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This collection gathers together 12 essays by Irish intellectuals and international postcolonial critics as they engage in the debate over how postcolonial Ireland was and is. The approach in all the essays is theoretical, historical and comparative.
A pioneering study of the development of one of the key critical discourses in contemporary Irish studies, this book covers all the major figures, publications and debates within Irish postcolonial criticism, delivering a commentary on this diverse body of work as well as positioning Irish postcolonial criticism within the wider postcolonial field.
In Music, Postcolonialism, and Gender, Leith Davis studies the construction of Irish national identity from the early eighteenth until the midnineteenth centuries, focusing in particular on how texts concerning Irish music, as well as the social settings within which those texts emerged, contributed to the imagining of Ireland as the Land of Song. Through her considerations of collections of Irish music by the Neals, Edward Bunting, and George Petrie, antiquarian tracts by Joseph Cooper Walker and Charlotte Brooke, lyrics and The Wild Irish Girl by Sidney Owenson, and songs by Thomas Moore and Samuel Lover, Davis suggests that music served as an ideal means through which to address the terms of the colonial relationship between Ireland and England. Davis also explores the gender issues so closely related to the discourses on both music and national identity during the time, and the influence of print culture and consumer capitalism on the representation of Irish music at home and abroad.
This ground-breaking analysis of the cultural trajectory of England's first colony constitutes a major contribution to postcolonial studies, offering a template relevant to most cultures emerging from colonialism. At the same time, these Irish case studies become the means of interrogating contemporary theories of translation. Moving authoritatively between literary theory and linguistics, philosophy and cultural studies, anthropology and systems theory, the author provides a model for a much needed integrated approach to translation theory and practice. In the process, the work of a number of important literary translators is scrutinized, including such eminent and disparate figures as Standishn O'Grady, Augusta Gregory and Thomas Kinsella. The interdependence of the Irish translation movement and the work of the great 20th century writers of Ireland - including Yeats and Joyce - becomes clear, expressed for example in the symbiotic relationship that marks their approach to Irish formalism. Translation in a Postcolonial Context is essential reading for anyone interested in translation theory and practice, postcolonial studies, and Irish literature during the 19th and 20th centuries.
On the surface, James Joyce’s work is largely apolitical. Through most of the twentieth century he was the proud embodiment of the rootless intellectual. However, perspectives on the colonial history of Ireland have proliferated in recent years, yielding a subtle and complex conception of the Irish postcolonial experience that has become a major theme in current Joyce scholarship. In this volume Leonard Orr brings together a diverse collection of essays situating Joyce in the debates generated by postcolonial theory and discourse. Highly original and often provocative, these essays bring Joyce powerfully within the ambit of postcolonial studies.
"James Joyce: Developing Irish Identity" follows the increasing focus on Irish identity in Joyce's major works of prose. This book traces the development of the idea of Ireland, the concept of Irishness, the formation of a national identity and the need to deconstruct a nationalistic self-conception of nation in Joyce's work. Through close reading of "Dubliners", "A Portrait of the Artist as a Young Man", "Stephen Hero" and "Ulysses", Joyce articulates the problems that colonialism poses to a nation-state that cannot create its identity autonomously. Furthermore, this reading uncovers Joyce's conception of national identity as increasingly sophisticated and complicated after Irish independence was won. From here, Halloran argues that Joyce presents his readers with ideas and suggestions for the future of Ireland. As Irish studies become increasingly imbricated with postcolonial discourse, the need for re-examination of classic texts becomes necessary."James Joyce: Developing Irish Identity" provides a new approach for understanding the dramatic development of Joyce's oeuvre by providing a textual analysis guided by postcolonial theory.
Anomalous States is an archeology of modern Irish writing. David Lloyd commences with recent questioning of Irish identity in the wake of the northern conflict and returns to the complex terrain of nineteenth-century culture in which those questions of identity were first formed. In five linked essays, he explores modern Irish literature and its political contexts through the work of four Irish writers--Heaney, Beckett, Yeats, and Joyce. Beginning with Heaney and Beckett, Lloyd shows how in these authors the question of identity connects with the dominance of conservative cultural nationalism and argues for the need to understand Irish culture in relation to the wider experience of colonized societies. A central essay reads Yeats's later works as a profound questioning of the founding of the state. Final essays examine the gradual formation of the state and nation as one element in a cultural process that involves conflict between popular cultural forms and emerging political economies of nationalism and the colonial state. Modern Ireland is thus seen as the product of a continuing process in which, Lloyd argues, the passage to national independence that defines Ireland's post-colonial status is no more than a moment in its continuing history. Anomalous States makes an important contribution to the growing body of work that connects cultural theory with post-colonial historiography, literary analysis, and issues in contemporary politics. It will interest a wide readership in literary studies, cultural studies, anthropology, and history.
"Pilar Villar-Argáiz's sustained, meticulous, and exacting study of Eavan Boland opens up and articulates in a fresh way the key dimensions of her poetry. It succeeds not only in tracking the far-reaching ramifications of Eavan Boland's politicized aesthetic as a postcolonial writer but in urging us to revisit the crystalline and precisely etched poems of one of the most significant artists in contemporary Irish culture." Professor Anne Fogarty, University College, Dublin (from the Introduction) This monograph is an original and important contribution to the growing body of critical studies devoted to one of Ireland's major living poets: Eavan Boland (see Haberstroh 1996; Hagen & Zelman 2005). It details the controversies that were prompted by the inclusion of Ireland in a postcolonial framework and then tests the application of an array of cogent theories and concepts to Boland's work. In an attempt to explore the richness and complexity of her poetry, Villar- Argáiz discusses the contradictory pulls in her desire to surpass, and yet at the same time epitomize, Irish nationality. Boland's remarkable achievement as a poet lies in her ability to stretch, by constant negotiations and re-appropriations, the borderlines of inherited definitions of nationality and femininity. Chapters include: Re-examining the postcolonial: Gender and Irish studies, Towards an understanding of Boland's poetry as minority/ postcolonial discourse, A post-nationalist or a post-colonial writer?: Boland's revisionary stance on Mother Ireland, To a "third" space: Boland's imposed exile as a young child, The subaltern in Boland's poetry, Boland's mature exile in the US: An 'Orientalist' writer? and Conclusion. Review: "This rigorous and informative exploration of the poetry of Eavan Boland by Pilar Villar-Argáiz proves the validity of drawing upon the resources of postcolonial theory to illuminate her work. Through the lens of postcolonialism, the deep-seated preoccupations and complex imaginative foundations of Boland's writing are carefully excavated and interpreted. Villar-Argáiz, moreover, in her observant close readings of poems from different phases of the author's oeuvre reveals how recurrent issues such as the problem of national and cultural identity, the ethical responsibility of engaging with the past, and the quest for fluidity and openness are variously engaged with, both aesthetically and philosophically. Villar-Argáiz's sustained, meticulous, and exacting study of Eavan Boland opens up and articulates in a fresh way key dimensions of her poetry. It succeeds not only in tracking the far-reaching ramifications of Eavan Boland's politicized aesthetic as a postcolonial writer but in urging us to revisit the crystalline and precisely etched poems of one of the most significant artists in contemporary Irish culture." - Professor Anne Fogarty, Department of English, University College Dublin, Ireland About the Author: Dr. Pilar Villar-Argáiz lectures in the Department of English Philology at the University of Granada, Spain, where she obtained a European Doctorate in English Studies (Irish Literature). She is the author of Eavan Boland's Evolution As an Irish Woman Poet: An Outsider within an Outsider's Culture (The Edwin Mellen Press, 2007). She has also published extensively on the representation of femininity in contemporary Irish women's poetry, on cinematic representations of Ireland, and on the theoretical background and application of feminism and postcolonialism to the study of Irish literature. In addition, Dr. Villar Argáiz has co-edited two books on English literature. Irish Research Series, No.51
This collection brings together experts from media and communication studies with postcolonial studies scholars to illustrate how the two fields may challenge and enrich each other. It encompasses essays on topics including media convergence, transcultural subjectivity, hegemony, piracy, and media history and colonialism. Drawing on examples from film, literature, music, TV, and the internet, the contributors investigate the transnational dimensions of today's media, engage with local and global media politics, and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes.
Winner, 2010 Donald Murphy Prize for a Distinguished First Book, American Conference on Irish Studies Renowned as one of the most brilliant satirists ever, Jonathan Swift has long fascinated Hibernophiles beyond the shores of the Emerald Isle. Sean Moore's examination of Swift's writings and the economics behind the distribution of his work elucidates the humorist's crucial role in developing a renewed sense of nationalism among the Irish during the eighteenth century. Taking Swift's Irish satires, such as A Modest Proposal and the Drapier's Letters, as examples of anticolonial discourse, Moore unpacks the author's carefully considered published words and his deliberate drive to liberate the Dublin publishing industry from England's shadow to argue that the writer was doing nothing less than creating a national print media. He points to the actions of Anglo-Irish colonial subjects at the outset of Britain's financial revolution; inspired by Swift's dream of a sovereign Ireland, these men and women harnessed the printing press to disseminate ideas of cultural autonomy and defend the country's economic rights. Doing so, Moore contends, imbued the island with a sense of Irishness that led to a feeling of independence from England and ultimately gave the Irish a surprising degree of financial autonomy. Applying postcolonial, new economic, and book history approaches to eighteenth-century studies, Swift, the Book, and the Irish Financial Revolution effectively links the era's critiques of empire to the financial and legal motives for decolonization. Scholars of colonialism, postcolonialism, Irish studies, Atlantic studies, Swift, and the history of the book will find Moore's eye-opening arguments original and compelling.