABSTRACT Anna Burns, the first Northern-Irish woman to have been awarded the Booker Prize for her novel Milkman in 2018 has been celebrated since then as a lucid and necessary voice in the contemporary panorama. Set in an unknown location in Northern Ireland, at a time when the Troubles were at its peak, the narrative defiantly targets at what appears to be sexual harassment, to further disclose layers of more subtle meanings related to sociopolitical (self-)control and surveillance, in an atmosphere of pathological silence. Informed by Michel Foucault’s theories, developed in his studies Discipline and Punish and The History of Sexuality, this article explores Burns’ novel in light of Foucault’s model of biopower, defined as a “technology of power centered on life,” within which the panopticon will be revisited. I will contend that silence, consequently, surfaces as both the voluntary alternative and the inevitable consequence of the imposition of regulatory practices on docile bodies, on a disempowered microstructure of inmates that facilitates the success of such technology of power.
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Pub Date : 2023-04-03DOI: 10.1080/09670882.2023.2195581
S. Hopkins
{"title":"“The age-old struggle”: Irish republicanism from the battle of the Bogside to the Belfast agreement, 1969–1998","authors":"S. Hopkins","doi":"10.1080/09670882.2023.2195581","DOIUrl":"https://doi.org/10.1080/09670882.2023.2195581","url":null,"abstract":"","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"305 - 307"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45143837","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 : 2023-04-03DOI: 10.1080/09670882.2023.2200881
Eoin Ó Gaora
ABSTRACT This article considers, contrasts and compares the images of three of Ireland’s Taoisigh – Brian Cowen, Enda Kenny, and Leo Varadkar – by situating each Taoiseach along an axis of consumption, stretching from austerity on one hand, to overconsumption on the other. In particular, the popular image of Varadkar is carefully explored, charting how artefacts such as Instagram photos of carefully prepared lunches and birthday celebrations, form a key part of Varadkar’s efforts to position himself as the ardent champion of neoliberalism. Despite such efforts, I argue that it is Kenny who emerges as a paragon of neoliberal citizenship, and thus is an ideal host for 2021 travel history series Iarnród Enda. The article then explores the ideological resonances of the series and its role in rehabilitating the somewhat damaged image of its host, as well as the symbiotic relationship Kenny enjoys with the rural landscape through which he travels, illuminating the function of the series in presenting a consummately neoliberal vision of rural Ireland. Iarnród Enda, I argue, further acts as an extension of existing State campaigns advocating for a relocation from overcrowded, expensive cities into rural hinterlands conceptualised as an entrepreneurial nirvana.
{"title":"'People who get up early in the morning': Irish political capital and the resonances of Iarnród Enda (2021)","authors":"Eoin Ó Gaora","doi":"10.1080/09670882.2023.2200881","DOIUrl":"https://doi.org/10.1080/09670882.2023.2200881","url":null,"abstract":"ABSTRACT This article considers, contrasts and compares the images of three of Ireland’s Taoisigh – Brian Cowen, Enda Kenny, and Leo Varadkar – by situating each Taoiseach along an axis of consumption, stretching from austerity on one hand, to overconsumption on the other. In particular, the popular image of Varadkar is carefully explored, charting how artefacts such as Instagram photos of carefully prepared lunches and birthday celebrations, form a key part of Varadkar’s efforts to position himself as the ardent champion of neoliberalism. Despite such efforts, I argue that it is Kenny who emerges as a paragon of neoliberal citizenship, and thus is an ideal host for 2021 travel history series Iarnród Enda. The article then explores the ideological resonances of the series and its role in rehabilitating the somewhat damaged image of its host, as well as the symbiotic relationship Kenny enjoys with the rural landscape through which he travels, illuminating the function of the series in presenting a consummately neoliberal vision of rural Ireland. Iarnród Enda, I argue, further acts as an extension of existing State campaigns advocating for a relocation from overcrowded, expensive cities into rural hinterlands conceptualised as an entrepreneurial nirvana.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"243 - 264"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43826057","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 : 2023-04-03DOI: 10.1080/09670882.2023.2200891
Laoighseach Ní Choistealbha
{"title":"Contemporary Irish poetry and the climate crisis","authors":"Laoighseach Ní Choistealbha","doi":"10.1080/09670882.2023.2200891","DOIUrl":"https://doi.org/10.1080/09670882.2023.2200891","url":null,"abstract":"","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"104 3-4","pages":"319 - 321"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41289662","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 : 2023-04-03DOI: 10.1080/09670882.2023.2196758
J. Hepworth
Life history and the Irish migrant experience in post-war England: myth, memory and emotional adaptation, by Barry Hazley, Manchester, Manchester University Press, 2020, xv + 272 pp., £85.00 (hardcover), ISBN 9781526128003 Homeward bound: return migration from Ireland and India at the end of the British empire, by Niamh Dillon, New York, New York University Press, 2023, x + 245 pp., $30.00 (hardcover), ISBN 9781479817313
{"title":"Diasporic subjects: migrant identities and twentieth-century Ireland","authors":"J. Hepworth","doi":"10.1080/09670882.2023.2196758","DOIUrl":"https://doi.org/10.1080/09670882.2023.2196758","url":null,"abstract":"Life history and the Irish migrant experience in post-war England: myth, memory and emotional adaptation, by Barry Hazley, Manchester, Manchester University Press, 2020, xv + 272 pp., £85.00 (hardcover), ISBN 9781526128003 Homeward bound: return migration from Ireland and India at the end of the British empire, by Niamh Dillon, New York, New York University Press, 2023, x + 245 pp., $30.00 (hardcover), ISBN 9781479817313","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"298 - 303"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46945739","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 : 2023-04-03DOI: 10.1080/09670882.2023.2195534
R. Barton, S. Hadley, Denis Murphy
ABSTRACT One of the sectors most affected by the COVID-19 pandemic, in Ireland as elsewhere, was the subsidised arts sector. In this article we examine one key aspect of this situation: the supports for artists. Specifically, we consider whether these supports are consistent with pre-pandemic policies in Ireland. We offer an overview of both the impact and responses to COVID-19 on the sector, and the historical narratives within Irish arts policy that informed those responses. In considering the range of instrumental policy developments within the Irish state and their relationship with the status of the artist, we question whether the introduction of the Basic Income for Artists (BIA) scheme constitutes a change or a continuum in policies articulating the relationship between the state and the arts. Using Hall’s idea of conjuncture as a tool for analysis, we argue that the different social, political, economic, and ideological contradictions brought together by COVID-19 have resulted in a strategic policy focus on the ambiguous category of “the artist” and that a number of the policy contradictions that the BIA scheme attempts to resolve are of no intrinsic concern to artists.
{"title":"Covid-19, cultural policy and the Irish arts sector: continuum or conjuncture?","authors":"R. Barton, S. Hadley, Denis Murphy","doi":"10.1080/09670882.2023.2195534","DOIUrl":"https://doi.org/10.1080/09670882.2023.2195534","url":null,"abstract":"ABSTRACT One of the sectors most affected by the COVID-19 pandemic, in Ireland as elsewhere, was the subsidised arts sector. In this article we examine one key aspect of this situation: the supports for artists. Specifically, we consider whether these supports are consistent with pre-pandemic policies in Ireland. We offer an overview of both the impact and responses to COVID-19 on the sector, and the historical narratives within Irish arts policy that informed those responses. In considering the range of instrumental policy developments within the Irish state and their relationship with the status of the artist, we question whether the introduction of the Basic Income for Artists (BIA) scheme constitutes a change or a continuum in policies articulating the relationship between the state and the arts. Using Hall’s idea of conjuncture as a tool for analysis, we argue that the different social, political, economic, and ideological contradictions brought together by COVID-19 have resulted in a strategic policy focus on the ambiguous category of “the artist” and that a number of the policy contradictions that the BIA scheme attempts to resolve are of no intrinsic concern to artists.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"193 - 210"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45796376","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 : 2023-04-02DOI: 10.1080/09670882.2023.2195588
Rosanne Gallenne
A History of Irish Women’s Poetry is an ambitious collection of essays that re-evaluate and recontextualise poetry written by women in Ireland, from Medieval times to the contemporary. Though covering extensive grounds, the editors emphasise from the beginning the “incom-pleteness” (8) of their volume, which highlights the importance of the contributors’ work for a sustainable recovery of these women poets’ voices. Composed of two complementary introductions and twenty-four chapters, the volume illustrates these women poets’ engagement with the concerns of their times, but also the multiple approaches and techniques they used to address a broad range of topics. Chronologically organised, the collection gives the sense of a narrative, a continuity of networks and connections between women poets from different generations, and makes a solid case that there were, in fact, foremothers, despite Eavan Boland’s now much nuanced statement. A History of Irish Women’s Poetry opens with the editors’ general introduction where Ailbhe Darcy and David Wheatley expose their framework, both historical and theoretical. The editors’ honest acknowledgement that despite the breadth of material present here gaps are still left, and their welcome emphasis on the collaborative nature of their volume establish solid foundations for future research, and opens the ground to Anne Fogarty’s second introduction. Having worked extensively on Irish women’s poetry, Fogarty explores the history of publication and reception of Irish women poets. Pointing out that being a woman poet has often been a “disabling criterion” (26), Fogarty assesses the responsibility of (mostly male) poetry anthol-ogists who repeatedly excluded many female voices. The evidence brought forth in this very comprehensive introduction powerfully argue for a “pluralist vision that accords a non-judgemental space to a variety of Irish women poets” (33), which is exactly where this volume anchors itself.
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