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American literature and Irish culture, 1910–55: The politics of enchantment discusses how and why American modernist writers turned to Ireland at various stages during their careers. By placing events such as the Celtic Revival and the Easter Rising at the centre of the discussion, it shows how Irishness became a cultural determinant in the work of American modernists. It is the first study to extend the analysis of Irish influence on American literature beyond racial, ethnic or national frameworks. Through close readings and archival research, American literature and Irish culture, 1910–55 provides a balanced and structured approach to the study of the complexities of American modernist writers’ responses to Ireland. Offering new readings of familiar literary figures – including Fitzgerald, Moore, O’Neill, Steinbeck and Stevens – it makes for essential reading for students and academics working on twentieth-century American and Irish literature and culture, and transatlantic studies.
This book examines ideas of Irishness in the writing of Mary McCarthy, Maeve Brennan, Alice McDermott, Alice Munro, Jane Urquhart, and Emma Donoghue. Individual chapters engage in detail with questions central to the social or literary history of Irish women in North America and pay special attention to the following: discourses of Irish femininity in twentieth-century American and Canadian literature; mythologies of Irishness in an American and Canadian context; transatlantic literary exchanges and the influence of canonical Irish writers; and ideas of exile in the work of diasporic women writers.
This multi-authored study explores how the natural sciences and the humanities together can understand the connections between the natural environment, the built environment, and the cultural heritage of communities along the west coast of Ireland. Knowledge of the sea and marine life, and what they mean to humanity is dependent on both scientific study and local knowledge, which, in turn, can lead to a greater commitment to sustainability. Until the 1950s, there was little government support for scientific research, nor an interest in helping fisheries beyond near shore catch. Irish fisheries remained small, underfunded, and had difficulty accessing international markets. However, as this book shows, Ireland’s cultural heritage demonstrates a deep appreciation for the coastal environment and a sense of place. This is preserved in the Irish language, in poetry, story and music, and in the ways the Irish lived with an often-wild coastal topography.
Figures from the Scots-Irish Andrew Jackson to the Caribbean-Irish Rihanna, as well as literature, film, caricature, and beauty discourse, convey how the Irish racially transformed multiple times: in the slave-holding Caribbean, on America's frontiers and antebellum plantations, and along its eastern seaboard. This cultural history of race and centuries of Irishness in the Americas examines the forcibly transported Irish, the eighteenth-century Presbyterian Ulster-Scots, and post-1845 Famine immigrants. Their racial transformations are indicated by the designations they acquired in the Americas: 'Redlegs,' 'Scots-Irish,' and 'black Irish.' In literature by Fitzgerald, O'Neill, Mitchell, Glasgow, and Yerby (an African-American author of Scots-Irish heritage), the Irish are both colluders and victims within America's racial structure. Depictions range from Irish encounters with Native and African Americans to competition within America's immigrant hierarchy between 'Saxon' Scots-Irish and 'Celtic' Irish Catholic. Irish-connected presidents feature, but attention to queer and multiracial authors, public women, beauty professionals, and performers complicates the 'Irish whitening' narrative. Thus, 'Irish Princess' Grace Kelly's globally-broadcast ascent to royalty paves the way for 'America's royals,' the Kennedys. The presidencies of the Scots-Irish Jackson and Catholic-Irish Kennedy signalled their respective cohorts' assimilation. Since Gothic literature particularly expresses the complicity that attaining power ('whiteness') entails, subgenres named 'Scots-Irish Gothic' and 'Kennedy Gothic' are identified: in Gothic by Brown, Poe, James, Faulkner, and Welty, the violence of the colonial Irish motherland is visited upon marginalized Americans, including, sometimes, other Irish groupings. History is Gothic in Irish-American narrative because the undead Irish past replays within America's contexts of race.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. The introduction of co-operative societies into the Irish countryside during the late-nineteenth century transformed rural society and created an enduring economic legacy. Civilising rural Ireland challenges predominant narratives of Irish history that explain the emergence of the nation-state through the lens of political conflict and violence. Instead the book takes as its focus the numerous leaders, organisers, and members of the Irish co-operative movement. Together these people captured the spirit of change as they created a modern Ireland through their reorganisation of the countryside, the spread of new economic ideas, and the promotion of mutually-owned businesses. Besides giving a comprehensive account of the co-operative movement’s introduction to Irish society the book offers an analysis of the importance of these radical economic ideas upon political Irish nationalism.
Over sixty years after his death, Wallace Stevens remains one of the major figures of American modernist poetry, celebrated for his masterful style, formal rigor, and aesthetic investigations of the natural, political, and metaphysical worlds. In Making the Poem, noted Stevens scholar George S. Lensing explores the poet’s progress in the creation of his body of work, considering its development, composition, and reception. Drawing on little-known sources and nuanced readings of Stevens’ texts, Lensing expands the customary view of the poet’s creative approaches. This wide-ranging study extends from the origins and overlapping themes of well-known poems through the social and political backgrounds that marked Stevens’ work to the prosodic and musical elements central to his style. Making the Poem features a dynamic new reading of the important early poem “Sea Surface Full of Clouds”—viewing it alongside his wife Elsie’s journal describing the sea voyage that inspired the poem—and an extensive, multiperspective treatment of the widely anthologized “The Idea of Order at Key West,” as well as a careful excavation of the poem “Mozart, 1935” in the context of the U.S. Great Depression. Lensing concludes with a discussion of the gradual (and sometimes reluctant) recognition Stevens’ work received from poets and critics in Great Britain and Ireland. Stemming from decades of research and writing, Making the Poem: Stevens’ Approaches presents a holistic view of his creative achievements and a wealth of new material for readers to draw upon in their future encounters with the poetry of Wallace Stevens.
As Ice Age glaciers left behind erratics, so the external forces of history tumbled the Irish into America. Existing both out of time and out of space, a diverse range of these Roman-Catholic immigrants saw their new country in a much different way than did the Protestants who settled and claimed it. These erratics chose backward looking tradition and independence over assimilation and embraced a quintessentially Irish form of subversiveness that arose from their culture, faith, and working-class outlook. David M. Emmons draws on decades of research and thought to plumb the mismatch of values between Protestant Americans hostile to Roman Catholicism and the Catholic Irish strangers among them. Joining ethnicity and faith to social class, Emmons explores the unique form of dissidence that arose when Catholic Irish workers and their sympathizers rejected the beliefs and symbols of American capitalism. A vibrant and original tour de force, History’s Erratics explores the ancestral roots of Irish nonconformity and defiance in America.
Updated throughout and with much new material, A History of American Literature, Second Edition, is the most up-to-date and comprehensive survey available of the myriad forms of American Literature from pre-Columbian times to the present. The most comprehensive and up-to-date history of American literature available today Covers fiction, poetry, drama, and non-fiction, as well as other forms of literature including folktale, spirituals, the detective story, the thriller, and science fiction Explores the plural character of American literature, including the contributions made by African American, Native American, Hispanic and Asian American writers Considers how our understanding of American literature has changed over the past?thirty years Situates American literature in the contexts of American history, politics and society Offers an invaluable introduction to American literature for students at all levels, academic and general readers
Convention has it that Irish immigrants in the nineteenth century confined themselves mainly to industrial cities of the East and Midwest. The truth is that Irish Catholics went everywhere in America and often had as much of a presence in the West as in the East. In Beyond the American Pale, David M. Emmons examines this multifaceted experience of westering Irish and, in doing so, offers a fresh and discerning account of America's westward expansion. "Irish in the West" is not a historical contradiction, but it is — and was — a historical problem. Irish Catholics were not supposed to be in the West—that was where Protestant Americans went to reinvent themselves. For many of the same reasons that the spread of southern slavery was thought to profane the West, a Catholic presence there was thought to contradict it — to contradict America's Protestant individualism and freedom. The Catholic Irish were condemned as the clannish, backward remnants of an old cultural world that Americans self-consciously sought to leave behind. The sons and daughters of Erin were not assimilated, and because they were not assimilable, they should be kept beyond the American pale. As Emmons amply demonstrates, however, western reality was far more complicated. Irish Catholicism may have outraged Protestant-inspired American republicanism, but Irish Catholics were a necessary component of America's equally Protestant-inspired foray into industrial capitalism. They were also necessary to the successive conquests of the "frontier," wherever it might be found. It was the Irish who helped build the railroads, dig the hard rocks, man the army posts, and do the other arduous, dangerous, and unattractive toiling required by an industrializing society. With vigor and panache, Emmons describes how the West was not so much won as continually contested and reshaped. He probes the self-fulfilling mythology of the American West, along with the far different mythology of the Irish pioneers. The product of three decades of research and thought, Beyond the American Pale is a masterful yet accessible recasting of American history, the culminating work of a singular thinker willing to take a wholly new perspective on the past.
This book provides a fresh account of the major cultural and intellectual trends of the United State in the 1910s, a decade characterised by war, the flowering of modernism, the birth of Hollywood, and Progressive interpretations of culture and society. Chapters on fiction and poetry, art and photography, film and vaudeville, and music, theatre, and dance explore these developments, linking detailed commentary with focused case studies of influential texts and events. These range from Tarzan of the Apes to The Birth of a Nation, from the radical modernism of Gertrude Stein and the Provincetown Players to the earliest jazz recordings. A final chapter explores the huge impact of the First World War on cultural understandings of nationalism, citizenship, and propaganda.Key Features*three case studies per chapter featuring key texts, genres, writers and artists*Detailed chronology of 1910s American Culture*Bibliographies for each chapter*Fifteen black and white illustrations