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Journal articles on the topic 'Irish Psychological fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.

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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tend

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2

Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." CBU International Conference Proceedings 1 (June 30, 2013): 182–87. http://dx.doi.org/10.12955/cbup.v1.32.

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Notwithstanding the fact that the Anglo-Irish writer Joseph Sheridan Le Fanu was one of the most popular writers of the British Victorian era, his name and most of his works are not well-known to a common reader. The present research investigates how the author inventively modifies traditional Gothic elements and penetrates them into human’s consciousness. Such Le Fanu’s metamorphoses and innovations make the artistic world of his prose more realistic and psychological. As a result, the article presents a comparative literary study of Le Fanu’s text manipulations which seem to lead to the crea

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3

Sharkey, Rodney. "‘Local’ Anaesthetic for a ‘Public’ Birth: Beckett, Parturition and the Porter Period." Journal of Beckett Studies 21, no. 2 (2012): 193–222. http://dx.doi.org/10.3366/jobs.2012.0046.

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This essay proposes that psychological difficulties experienced by Beckett in the early 1930s led him to study psychology texts that were then incorporated into his fiction at both a manifest and latent level. It argues that the manifest material is used as part of a parody of psychoanalytic discourse, but also as part of a complex semiotic in which Beckett attempts to overcome his own birth trauma by displacing the maternal imago onto the Irish public house. This in turn gives rise to latent unconscious impulses which function as signs of both wombing and weaning in Beckett's early fiction. I

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4

Rangarajan, Padma. "“With a Knife at One’s Throat”." Nineteenth-Century Literature 75, no. 3 (2020): 294–317. http://dx.doi.org/10.1525/ncl.2020.75.3.294.

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Padma Rangarajan, “‘With a Knife at One’s Throat’: Irish Terrorism in The O’Briens and the O’Flahertys” (pp. 294–317) Sydney Owenson, Lady Morgan’s The O’Briens and the O’Flahertys (1827) is a silver-fork novel edged in steel: a portrait of aristocratic 1790s Dublin society that doubles as anti-imperialist jeremiad. It is also one of the earliest pieces of fiction to explicitly identify terrorism as an inevitable consequence of colonial conquest. In this essay, I demonstrate how Morgan’s novel upends the standard definition of terrorism as a singular historical rift and rewrites it as a condit

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5

Rangarajan, Padma. "“With a Knife at One’s Throat”." Nineteenth-Century Literature 75, no. 3 (2020): 294–317. http://dx.doi.org/10.1525/ncl.2020.75.3.294.

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Padma Rangarajan, “‘With a Knife at One’s Throat’: Irish Terrorism in The O’Briens and the O’Flahertys” (pp. 294–317) Sydney Owenson, Lady Morgan’s The O’Briens and the O’Flahertys (1827) is a silver-fork novel edged in steel: a portrait of aristocratic 1790s Dublin society that doubles as anti-imperialist jeremiad. It is also one of the earliest pieces of fiction to explicitly identify terrorism as an inevitable consequence of colonial conquest. In this essay, I demonstrate how Morgan’s novel upends the standard definition of terrorism as a singular historical rift and rewrites it as a condit

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6

Swettenham, Neal. "Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy." New Theatre Quarterly 21, no. 3 (2005): 241–54. http://dx.doi.org/10.1017/s0266464x0500014x.

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The narrative process is inherently selective and consequently open to distortion and falsification. J. M. Synge humorously illustrated this in The Playboy of the Western World, in which his central character, Christy Mahon, reinvents himself through the telling and retelling of his own story. Play-boy, a much more recent performance work created by Desperate Optimists, takes as its opening gambit the riots that accompanied the first performances of this controversial Irish classic and adds a bewildering variety of other narrative materials to the mix—providing, as it does so, a tongue-in-chee

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7

Abdulaziz, Hanan Talib, and Luma Ibrahim Shakir. "Voluntary Exile and Deportation in Sebastian Barry's On Canaan's Side." JOURNAL OF LANGUAGE STUDIES 6, no. 2 (2023): 89–102. http://dx.doi.org/10.25130/jls.6.2.7.

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In recent times, exile and deportation have shaped the insights and works of many authors, because the current era is the era of political crises and immigration in which people migrate voluntarily or forcibly. Exile is often framed by the idea of disconnect. Thus, one of the key ideas that the study tries to prove is exile conceived as a connection rather than a separation. The experiences of voluntary exile and deportation, for political reasons, influence the human psyche and change the way humans perceive life. Therefore, the study sheds light on the psychological effects of these confusin

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8

Glinka, N. V. "The linguistic and cultural context of the concept CRIME in the narrative (based on the material of J. O’Connor’s novel “Star of the Sea”)." MESSENGER of Kyiv National Linguistic University. Series Philology 27, no. 2 (2025): 65–74. https://doi.org/10.32589/2311-0821.2.2024.323964.

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The article explores the linguistic and cultural context of the concept CRIME in the postmodern narrative, focusing on the actualization and verbalization of its central elements. The concept CRIME is a universal category representing cognitive mechanisms of interaction with various concepts and national features of worldviews, cultural specificity, individual psychological experience and behavioral adaptation. This study examines the linguistic and cultural aspects of the concept CRIME based on the the novel “Star of the Sea. Farewell to Old Ireland” (2002) by contemporary Irish writer Joseph

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9

Syed Musharaf Hussain Shah, Qudsia Ansar, and Dr. Sajid Ali. "State Surveillance & Familial Resistance: A Dystopian Analysis of Prophet Song by Paul Lynch." Journal of Arts and Linguistics Studies 3, no. 1 (2025): 1285–304. https://doi.org/10.71281/jals.v3i1.276.

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This study examines the devastating impact of state surveillance on familial bonds and the enduring strength of resistance in oppressive regimes as depicted in Lynch’s (2023) Prophet Song. It employs Foucault’s (1975/1977) notions of Panopticism taken from his book Discipline and Punish: The Birth of the Prison to analyze the psychological and social repercussions of state control as presented in Prophet Song. Foucault’s concept of Panopticism posits that surveillance induces self-regulation through the perception of constant observation. The study employs close textual analysis method to expl

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10

Trukhan, Oksana. "THE LATE XXth AND EARLY XXIst CENTURY WORLD LITERATURE AS A FACTOR IN SHAPING THE HISTORICAL MEMORY OF FUTURE TEACHERS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 58–61. http://dx.doi.org/10.15330/msuc.2022.26.58-61.

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It is noted that fiction for various reasons loses its educational role among future teachers, and a certain educational potential of modern world literature is virtually unfamiliar to students. It has been proved that modern foreign literature, which actualizes Ukrainian issues, can become an effective means of educating spirituality, national-patriotic feelings and historical memory in future teachers. The interest of foreign authors in Ukraine, its historical past, raising of important issues of national identity, historical memory of Ukrainians is a stimulus for students to get acquainted

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11

Байко, В. А., and Е. М. Галанова. "Authorial dialogue in Iris Murdoch’s “The Sea, the Sea”." Иностранные языки в высшей школе, no. 3(58) (November 15, 2021): 25–32. http://dx.doi.org/10.37724/rsu.2021.58.3.003.

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В статье рассматривается роль авторского диалога в философско-психологическом романе Айрис Мёрдок «Море, море» (Iris Murdoch “The Sea, the Sea”, 1978) в раскрытии авторского замысла в целом и выявлении аспектов диалогичности художественного текста. На сегодняшний день отсутствуют лингвистические исследования данного популярного романа, который представляет прекрасный образец философско-психологического произведения литературы ХХ века и отражает актуальные тенденции работы с художественным словом, что обусловливает актуальность и научную новизну работы. Авторы статьи на материале романа А. Мёрд

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12

Schneiderman, Leo. "Iris Murdoch: Fantasy Vs. Imagination." Imagination, Cognition and Personality 16, no. 4 (1997): 379–97. http://dx.doi.org/10.2190/2ycw-jjdl-nkpq-4thc.

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Iris Murdoch is an exponent of the view that fictional narratives are best written by observing other people realistically and as entirely separate from the author's private life, with its memories and desires. Convinced that it is possible for a novelist to be “objective,” she has written over twenty novels, relying on what she terms “imagination,” i.e., attention to the uniqueness of individuals, without subjective distortion dictated by the author's unconscious conflicts or ideological obsessions. The opposite of “imagination,” in Murdoch's view, is “fantasy,” or the exploitation by the nov

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13

Necula, Lidia Mihaela. "Displaced: Canadian Mindscapes in Margaret Atwood's Alias Grace." Cultural Intertexts 12, no. 1 (2022): 86–94. https://doi.org/10.5281/zenodo.7431662.

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Simply put, hyperreality is used to denote something that does not yet exist in the sense of being undeniably demonstrable. According to Jean Baudrillard in <em>Simulacra and Simulation</em> (1981), hyperreality is a state where reality has been replaced by simulacra, meaning that what is real and what is fictional is indistinguishable. Equally, hyperreality starts as soon as one replaces the question of ‘if’ by ‘when’. Therein, in Margaret Atwood’s <em>Alias Grace</em>, it becomes quite difficult to establish whether or not Grace Marks is innocent, pure and wrong

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14

Demydenko, Olga, and Vladyslava Spesyvtseva. "LANGUAGE REPRESENTATIVES OF VALUE ORIENTATIONS OF UKRAINIANS AND IRISH: A TRANSLATION ASPECT (BASED ON THE MATERIALS OF CONTEMPORARY FICTION AND MEDIA TEXTS)." Advanced Linguistics, no. 12 (December 27, 2023). http://dx.doi.org/10.20535/2617-5339.2023.12.290270.

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The article defines the leading features of the linguistic representation of the value orientations of Ukrainians and Irish people in the translation studies aspect. It is emphasized that the works of modern Ukrainian and Irish literature combine spatial and temporal definiteness, i.e., closeness to the “real plot”, and the expressiveness of the reflection of a person – an actor, endowed with features and values that attach him to history. The tendency of the development of the value component in modern Ukrainian and Irish literature consists in the strengthening of the psychological load of i

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15

Pérez Vides, Auxiliadora. "‘The Theatre of the Family’: An Irish Approach to Gender Awareness in Catherine Dunne’s Fiction." ODISEA. Revista de estudios ingleses, no. 12 (March 17, 2017). http://dx.doi.org/10.25115/odisea.v0i12.248.

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Abstract:Catherine Dunne’s fiction masterly portrays ordinary themes like family relations and the process of identity formation, and she criticises the constraining elements that thwart female subjectivity in Ireland. However, as I intend to argue in this article, by bringing to the fore the diverse ways whereby women transcend the social, psychological or material barriers that the Irish family ideology and the rhetorics of maternity have traditionally set upon them, Dunne emphasizes the need to re-think the social and individual implications that these obstacles entail, insofar as the reart

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16

"Language learning." Language Teaching 38, no. 4 (2005): 194–209. http://dx.doi.org/10.1017/s0261444805223145.

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05–396Altenberg, Evelyn P. (Hofstra U, USA; sphepa@hofstra.edu), The perception of word boundaries in a second language. Second Language Research (London, UK) 21.4 (2005), 325–358.05–397Baker, Wendy (Brigham Young U, USA) & Pavel Trofimovich, Interaction of native- and second-language vowel system(s) in early and late bilinguals. Language and Speech (Twickenham, UK) 48.1 (2005), 1–27.05–398Bardovi-Harlig, Kathleen (Indiana U, USA; bardovi@indiana.edu) & Robert Griffin, L2 pragmatic awareness: evidence from the ESL classroom. System (Amsterdam, the Netherlands) 33.3 (2005), 401–415.05–3

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17

Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret

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18

Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno

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19

Gerrand, Vivian, Kim Lam, Liam Magee, Pam Nilan, Hiruni Walimunige, and David Cao. "What Got You through Lockdown?" M/C Journal 26, no. 4 (2023). http://dx.doi.org/10.5204/mcj.2991.

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Introduction While individuals from marginalised and vulnerable communities have long been confronted with the task of developing coping strategies, COVID-19 lockdowns intensified the conditions under which resilience and wellbeing were/are negotiated, not only for marginalised communities but for people from all walks of life. In particular, the pandemic has highlighted in simple terms the stark divide between the “haves” and “have nots”, and how pre-existing physical conditions and material resources (or lack thereof), including adequate income, living circumstances, and access to digital an

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20

Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi

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