Journal articles: 'Irish literary studies'

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Gallagher, S. F., and Maurice Harmon. "The Irish Writer and the City. Irish Literary Studies 18." Canadian Journal of Irish Studies 13, no. 1 (1987): 169. http://dx.doi.org/10.2307/25512695.

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John, Brian. "Cultural Contexts and Literary Idioms in Contemporary Irish Literature. Irish Literary Studies ed. by Michael Kenneally." ESC: English Studies in Canada 16, no. 4 (1990): 486–90. http://dx.doi.org/10.1353/esc.1990.0010.

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Bastos, Beatriz Kopschitz. "Irish Studies in South America." Irish University Review 50, no. 1 (May 2020): 221–28. http://dx.doi.org/10.3366/iur.2020.0449.

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This essay seeks to give an overview of the Irish presence, the institutional context, and the singular nature of Irish Studies in South America, historically and today. It presents an insight into some of the major advances and the principal themes of Irish Studies in this non-Anglophone environment: translation; performance; film studies; migration and diaspora studies; comparative studies; teaching. It thus considers the contribution of this particular field – Irish Studies in South America – in the wider context of transnational and comparative cultural analysis.

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Watt. "Shaw and Irish Studies." Shaw 41, no. 1 (2021): 220. http://dx.doi.org/10.5325/shaw.41.1.0220.

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SIHRA, MELISSA. "Publications Dossier: Changing the Landscape of Irish Theatre Studies." Theatre Research International 36, no. 3 (August 30, 2011): 269–71. http://dx.doi.org/10.1017/s0307883311000496.

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This dossier aims to report on recent developments and interventions that are changing the landscape of Irish theatre-studies scholarship, revealing the ways in which discourses of nationalism, sexuality, gender, class and the family are being renegotiated. Critical analysis of Irish theatre has, up until recently, focused upon the dramatic text in a legacy of work that has traditionally been valued for its ‘literary’ merit. Now, we can see how an interrogation of the process of canonicity and a focus on the conditions and potential of performance are being addressed by a new generation of scholarship. Such research serves to critique the narratives leading up to, and beyond, Irish independence, repositioning the relationship between the founders of the Irish Literary Revival at the turn of the twentieth century and cultural nationalism, as well as resituating the dramaturgical praxis of a central figure such as John Millington Synge. Contributors to this dossier also draw attention to the ways in which recent publications on Irish theatre take social transformations into account, and give a sense of the ever-shifting trajectories of theatre, performance and culture on the island.

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Kelleher, Margaret. ""The Field Day Anthology" and Irish Women's Literary Studies." Irish Review (1986-), no. 30 (2003): 82. http://dx.doi.org/10.2307/29736106.

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Heffernan, Clodagh. "“Taxpayers’ Money”: Subverting Anti-Welfare Sentiment through Irish Rap Lyrics." Estudios Irlandeses, no. 17 (March 17, 2022): 41–53. http://dx.doi.org/10.24162/ei2022-10719.

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Since the 1990s, working-class Irish hip hop MCs have criticised the Irish social welfare system through their rap lyrics. Like most global hip hop, Irish rap uses oppositional politics to offset the stigmatising ideas of class that are propagated by the dominant classes in society, especially negative stereotypes surrounding social welfare recipients. Although not recognised within literary Irish Studies, these lyricists are producing working-class counter-narratives to classist anti-welfare sentiment in Irish society through their poetic lyrics. This article draws from Irish and international Hip Hop Studies scholarship to argue that Irish rap should be regarded as working-class Irish poetry that contains intrinsic literary and cultural value. Focusing on the work of a Louth-based hip hop group, TPM (Taxpayers’ Money), this article reads Irish rap as poetry. Using close textual analysis, I examine how TPM’s rap-poems use adversarial messages and working-class aesthetics to protest and critique anti-welfare hegemony in Ireland.

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Hall, Dianne, and Ronan McDonald. "Irish Studies in Australia and New Zealand." Irish University Review 50, no. 1 (May 2020): 198–205. http://dx.doi.org/10.3366/iur.2020.0446.

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This article gives an overview, and brief history, of Irish studies in Australia and New Zealand, within an academic context and beyond. It surveys major publications and formal initiatives, but also accounts for why Irish studies has been less vibrant in Australian than other Anglophone countries in the Irish diaspora. The Irish in Australia have a distinct history. Yet, in recent years and in popular understanding, they have also sometimes been absorbed into ‘white’ or Anglo-Celtic Australia. This makes their claims to distinctiveness less pressing in a society seeking to come to terms with its migrant and dispossessed indigenous populations.

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Pilný, Ondřej. "Irish Studies in Continental Europe." Irish University Review 50, no. 1 (May 2020): 215–20. http://dx.doi.org/10.3366/iur.2020.0448.

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This essay seeks to give an overview of the study of Ireland and its culture in continental Europe from the late eighteenth century up to the present day. It discusses the early interest in Ossianic poetry, Celtic philology, and travel writing, together with the internationalist standing of modernist writers such as Joyce and Beckett as the roots of how and under which rubric Irish culture has been received by the general public and studied at universities, and then proceeds to examine the current state of Irish Studies and its prospects on the European continent.

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Qian, Rongrong. "The New Irish Studies." English Studies 102, no. 6 (July 29, 2021): 876–78. http://dx.doi.org/10.1080/0013838x.2021.1952723.

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Jarząb-Napierała, Joanna. "“No Country for Old Men”? The Question of George Moore’s Place in the Early Twentieth-Century Literature of Ireland." Text Matters, no. 8 (October 24, 2018): 25–42. http://dx.doi.org/10.1515/texmat-2018-0002.

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The paper scrutinizes the literary output of George Moore with reference to the expectations of the new generation of Irish writers emerging at the beginning of the twentieth century. Although George Moore is considered to belong to the Anglo-Irish ascendancy writers, he began his writing career from dissociating himself from the literary achievements of his own social class. His infatuation with the ideals of the Gaelic League not only brought him back to Dublin, but also encouraged him to write short stories analogous to famous Ivan Turgenev’s The Sportsman’s Sketches. The idea of using a Russian writer as a role model went along with the Gaelic League advocating the reading of non-English European literature in search for inspiration. However the poet’s involvement in the public cause did not last long. His critical view on Ireland together with his uncompromising approach towards literature resulted in a final disillusionment with the movement. The paper focuses on this particular period of Moore’s life in order to show how this seemingly unfruitful cooperation became essential for the development of Irish literature in the twentieth century. The Untilled Field, though not translated into Irish, still marks the beginning of a new genre into Irish literature—a short story. More importantly, the collection served as a source of inspiration for Joyce’s Dubliners. These and other aspects of Moore’s literary life are supposed to draw attention to the complexity of the writer’s literary output and his underplayed role in the construction of the literary Irish identity.

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Maloy, Kelli. "Irish Studies After the Renaissance." College Literature 30, no. 4 (2003): 167–73. http://dx.doi.org/10.1353/lit.2003.0063.

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Hughes, Eamonn. "Forgetting the Future: An Outline History of Irish Literary Studies." Irish Review (1986-), no. 25 (1999): 1. http://dx.doi.org/10.2307/29735958.

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Dawson, Ciarán. "In Spite of Dungeon, Fire, and Sword: Peadar Ó Gealacáin and the survival of the Gaelic Irish Literary Tradition." Oceánide 13 (February 9, 2020): 52–60. http://dx.doi.org/10.37668/oceanide.v13i.40.

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As we advance through the 19th century in Ireland, the Irish Gaelic Literary tradition, one of the oldest in Western Europe, found itself in danger of extinction. The failure of the Irish language to find foothold in the towns and cities, and the subsequent failure of the language’s literary movement to transition itself into the printed mode, left the literature and poetry locked within the oral and manuscript traditions. With the ethnic cleansing of Ireland by Westminster well under way, first through forced emigration and then through famine, a small group of scribes set themselves the mammoth task of preserving this national treasure by travelling the country and writing down the songs, poems, and prose which were the result of centuries of literary effort on the part of the native Irish. By the end of the period the population had fallen from almost 9.000.000 at its height to less than 4.000.000: with no monoglot Irish speakers left. However due to the efforts of this small group of individuals we retain most of our literary wealth. This work tells the story of one of them, Peadar Ó Gealacáin.

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Short, Clare. "Irish Terrorism and Irish Peace." Wasafiri 22, no. 2 (July 2007): 79–80. http://dx.doi.org/10.1080/02690050701337061.

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Moylan, Tom. "Good Days for Irish SF Studies." Science Fiction Studies 48, no. 3 (2021): 556–63. http://dx.doi.org/10.1353/sfs.2021.0064.

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Pine, Emilie. "Criticism, Diversity, Openness: Irish Studies Now." Irish University Review 50, no. 1 (May 2020): 1–5. http://dx.doi.org/10.3366/iur.2020.0425.

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Mulhall, Anne. "The Ends of Irish Studies? On Whiteness, Academia, and Activism." Irish University Review 50, no. 1 (May 2020): 94–111. http://dx.doi.org/10.3366/iur.2020.0437.

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This essay reflects on the meaning of ‘the political’ in relation to academic work, in particular Irish Studies and literary scholarship. Speaking from the standpoint of my involvements as an ally-activist in grassroots migrant justice organising and my work as an academic, the essay explores the intersections, conflicts, and contradictions at play at the intersections between academia and activism, the literary and the political, representation and self-representation, with a particular focus on the work of BAME writers, including writers and activists in the asylum seeker movement.

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Enyi-Amadi, Chiamaka, and Emma Penney. "Are We Doing Diversity Justice? A Critical Exchange." Irish University Review 50, no. 1 (May 2020): 112–19. http://dx.doi.org/10.3366/iur.2020.0438.

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This critical exchange is based on a conversation between the authors which took place during the Irish University Review Roundtable Discussion: Displacing the Canon (2019 IASIL Conference, Trinity College Dublin). As authors we give first-hand accounts of our experience writing, editing, and teaching in Ireland, attempting to draw out concerns we have for the future of Irish literature and Irish Studies that specifically relate to race. The conversation here suggests that race directly impacts what we consider valuable in our literary culture. We both insist on decentring universalism as a governing literary critical concept and insist on the urgent application of critical race analysis to the construction of literary value systems in Ireland.

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Fitzsimons, Andrew. "The English Language Issue: Irish Studies in Japan." Irish University Review 50, no. 1 (May 2020): 206–14. http://dx.doi.org/10.3366/iur.2020.0447.

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This essay seeks to give an overview of Irish Studies in Japan. I outline the institutional context and climate within which Irish Studies scholars operate in Japan, present a brief account of the history and achievements of, and specific challenges faced by, IASIL Japan, and finally, look very briefly at the problems posed in Japan by the primacy of an English-language, Anglo-American paradigm in academic discourse.

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Lummer, Felix. "Was Guðmundr á Glasisvǫllum Irish?" Temenos - Nordic Journal of Comparative Religion 55, no. 1 (June 29, 2019): 75–95. http://dx.doi.org/10.33356/temenos.83426.

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This article tackles the question of a possible Irish origin for the Old Norse literary figure Guðmundr á Glasisvǫllum. The images of Guðmundr, his realm Glasisvellir, and the sometimes associated territory of Ódáinsakr fluctuate in various ways in the different saga narratives in which they occur. The variability of the Guðmundr á Glasisvǫllum narrative has caused scholars to debate its possible origin for over a century. The more widely supported notion is that a mythological compound around Guðmundr must have originated in Irish mythology and folklore rather than being an indigenous, Nordic construct. The present article aims to follow up on this discussion, comparing the original Old Norse source material and that found in Gesta Danorum to Irish accounts that might have influenced them. By highlighting the differences between the Guðmundr á Glasisvǫllum complex and the suggested Irish sources, the degree to which it seems likely the motif could actually have originated in Irish thought will be assessed. Norwegian folk tales about the magical island Utrøst will then be considered to highlight the possibility of a more local background for Guðmundr and his realm.

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FitzGerald, Lisa. "Border Country: Postcolonial Ecocriticism in Ireland." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (October 2, 2020): 59–65. http://dx.doi.org/10.37536/ecozona.2020.11.2.3504.

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The spatial turn in Ireland has emerged from a focus on postcolonial discourse, a historical model that critiques the inequalities inherent in Irish modernity. A focus on place as a means of establishing identity, particularly within the context of colonial and imperialist narratives, led to a dynamic discourse on literary representations of the environment in Irish studies depicting fraught relationships between land and scarcity. And yet, there was resistance to engaging with ecocriticism on a systematic level, as Eóin Flannery observes, “the field of Irish cultural studies has yet to exploit fully the critical and analytical resources of ecological criticism” (2012: 6). Previously, the discourse of space and place has been in the service of Irish cultural studies: how has our relationship with place made Ireland what it is today? One of the interesting aspects of the intervention of ecocriticism in the field of Irish studies is how much of ecocriticism is still in the trawl of the cultural implications for the environment. This article will examine the emergence of Irish studies and ecocritical discourse in recent years and explore the dynamic between post-colonialism and environmental criticism with respect to the Irish canon.

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Murphy, Maureen, and Yug Mohit Chaudhry. "Yeats, the Irish Literary Revival and the Politics of Print." Béaloideas 70 (2002): 248. http://dx.doi.org/10.2307/20520811.

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Künzler, Sarah. "Sites of memory in the Irish landscape? Approaching ogham stones through memory studies." Memory Studies 13, no. 6 (January 2, 2019): 1284–304. http://dx.doi.org/10.1177/1750698018818226.

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The nexus between landscape, identity formation(s) and cultural memory has long been of interest to archaeology, cultural geography and various disciplines in the humanities. This article suggests that in medieval and early modern Irish texts, the depiction of monuments addresses precisely this complex relationship. On the basis of close readings of textual evidence and a critical engagement with Pierre Nora’s idea of lieux de mémoire, it will be argued that the cognitive interplay between literary-imagined and archaeological-material monuments enabled the medieval Irish literati to situate themselves within the world they inhabited both spatially and culturally. The article thus contributes substantially to our understanding of the material aspects of social remembrance and advocates the potential benefits of including the extremely rich Irish textual and archaeological sources into broader, interdisciplinary discussions.

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Wulff, Helena. "Literary Readings as Performance." Anthropological Journal of European Cultures 17, no. 2 (September 1, 2008): 98–113. http://dx.doi.org/10.3167/ajec.2008.170207.

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Drawing on an anthropological study of the social organisation of the world of Irish writers, this article investigates the literary reading as performance which has become central for the career and promotion of contemporary writers. How is the reading - live as well as recorded - constituted, and how is it experienced from the writer's point of view? The data are derived from participant observation and interviews at literary festivals and conferences, writers' retreats, book launches and more informal situations with writers, as well as from fiction and essays by the writers. For this article, I asked some of the writers to write short texts on the reading. It turned out that the frames of the reading as performance reach beyond the reading event, and also that a reading includes elements of risk, such as not attracting a big enough audience or performing badly. Finally, the article considers the changing role of the ethnographer.

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Harris, Mary N. "Beleaguered but Determined: Irish Women Writers in Irish." Feminist Review 51, no. 1 (November 1995): 26–40. http://dx.doi.org/10.1057/fr.1995.31.

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A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as teachers, translators, and writers of children's literature reflected the position of women in Irish society since the achievement of independence in the 1920s. The work of earlier women poets has, for the most part, lain buried in manuscripts and is only recently being excavated by scholars. The problems of writing for a limited audience have been partially overcome in recent years by increased production of dual-language books. The increase in translation has sparked off an intense controversy among the Irish language community, some of whom are concerned that both the style and content of writing in Irish are adversely influenced by the knowledge that the literature will be read largely in translation. Nevertheless, translation also has positive implications. Interest in women's literature is helping to break down the traditional barriers between Irish literature in Irish and in English. The isolation of Irish literature in Irish is further broken down by the fact that women writers in Irish and their critics operate in a wider international context of women's literature.

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Pereira, Lucie. "The Victorian Fathers Of The Irish Literary Revival." Irish Studies Review 14, no. 1 (February 2006): 69–89. http://dx.doi.org/10.1080/09670880500440701.

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Garibaldi, Korey. "Irish Heritage in the Literary Remains of Frank Yerby and Henry James." MELUS 44, no. 4 (2019): 122–46. http://dx.doi.org/10.1093/melus/mlz038.

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Abstract This essay investigates how Irish heritage—during the long historical epoch of British colonization—figured into the literary works of Frank Yerby and Henry James. Autobiographical connections and literary affinities between these authors are illuminated and contextualized by, among other published sources, the posthumous collection of essays by the latter novelist’s father, The Literary Remains of the late Henry James (1884). While scholars are newly investigating intersections between Henry James’s oeuvre and African American literature, Yerby’s enormously popular fiction has remained by and large estranged from this new direction in Jamesian studies. When read alongside Henry James, Sr.’s unfinished autobiography featured in the Literary Remains and related nonfictional texts, Yerby’s first novel and commercial best-seller, Foxes of Harrow (1946), seems to share an eerie amount in common with both the James family’s history and their humble Irish origins. Moreover, Yerby’s narrative curiously parallels the cross-racial solidarity the Jameses were regularly credited for in the one hundred years following the American Civil War.

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Price, Graham. "Quite an Other Thing: Recent Texts in ‘Irish Queer Studies’Books Reviewed: Caroline Magennis and Raymond Mullen (eds). Irish Masculinities: Reflections on Literature and Culture. Dublin: Irish Academic Press, 2011. x+194 pages. £50.00 GBP.Aintzane Legaretta Mentxaka, Kate O'Brien and the Fiction of Identity: Sex, Art and Politics in Mary Lavelle and Other Writings. North Carolina and London: McFarland and Company Inc, 2011. 290 pages. $45.00 USD.Fintan Walsh (ed), Queer Notions: New Plays and Performances from Ireland. Cork: Cork UP, 2010. 276 pages. $55.00 USD.Éibhear Walshe, Oscar's Shadow: Wilde, Homosexuality and Modern Ireland. Cork: Cork University Press, 2011. xi+149 pages. €39.00 EUR." Irish University Review 43, no. 1 (May 2013): 222–33. http://dx.doi.org/10.3366/iur.2013.0065.

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This essay shall examine the relationship that exists between Irish studies and queer theory via a consideration of three recently published works, both academic and literary. The texts that shall be reviewed are: Eibhear Walshe's Oscar's Shadow: Wilde, Homosexuality and Modern Ireland, Aintzane Legarreta Mentxaka's Kate O'Brien and the Fiction of Identity: Sex, Art and Politics in Mary Lavelle and Other Writings, and the new collection of plays, edited by Fintan Walshe, entitled Queer Notions. The association between Irishness and otherness (a connection explicitly stated by Oscar Wilde) means that the shadow of queerness haunts Ireland and Irish studies. The works being examined in this essay illuminate some of the forms (among many) ‘queer Irish studies’ can take.

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Oceánide, O'Donoghue Bernard, Paddy Bushe, and Suso De Toro. "Literary Contributions by Paddy Bushe, Bernard O'Donoghue and Suso de Toro." Oceánide 13 (February 9, 2020): 127–31. http://dx.doi.org/10.37668/oceanide.v13i.49.

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Paddy Bushe was born in Dublin in 1948 and now lives in Waterville, Co. Kerry. He writes in Irish and in English. His collections include "Poems With Amergin" (1989), "Digging Towards The Light" (1994), "In Ainneoin na gCloch" (2001), "Hopkins on Skellig Michael" (2001) and "The Nitpicking of Cranes" (2004). "To Ring in Silence: New and Selected Poems" was published in 2008. He edited the anthology "Voices at the World’s Edge: Irish Poets on Skellig Michael" (Dedalus, 2010). His latest collections are "My Lord Buddha of Carraig Eanna" (2012), "On A Turning Wing" (2016) and "Móinéar an Chroí" (2017). He received the 2006 Oireachtas prize for poetry, the 2006 Michael Hartnett Poetry Award and the 2017 Irish Times Poetry Now Award. He is a member of Aosdána. In 2020, Dedalus Press publishes "Double Vision", a two-volume publication comprising Second Sight, the author’s own selection of his Irish language poems, accompanied by the author’s own translations, as well as "Peripheral Vision", his latest collection in English. Bernard O’Donoghue’s was born in Cullen, County Cork in 1945, he has lived in Oxford since 1965. His first full-length collection, "The Weakness", emerged in 1991 with Chatto & Windus, following on from a trilogy of pamphlets. His second collection, "Gunpowder" (1995) won the Whitbread Poetry Award. More recently, he published the collection "Outliving" and a selection of his poetry by Faber in 2008, followed by "Farmers Cross" (2011), which was shortlisted for the T.S. Eliot Prize. In 2009 he was honoured by the Society of Authors with a Cholmondeley Award. Until recently, O’Donoghue taught and worked for Oxford University, specialising in medieval verse and contemporary Irish literature. His reputation as a scholar consolidated in 1995 with his critical work, "Seamus Heaney and the Language of Poetry", described as “excellent” by Ian Sansom in "The Guardian". More recently O’Donoghue edited the "Cambridge Companion to Seamus Heaney" and has produced a number of translations of medieval works, including "Gawain and the Green Knight" (2006) and, forthcoming from Faber, "Piers Plowman". Xesús Miguel "Suso" de Toro Santos (1956-) is a Spanish writer. A modern and contemporary arts graduate, he has published more than twenty novels and plays in Galician. He is a television scriptwriter and regular contributor to the press and radio. Suso de Toro writes in Galician and sometimes translates his own work into Spanish. His works have been translated into several languages, and have been taught in European universities. There are plans to make three of his works into films: "A Sombra Cazadora" (1994), "Non Volvas" (1997), and "Calzados Lola" (2000).

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Little, James, and Radvan Markus. "Coercive Confinement and Irish Languages: Ó Cadhain, Behan, Heaney, Okorie." Review of Irish Studies in Europe 5, no. 2 (December 12, 2022): 19–37. http://dx.doi.org/10.32803/rise.v5i2.3073.

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This article explores the consequences that the conditions of incarceration have on the linguistic make-up of literary texts that result from or reflect on them. Due to the island’s colonial history, Ireland has a rich canon of confinement literature, but – largely as a result of this very same history – these literary works have often been studied through a binary cultural lens, reinforcing what Declan Kiberd has termed the ‘quarantine’ of Ireland’s literatures, with English kept on one side of the language fence, Irish on the other. Drawing on Ian O’Donnell and Eoin O’Sullivan’s concept of ‘coercive confinement’ in order to include carceral institutions outside the formal criminal justice system, this article examines four case studies in which Irish writers cross the borders of language quarantine when writing about coercive confinement, focusing on selected works by Máirtín Ó Cadhain, Brendan Behan, Seamus Heaney and Melatu Uche Okorie. Just as the conditions of confinement that gave rise to these works differ widely, so too do the literary strategies employed to represent or respond to these situations of incarceration. While Ireland’s literary languages have historically existed in quarantine, we hope to show that this linguistic confinement is often breached by Irish writers responding to actual instances of imprisonment. Keywords: coercive confinement; language; internment; prison; borstal; direct provision; heteroglossia; translation

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English, Colleen. "‘Mingling tides’: Affect, Irish Studies, and Romanticism." Nineteenth-Century Contexts 39, no. 5 (September 7, 2017): 347–64. http://dx.doi.org/10.1080/08905495.2017.1373229.

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Howard, Richard. "Faeries, Aliens, and Leviathans: Science and Fantasy in Ian McDonald's King of Morning, Queen of Day." Irish University Review 49, no. 2 (November 2019): 290–303. http://dx.doi.org/10.3366/iur.2019.0407.

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Irish science fiction is a relatively unexplored area for Irish Studies, a situation partially rectified by the publication of Jack Fennell's Irish Science Fiction in 2014. This article aims to continue the conversation begun by Fennell's intervention by analysing the work of Belfast science fiction author Ian McDonald, in particular King of Morning, Queen of Day (1991), the first novel in what McDonald calls his Irish trilogy. The article explores how McDonald's text interrogates the intersection between science, politics, and religion, as well as the cultural movement that was informing a growing sense of a continuous Irish national identity. It draws from the discipline of Science Studies, in particular the work of Nicholas Whyte, who writes of the ways in which science and colonialism interacted in late nineteenth and early twentieth-century Ireland.

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Sebald, W. G., G. J. Carr, and Eda Sagarra. "Irish Studies in Modern Austrian Literature." Modern Language Review 80, no. 1 (January 1985): 224. http://dx.doi.org/10.2307/3729461.

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Hadfield, Andrew. "Grimalkin and other Shakespearean Celts." Sederi, no. 25 (2015): 55–76. http://dx.doi.org/10.34136/sederi.2015.3.

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This essay examines the representation of Ireland and Celtic culture within the British Isles in Shakespeare’s works. It argues that Shakespeare was interested in ideas of colonisation and savagery and based his perceptions on contemporary events, the history of the British Isles and important literary works such as William Baldwin’s prose fiction, Beware the Cat. His plays, notably The Comedy of Errors and Macbeth, represent Protestant England as an isolated culture surrounded by hostile Celtic forces which form a threatening shadowy state. The second part of the essay explores Shakespeare’s influence on Irish culture after his death, arguing that he was absorbed into Anglo-Irish culture and played a major role in establishing Ireland’s Anglophone literary identity. Shakespeare imported the culture of the British Isles into his works – and then, as his fame spread, his plays exported what he had understood back again, an important feature of Anglo-Irish literary identity, as many subsequent writers have understood.

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Fox, Christie. "Crossroads: performance studies and Irish culture." Irish Studies Review 18, no. 2 (May 2010): 257–59. http://dx.doi.org/10.1080/09670881003726083.

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Graham, Colin, and Willy Maley. "Introduction: Irish studies and postcolonial theory." Irish Studies Review 7, no. 2 (August 1999): 149–52. http://dx.doi.org/10.1080/09670889908455629.

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Melia, Daniel F. "The Irish Literary Tradition.J. E. Caerwyn Williams, Patrick K. Ford." Speculum 72, no. 2 (April 1997): 581–83. http://dx.doi.org/10.2307/3041063.

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Kucała, Bożena. "Under Irish and Foreign Skies: Home, Migration and Regrexit." Porównania 30, no. 3 (December 27, 2021): 93–106. http://dx.doi.org/10.14746/por.2021.3.6.

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This article analyses literary reflections on the process of migration both from and to Ireland in selected contemporary short stories and poems. Changing Skies (2014), an anthology of stories by Manchester Irish writers, represents a wide spectrum of the Irish migrant experience. Although traditionally perceived as a country which has sent waves of emigrants to other parts of the world, recently Ireland has itself become the destination and adopted home for thousands of immigrants. The second part of the article discusses how foreign writers residing in Ireland view the questions of home, identity and migration in two companion volumes of poetry. The concluding section surveys a sample of Irish writers’ reactions to the process of Brexit, which is redefining migration, home and identity both in Britain and on the island of Ireland, and is causing widespread regret in the Irish community that the tendency towards greater diversity, mobility and heterogeneity has been halted.

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Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics." Modern Italy 24, no. 1 (October 11, 2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.

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Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.

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Guinness, Selina. "New Irish Poetry." Wasafiri 25, no. 2 (June 2010): 36–41. http://dx.doi.org/10.1080/02690051003651837.

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Evans, Eibhlín. "Anglo-Irish Writing." Critical Survey 15, no. 1 (January 1, 2003): 1–2. http://dx.doi.org/10.3167/001115703782351907.

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Maher, Eamon. "Paige Reynolds (editor), The New Irish Studies." Irish University Review 51, no. 2 (November 2021): 387–92. http://dx.doi.org/10.3366/iur.2021.0529.

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Trumpener, K. "Heathcliff and the Great Hunger: Studies in Irish Culture." Modern Language Quarterly 58, no. 1 (January 1, 1997): 114–18. http://dx.doi.org/10.1215/00267929-58-1-114.

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Suess, Barbara A. "The presence of Irish studies, part I: A preface." Lit: Literature Interpretation Theory 10, no. 1 (July 1999): 1–4. http://dx.doi.org/10.1080/10436929908580230.

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McAteer, Michael. "Post-revisionism: Conflict (Ir)resolution and the Limits of Ambivalence in Kevin McCarthy’s Peeler." Text Matters, no. 8 (October 24, 2018): 9–24. http://dx.doi.org/10.1515/texmat-2018-0001.

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This essay considers a historical novel of recent times in revisionist terms, Kevin McCarthy’s debut novel of 2010, Peeler. In doing so, I also address the limitations that the novel exposes within Irish revisionism. I propose that McCarthy’s novel should be regarded more properly as a post-revisionist work of literature. A piece of detective fiction that is set during the Irish War of Independence from 1919 to 1921, Peeler challenges the romantic nationalist understanding of the War as one of heroic struggle by focusing its attention on a Catholic member of the Royal Irish Constabulary. In considering the circumstances in which Sergeant Seán O’Keefe finds himself as a policeman serving a community within which support for the IRA campaign against British rule is strong, the novel sheds sympathetic light on the experience of Catholic men who were members of the Royal Irish Constabulary until the force was eventually disbanded in 1922. At the same time, it demonstrates that the ambivalence in Sergeant O’Keefe’s attitudes ultimately proves unsustainable, thereby challenging the value that Irish revisionism has laid upon the ambivalent nature of political and cultural circumstances in Ireland with regard to Irish-British relations. In the process, I draw attention to important connections that McCarthy’s Peeler carries to Elizabeth Bowen’s celebrated novel of life in Anglo-Irish society in County Cork during the period of the Irish War of Independence: The Last September of 1929.

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Sayers, Stephen. "Irish myth and Irish national consciousness." Irish Studies Review 12, no. 3 (December 2004): 271–81. http://dx.doi.org/10.1080/0967088042000267597.

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Boltwood, Scott. "“THE INEFFACEABLE CURSE OF CAIN”: RACE, MISCEGENATION, AND THE VICTORIAN STAGING OF IRISHNESS." Victorian Literature and Culture 29, no. 2 (September 2001): 383–96. http://dx.doi.org/10.1017/s1060150301002078.

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THROUGHOUT THE NINETEENTH CENTURY both the English popular and scientific communities increasingly argued for a distinct racial difference between the Irish Celt and the English Saxon, which conceptually undermined the Victorian attempt to form a single kingdom from the two peoples. The ethnological discourse concerning Irish identity was dominated by English theorists who reflect their empire’s ideological necessity; thus, the Celt and Saxon were often described as racial siblings early in the nineteenth century when union seemed possible, while later descriptions of the Irish as members of a distant or degenerate race reflect the erosion of public sympathy caused by the era of violence following the failed revolt of 1848. Amid this deluge of scientific discourse, the Irish were treated as mute objects of analysis, lacking any opportunity for formal rejoinder; nonetheless, these essentially English discussions of racial identity and Irishness also entered into the Irish popular culture.

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Khalil, Rania M. R. "Redefining Irishness: Fragmentation or intercultural exchange." Journal of Language and Cultural Education 3, no. 3 (September 1, 2015): 104–11. http://dx.doi.org/10.1515/jolace-2015-0024.

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Abstract The traditional definition of Irishness has been overwritten by internationalization, cultural and political discourses. Globalisation today sets the ground for the redefinition of a “new Ireland” altering the ethnocultural base to the definitions of Irish national identity. Recent cultural criticism on modern Irish studies have described the Irish nation as undergoing moments of crisis and instability within a global context. This paper explores and analyzes the process by which literary dramatic works dealing with Irish national distinctiveness have been put subject to being written and re-written as the Irish nation passes through periods of instabilities and problematisations. Ireland has been affected by conflicting narratives and needed to move “towards a new configuration of identities” (Kearney, 1997, p. 15). Edward W. Said comments on this fracturing of identity as “human reality is constantly being made and unmade” (1979, p. 33). The attempt Irish playwrights have made to address factors affecting Irishness and the violent assertion of national identity addressed in this paper, are considered within a post-nationalist and post-colonial context of dramatic works.

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Armie, Madalina. "Look! It’s a woman writer!: Irish literary feminisms 1970–2020." Irish Studies Review 30, no. 1 (January 2, 2022): 119–20. http://dx.doi.org/10.1080/09670882.2022.2038819.

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Journal articles on the topic 'Irish literary studies'

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