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2010, Irish Studies Review
George Egerton (Mary Chavelita Dunne, 1859–1945), from Co. Laois, was the New Woman author most closely associated with the Decadent movement. As such, she was also the New Woman writer most profoundly affected by the downfall of Oscar Wilde. After the Wilde trials of 1895, Egerton's connection to Decadence and New Womanhood would make her work anathema to much of the British public. This essay will argue that ongoing tendencies to situate her texts solely within the New Woman categorisation and an English cultural location have had the detrimental effect of obscuring their importance to a specifically Irish literary tradition. By examining Egerton's 1898 novel The Wheel of God, focusing on its status as an Irish Künstlerroman written from a position of exile, and drawing comparisons between it and the works of James Joyce, this essay will seek to redress this imbalance.
Modernism/modernity, 2012
2020
retrieves a hitherto neglected episode of Thirties literary history which highlights the local and global aspects of Popular Front cultural movements. From interwar London to the Spanish Civil War and the USSR, the book examines the lives and work of Irish writers through their writings, their witness texts and their political activism. The relationships of these writers to George Orwell, Samuel Beckett, T.S. Eliot, Nancy Cunard, William Carlos Williams and other figures of cultural significance within the interwar period sheds new light on the internationalist aspects of a Leftist cultural history. The book also explores how Irish literary women on the Left defied marginalization. The impetus of the book is not merely to perform an act of literary salvage but to find new ways of re-imagining what might be said to constitute Irish lit erature mid-twentieth century; and to illustrate how Irish writers played a role in a transforming political moment of the twentieth century. It will be of interest to scholars and students of cultural history and literature, Irish diaspora studies, Jewish studies, and the social and literary history of the Thirties. Katrina Goldstone is an independent researcher and scholar who has been a regular writer and commentator for publications and radio programmes in Ireland and the UK on minorities, cultural diversity and Jewish communities.
Colby Quarterly, 2000
to European hegemony. Victorian England invested a great deal of moral authority in cultural activities proper to an empire convinced of its civilizing mission. Improper cultural activities, or those that challenged or mocked that tradition, were identified with political subversion. As Sandra Siegel commented in a key intervention: So long as the words "civilization" and "masculine" were conceived as conceptual cognates, the New Woman was shocking and the new decadents were an "invention as terrible". The New Woman like her mirror image, the new decadent, who was always male, confused what was essential to her nature. She not only moved in the public sphere, but behaved like a man, even as the new decadents, in their self-absorption and inaction, behaved like women, lost their masculine vigor. (Siegel 209) Two key figures in the confusion of gender and culture so deplored were from a nation often cited as an example of degeneracy. The obvious one is Oscar Wilde, the lesser known was the writer who coined the term New Woman, Sarah Grand. By an act of self-invention that would surely have impressed Wilde, Grand constructed herself: starting life as Frances Elizabeth Clarke (later McFall) in Donaghadee in 1854, she became the quintessential New Woman. Her early life is a little unclear. 3 She went to England after her father's death to live as poor relation, attended charity boarding schools that appear to have made Lowood look like a model for building self-esteem, eloped with an army surgeon, left him to pursue her career as a writer, became Sarah Grand, campaigned for women's suffrage on two continents, and by the middle of her life had moved so far from the periphery to the centre of English politics to be six times mayor of Bath. 4 Grand was one of a number of Irish women writers and women with Irish connections who played an important part in the development of the New Woman character in fiction and of sensational and decadent fiction. George Egerton (Mary Chavelita Dunne) and Katherine Cecil Thurston were similarly prominent exponents of this new fiction. Thurston, the most decadent, sensational, and successful of the three, often dealt with Irish characters, but Irish characters abroad. (I will focus later on Thurston's final novel, Max, which features a woman artist.)
Although Terence Brown claims, “Ireland in the 1930s was not significantly attentive to modernism,” his later discussion of the contributions of the Irish Literary Revival appears to weaken his original claim (31). Modernism’s fondness for irony and self-conscious artistic creation may not be featured in the works of the Revival, but it is questionable whether the later Modernists would have had the foundations upon which to build without the experiments in translation and historical time undertaken by the Revivalists. One of the hallmarks of the Literary Revival was its recourse to the myths and legends of the Gaelic distant past. W.B. Yeats’ collection The Rose (1893) and Lady Gregory’s Cuchulain of Muirtheimne (1902) constitute some of the Revival’s most famous tributes to past Gaelic glory. For most scholars and readers of these stories of Cuchulainn or poems about Fergus and Finn, these works contain none of Modernism’s fondness for skepticism, difficulty, irony, or self-consci...
Irish Literature in Transition, 1830-1880: Volume 3, edited by Matthew Campbell (Cambridge: Cambridge University Press, 2020)., 2020
Drawing on new archival research into book history, letters and periodical literature, this chapter explores the critical narratives around what it meant to be a woman writer between 1830 and 1880 via a focus on case studies of two Irish woman writers: Maria Edgeworth (1768–1849) and Mrs S. C. Hall (1800–1881). This focused approach allows a comprehensive placing of Irish women writers within the developing literary marketplace of their time and consideration of the extent to which the contemporary critical reception of their work has shaped subsequent scholarship. In doing so, the chapter uncovers a narrative of peaks and troughs, epitomised by periods of great esteem and critical disdain, and highlights the fluctuating patterns of visibility and invisibility of literary productions in the nineteenth century and beyond.
Crossroads. A Journal of English Studies
Since its publication in 1922, James Joyceʼs Ulysses has been mined by critics more than it has been read by the general public. For several decades academic work on the novel was largely carried out by American scholars, much to the chagrin of Irish academics, and lambasted by everyone from the Irish press and politicians to Joyce family members, and perhaps most of all by the Roman Catholic establishment, which in the years after the formation of the Irish Free State operated almost as an arm of the government. John McCourtʼs highly readable monograph study describes, decade by decade, the reception not only of Ulysses, but also of Joyceʼs other works in Ireland, and analyses the growing commodification of Joyce, charting the growth of the ʻJoyce industryʼ from the early Bloomsday celebrations held by half a dozen enthusiasts to the modern day festivities attended by thousands of revellers, most of whom are happy to admit that they have barely opened Joyceʼs magnum opus. McCourt focuses on three aspects of the consumption of Ulysses: book sales and the early difficulty of obtaining copies of the book; scholarly exploration and critical reception at home and abroad; the use and abuse of Joyce and his work by vested interests, including the Irish government, private businesses, and the Irish tourist industry. A fourth and hitherto under-researched thesis is that Joyceʼs self-imposed exile is central to any interpretation of Ulysses. McCourt argues that Joyce was influenced by his life away from Ireland, especially in Trieste, much more than is acknowledged by most Joyceans.
Logos: a journal of modern culture and society, 2022
he undiminished impact of Joyce in world literature, as well as the great critical and commercial popularity of contemporary Irish fiction, can blind us to the fact that the novel has an uneasy place in the Irish literary tradition. For more than a century, Irish fiction has enjoyed popularity and esteem on the world literary stage out of all proportion to the size of the country's population. But whereas in poetry and drama one can easily discern relationships and lineages amongst Irish writers, and identify shared concerns, influences, and practices shaping their work, it is very difficult to describe the contours of "the Irish novel" or to account, collectively, for its success. There is very little, on the surface, to connect the linguistic experimentation of Anna Burns' Milkman, the satirical comedy of Claire Kilroy or Paul Murray, the unadorned, quasi-didactic prose of Sally Rooney, and the vernacular flights of Patrick McCabe. It is harder still to perceive a clear connection between contemporary Irish novelists and their pioneering forebears in the twentieth century. Moreover, while Irish novels continue to win prizes and acclaim, and abroad Ireland is viewed as a veritable fiction factory, in the Irish popular imagination at home, in a way unimaginable in France, England, the United States, or Italy, the emblematic image of "the writer" has stubbornly remained (or at least did until very recently) that of a poet or a playwright rather than a novelist.
One of the more conspicuous consequences of the ongoing postcolonial reappraisal of Irish literature is a recurring tendency to stress its differences from other literary traditions. Many critical considerations of Irish culture produced over the last decade and a half suggest that it does not correspond all that well to any theoretical frameworks. Ireland appears to be neither completely postcolonial nor entirely Western european, neither fully part of the developed world nor separate from it, a "First World country, but with a Third World memory," in Luke Gibbons's influential formulation (Transformations 3). Whatever the differences among them, such critics as Gibbons, Declan Kiberd, David Lloyd, Joe Cleary, and others share the presupposition that Irish literature is fundamentally distinct. This is especially true of recent considerations of Irish modernism and-even more specifically-the Irish modernist novel. While the fiction of Irish writers like James Joyce or Samuel Beckett is central to any canon of transnational modernism, many critics influenced by a postcolonial understanding of Irish culture have argued for a "discrimination of modernisms" that recognizes the unique qualities of Irish modernism. 1 What is it that makes Irish modernism distinct? The specificity of Ireland's colonial history, which, in the words of Francis Mulhern, "by virtue of its sheer duration is more like a history of colonization itself" (24), proves to be an inevitable precondition for answering such questions. While it is possible-as Perry Anderson claims in the classic essay "Modernity and revolution"-to identify shared general conditions that foster the emergence of modernism in a number of different locations in europe at the end of the nineteenth century, recent scholarship has demonstrated that such social and political qualities were notably absent in Ireland during this time period. 2 exactly how do the particularities of Irish history affect the narrative form of the Irish modernist novel? I benefited greatly from the advice of a number of generous readers; I want to thank in particular Jed esty, P.J. Mathews, Catherine robson, Mike rubenstein, and David Simpson for their help. This essay is written in honor of ryan Dobbins and is dedicated to him. 1 The phrase "discrimination of modernisms" is Kiberd's: "[I]t is time for a discrimination of modernisms, a recognition that Irish modernism may be not at all the same thing as english modernism (which characteristically, as in Forster, attempts to pour the experience of modernity into the forms of a nineteenth-century novel). And French and American modernisms may be something else again" (Irish Writer 247). 2 Anderson argues that the three necessary prerequisites for the emergence of modernism throughout europe are the dominance of a canonical and academic sense of aesthetic propriety in the arts, the rapid emergence of the new technologies of the second industrial revolution,
Joyce Studies Annual, 2020
The essay presents a hypothesis of Flann O'Brien reading and parodying Joyce's Ulysses in At Swim-Two-Birds as filtered through Wyndham Lewis's critique of Joyce in Time and Western Man. It argues that some of the tropes of time, materialities and anachronistic cultural references in At Swim reflect a knowledgeable use of Lewis's hostile framing of Joyce, while also tacitly parodying Lewis's avant-garde aesthetic proposal as anachronistic in the 1930s Ireland. The novel's temporality and ironic use of cultural references may hint at a disenchanted stance toward high modernism's aesthetic and political proposals and sketch an assemblage of philistinism and aesthetic conformism as the ironic follow-up to Joyce's monumental project of the national epic.
ELOPE: English Language Overseas Perspectives and Enquiries, 2014
This paper explores the ways in which some of the best and most representative Irish women fiction writers of the twentieth century responded to the exigencies of Catholicism in their selected works. It also attempts to demonstrate how the treatment of Catholicism in Irish women’s fiction changed throughout the century. The body of texts that are examined in the paper span almost seventy years, from the early years of the independent Irish state to the turn-of-the-century Ireland, during which time both Irish society and the Irish Catholic Church underwent fundamental changes. How these authors tackle the relationship between the dominant religion and the shaping of woman’s identity, how they see the role of woman within the confines of Irish Catholicism, and to what extent their novels mirror the period in which they are written are the main issues which lie in the focus of the paper.
Irish Studies Review, 2010
This is fine as far as it goes, but it leaves to the side some aspects of form that were of profound interest to the writers themselves (and which might be of interest to contemporary readers). Style, for example, while sometimes mentioned and even briefly described, is never really analysed. This matters, not because readers need to be led the formalist dance for its own sake but because the very cultural work Ingman is interested in tracing is often performed as powerfully by the choice of free indirect discourse as by the framing of a plot around the conflict between representatives of one or another binary opposition operative in Irish society. At some moments, Ingman tantalises with the hint of deeper stylistic analysis. In her chapter on the 1940s and 1950s, for example, she discusses Frank O'Connor's connection with the New Yorker magazine and the probable impact on O'Connor's style of the magazine's predilection for stories of a specific type, and argues that 'O'Faoláin's more diffuse, detached and intellectual stories would not' fit the magazine's mould (159). The chapter's paragraphs on each writer's stories, however, fall back into showing how O'Connor represents the varieties of loneliness resulting from Ireland's isolation from Europe while O'Faoláin works out his resentment at 'the claustrophobic nature of Irish life' (164). It is worth remembering, though, that a survey has specific and very useful functions. It draws the boundaries, notes the salient features, and prepares the way for the cultivation and building that might follow. Ingman's work here is an admirable survey of an enormous and rich area, and in her wake should follow numerous more detailed studies of these writers, their work, and their relationship with the tumultuous Irish history in and through which they lived and wrote.
2013
Th is collection shows the depth and range of James Joyce's relationship with key literary, intellectual and cultural issues that arose in the nineteenth century. Th irteen original essays explore several new themes in Joyce studies, connecting Joyce's writing to that of his predecessors and linking Joyce's formal innovations to his reading of, and immersion in, nineteenth-century life. Th e volume begins by addressing Joyce's relationships with fi ctional forms and cultural debates in nineteenth-century and turn-of-the-century Ireland. Further sections explore the rise of new economies of consumption and Joyce's formal adaptations of major intellectual fi gures and issues. What emerges is a portrait of Joyce as he has not previously been seen, giving scholars and students of fi n-de-si è cle culture, literary modernism and English and Irish literature fresh insight into one of the most important writers of the past century.
James Joyce Quarterly, 2014
AWEJ for Translation & Literary Studies, 2021
This research paper explores Joyce's textual resistance to the Celtic Revivalism and the Irish Catholic conservatism in Dubliners (1914). Using postcolonial theories like the one proposed by Frantz Fanon in his The Wretched of the Earth (1968), the research shows that in writing Dubliners, Joyce, unlike the Irish Revivalist authors and conservative Catholics, was more interested in showing the imperial force or power in all shades, and put the blame on the lethargy of people when it needs to be placed, whether on imperial Britain, the Revivalist authors or the Irish Catholic conservatism. The paper also makes the case that if the colonial pathology of paralysis is the central theme of Joyce's Dubliners, nevertheless, the power to resist or the resistance strain against this pathology is another essential idea explored by Joyce in his collection of short stories.
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