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Relevant bibliographies by topics / Postcolonialism – Ireland

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Academic literature on the topic 'Postcolonialism – Ireland'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Postcolonialism – Ireland"

1

Kelly, Marie, Siobhán O’Gorman, and Áine Phillips. "Performing Ireland: Now, then, now …" Scene 8, no. 1-2 (December 1, 2020): 7–27. http://dx.doi.org/10.1386/scene_00020_1.

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This article offers a comprehensive, research-informed reflection on the contents of the Special Double Issue of Scene, ‘Performance and Ireland’, conceptualized within a sense of looped temporalities (now, then, now), a concept borrowed from Irish multidisciplinary performance company, ANU Productions. From the perspectives of performance studies and visual culture, we connect and contextualize for an international readership articles concerning such topics as: Ireland’s colonial history; race, ethnicity and racism in relation to Ireland; performing the Irish diaspora; feminist activism; performing LGBTQ+ identities; the Troubles and the border in Northern Ireland; Ireland as a global brand; the Gaelic Athletics Association (GAA); and artistic engagements with hidden histories. This introductory article provides an overview of the discourses on performance studies and Ireland to date, and draws on theories of performance as they intersect with Irish studies, postcolonialism, commemoration and gender and sexuality, to situate the volume within pertinent contemporary and historical contexts from the Irish Famine (1845–49) to Covid-19. ‘Performing Ireland’ in the context of the current pandemic is considered specifically towards the end of the article.

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2

Scham, Sandra. "Colony or conflict zone?" Archaeological Dialogues 13, no. 2 (October 11, 2006): 205–7. http://dx.doi.org/10.1017/s1380203806242090.

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Audrey Horning has a lot to say about the abuses of overarching theory in archaeology. Her most cogent critiques, directed at the rather careless application of postcolonial theory to the archaeology of Northern Ireland and the failure of that theoretical model to deal effectively with the complex and fragmented identities of this continually embattled society, spoke powerfully to my own experience. The intellectual currency of colonialism and postcolonialism is becoming as rapidly devalued as that of domination and resistance. This is not to say these concepts have no merit – only that they suffer from overuse and a persistent lack of nuanced examination.

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3

Hearn, Jeff. "Autobiography, Nation, Postcolonialism and Gender Relations: Reflecting on Men in England, Finland and Ireland." Irish Journal of Sociology 14, no. 2 (December 2005): 66–93. http://dx.doi.org/10.1177/079160350501400205.

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This article seeks to develop multi-layered reflections on men in England, Finland and Ireland. It connects autobiographical memories, the politics and the problematic of men, studies on men, and men's situation in three countries and societies, and their postcolonial contexts. In each case, personal, political and academic connections with the countries concerned are explored and interlinked. Though postcolonial studies have been developed mainly by those who are members of or in an ambiguous relation to social categories that have been marginalised by colonialism and imperialism, these perspectives are drawn on to interrogate and deconstruct the dominant. Postcolonialism figures in different ways in the three countries, providing multiple means to deconstruct men, the unified, coherent, individual and collective male subject. ‘Men’, the mystified/mythologised One(s), are made material Other(s). Studying men needs to be less ethnocentric, less national(istic), and more fully located in transnational contexts.

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4

Keogh, Calvin W. "The Critics’ Count: Revisions ofDraculaand the Postcolonial Irish Gothic." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (May 22, 2014): 189–206. http://dx.doi.org/10.1017/pli.2014.8.

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This article revisits Irish criticism of the foundational period of postcolonial studies in view of its relevance to the topic of revisionism in contemporary postcolonial theory. Situating the status of Ireland and its literature in postcolonial studies, it suggests that the early distinction between academic “rereading” and creative “writing back” is a false one and that developments in Irish studies in the 1980s anticipate the more nuanced brands of contemporary postcolonialism. As a case in point, the article considers critical revisions of Irish Gothic fiction, which provided a context for various revisions conducted in the 1990s and early 2000s of the novelDracula(1897) by Bram Stoker (1847–1912). It focuses on the “metrocolonial” concept introduced by Joseph Valente, which offers a means not only of connecting these revisions but of specifying the postcolonial status of Ireland and of relating revisionism to the revolutionary and reconciliatory strands of contemporary postcolonial theory.

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Seynhaeve, Benedicte, and Raphaël Ingelbien. "‘Doing her spiriting’: Lady Morgan's Irish Tempests." Irish University Review 45, no. 2 (November 2015): 242–62. http://dx.doi.org/10.3366/iur.2015.0175.

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Several studies have tried to answer the question ‘where is Ireland in The Tempest?’, while others have assessed Ireland's sense of its own postcoloniality through Irish writers' engagement with Shakespeare's most ‘colonial’ play. This essay argues that Lady Morgan's national tales offer the first significant Irish rewritings of The Tempest. It shows how her allusions to the play constitute coherent intertextual patterns, informed by a clear sense of parallels between the enchanted isle of Shakespeare's imagination and Ireland around the time of the Act of Union. Those parallels, however, challenge the idea that The Tempest illustrates a (post)colonial relation between Ireland and Britain. Instead, Morgan's focus on the spells cast on foreign visitors by the island and by the native magic of Prospero and Ariel suggests that she used the play in order to allegorize possible ways of making the Union work, rather than to impugn the illegitimacy of colonial rule. Her last and most pessimistic national tale embryonically sketches a wild, native Irish Caliban who would later recur in both British and Irish imaginations with the rise of militant radical nationalism, but Morgan's version of the figure still shows important differences with subsequent postcolonial embodiments of Irish otherness. Although seminal in many ways, Morgan's rewritings of The Tempest only later make room for more conflictual uses of the play as an allegory of British-Irish relations.

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Dissertations / Theses on the topic "Postcolonialism – Ireland"

1

Boada-Montagut, Irene. "'Women write black' : a comparative study of contemporary Irish and Catalan short stories." Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263244.

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2

Söderkvist, Pamela. "James Joyce's Dubliners as Migrant Writing: A Vision of Ireland from Exile." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94378.

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This essay focuses on the concepts of relationship to local culture, identity and third space writing found in migrant literature and explores their relevance to James Joyce’s Dubliners in order to support a migrant reading of the collection. James Joyce has already been read as a migrant writer; however, Dubliners has not been considered as being an important contribution to this mode of writing. In this essay, the postcolonial theories of identity, third space writing and relationship to local culture are used in an in-depth reading of seven of the stories in the collection which I argue are written in the migrant mode of writing. With an introduction given on migrant writing and the concepts used, the platform is thus laid out for a thorough reading of the stories. What these stories depict is that of Ireland’s perpetual state of underdevelopment, due to its colonial past under British rule. In reading the stories in theoretical terms of migrant writing, one uncovers the way they construct Ireland as a colonized space, reiterating Joyce’s version of home and its decaying, cultural potential. What one finds is not only the ironic voice of Joyce’s narrative describing the repetitive outplaying of British stereotypes of Irishness but also of a quieter tone tinged with hope and longing for a true, cultural change. This essay shifts the interpretative focus to specific issues that would otherwise not be visible if one were to read it as merely being modernist. It establishes the migrant quality of the collection and solidifies the standing of Joyce as a migrant writer.

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3

Bender, Jacob. "Latin labyrinths, Celtic knots: modernism and the dead in Irish and Latin American literature." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5714.

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The Irish throughout their tumultuous history immigrated not only to North America but across Latin America, particularly to Cuba, Puerto Rico, Colombia, Chile, Argentina, and Mexico. Ireland and many of these Latin American countries share a close yet under-examined relationship, inasmuch as they are predominantly Catholic, post-colonial, hybrid populations with fraught immigrant experiences abroad and long histories of resisting Anglo-centric imperialism at home. More particularly, the peoples of these nations engage intimately with the dead (as shown, for example, by the Mexican Day of the Dead and Celtic roots of Halloween), and the dead appear frequently in literature from these countries that takes up issues of colonialism and anti-colonial struggles. The dead can function as repositories for forgotten history and allies in counter-imperial struggle; these roles become particularly important in the 20th century, wherein the forces of economic modernization have rushed to erase the memories of the dead. From the speech of the dead in the prose works of Juan Rulfo, Máirtín Ó Cadhain, Samuel Beckett, and Carlos Fuentes, to the anticolonial poetics of William Butler Yeats and Julia de Burgos, this thesis examines how these two regions have, both in parallel and in concert, utilized the dead to bolster various nationalistic projects. This dissertation also explores patterns of Irish/Latin American literary citation and influence, tracing, for example, how Jorge Luis Borges’s responded to James Joyce, or how a scene from Jonathan Swift’s Gulliver’s Travels is re-enacted in the novels of Flann O’Brien and Gabriel García Márquez. This project contributes to comparative approaches to Irish literary and modernist studies, improves our nascent understanding of how the Irish and Latin Americans have interacted throughout their overlapping histories, and expands our comprehension of how the dead have been and continue to be utilized across the developing world to resist economic neo-colonialism.

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Johansson, Fredrik. "Postcolonial Identity in Ireland: Hybridity, Third Space, and the Uncanny : in Hugo Hamilton’s THE SPECKLED PEOPLE A Memoir of a Half-Irish Childhood and THE SAILOR IN THE WARDROBE." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-40358.

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This essay explores and investigates post-colonial identity in Ireland in Hugo Hamilton’s The Speckled People: A Memoir of a Half-Irish Childhood (2003) and The Sailor in the Wardrobe (2006). Relying primarily on Homi K. Bhabha’s postcolonial criticism, which draws on some ideas from psychoanalysis, this essay argues that the autobiographies resonate well with the ideas of culture as a strategy of survival and of the post-colonial child as an analyst of Western modernity. Thus, three chosen concepts; ‘the Uncanny’, ‘Third Space’ and ‘Hybridity’ work together to reveal a recurring theme of split and duplicity in reference to the colonial past throughout. Furthermore they also reveal that the actual writing of the autobiographies in itself must be regarded as a way of responding to and negotiating that very same split and duplicity in reference to Ireland’s past.

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5

Rock, Brian. "Irish nationalism and postcolonial modernity : the 'minor' literature and authorial selves of Brian O'Nolan." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/2495.

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In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.

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McIntyre, Caitlin Ailish. "Queer animals and agriculture in James Joyce's A portrait of the artist as a young man." 2014. http://hdl.handle.net/1993/24011.

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This thesis will read James Joyce's novel A Portrait of the Artist as a Young Man as a text that is fundamentally concerned with ecological issues, demonstrating awareness of the land beyond and outside of Dublin. Joyce frequently depicts the colonization of Ireland as centered on the control of land in the form of agriculture, which he brings into the political foreground of the novel's characters. I will argue further that this novel is critical of the violent nationalist rhetoric and insurrections of early 1900s Ireland, a movement which perpetuated the agricultural control of land. As an effective rebellion to this aporia, which Joseph Valente has termed “the metrocolonial double bind,” I will read the novel’s queer ecology, a non-violent resistance that moves beyond constricting categories of human/animal, urban/rural, and opens up the world for novel ways of living and being.

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Books on the topic "Postcolonialism – Ireland"

1

Ireland and postcolonial studies: Theory, discourse, utopia. Basingstoke, Hampshire: Palgrave Macmillan, 2009.

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2

'Because we are poor': Irish theatre in the 1990s. Dublin, Ireland: Carysfort Press, 2011.

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3

Flannery, Eóin. Ireland and postcolonial studies: Theory, discourse, utopia. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2009.

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4

Postcolonial cultures. Jackson: University Press of Mississippi, 2005.

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5

Postcolonial cultures. Edinburgh: Edinburgh University Press, 2005.

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6

Howe, Stephen. Ireland and empire: Colonial legacies in Irish history and culture. Oxford: Oxford University Press, 2000.

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7

Howell, Philip. Geographies of regulation: Policing prostitution in nineteenth-century Britain and the Empire. Cambridge, UK: Cambridge University Press, 2009.

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Geographies of regulation: Policing prostitution in nineteenth-century Britain and the Empire. Cambridge, UK: Cambridge University Press, 2009.

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9

Stoddard, Eve Walsh. Positioning gender and race in (post)colonial plantation space: Connecting Ireland and the Caribbean. New York, NY: Palgrave Macmillan, 2012.

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10

Moving beyond nativism: Eine Betrachtung des irischen Gegenwartsromans aus dem Blickwinkel postkolonialer Theorien. Frankfurt am Main: P. Lang, 2002.

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Book chapters on the topic "Postcolonialism – Ireland"

1

Flannery, Eóin. "Ireland, Gender and Postcolonialism." In Ireland and Postcolonial Studies, 146–81. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250659_5.

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Bairner, Alan. "Sport, Nationality and Postcolonialism in Ireland." In Sport and Postcolonialsm, 159–74. Routledge, 2020. http://dx.doi.org/10.4324/9781003086772-11.

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"Postcolonialism: The case of Ireland: Terry Eagleton." In Multicultural States, 132–41. Routledge, 2013. http://dx.doi.org/10.4324/9780203007549-16.

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Kirwan, Alan. "Postcolonialism, Ethnicity and the National Museum of Ireland." In National Museums, 443–52. Routledge, 2014. http://dx.doi.org/10.4324/9781315787312-28.

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Israel, Nico. "Samuel Beckett and the Colonial Gag." In Modernism, Postcolonialism, and Globalism, 223–39. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0011.

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Focusing on The Unnamable (1953) and Act Without Words I (1956), this chapter draws on Giorgio Agamben’s writings on “gesture” and the “gag” to illuminate the “peculiarly oblique forms of Beckett’s postcolonial political engagements.” Attending to Beckett’s characters, who depend on gesture to counter their muteness, the chapter suggests that Beckett’s postcolonial politics—his engagements with decolonization in Indochina, Algeria, West Africa, and Ireland—is muted, gagged, and indirect. In keeping with Agamben’s articulation of the prelinguistic power of the gesture, its “archetypal openness that points beyond nation, tradition and political domination,” the chapter argues that Beckett’s evasive and anagogic approach to postcolonial issues may announce an even more radical break with modernity and modern politics than those advocated by Beckett’s more avowedly political postcolonial critics. By means of the gesture and the gag, Beckett points the way not just beyond the postcolonial condition, but, potentially, beyond modern politics altogether.

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Allen, Nicholas. "Slow Erosions." In Modernism, Postcolonialism, and Globalism, 240–54. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0012.

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Focusing on Seamus Heaney’s poetry, this chapter explores the limitations of Irish postcolonial criticism. Acknowledging the invigorating influence of Said on Irish critics, it nevertheless argues that an overemphasis on Ireland’s colonial and “postcolonial” status has restricted attention to the nation and its political history. The collapse of the Celtic Tiger permits a global reframing of Irish culture that emphasizes transnational flows of money, people, culture, and literature. While Heaney’s poetry may seem archaic (rather than avant-garde), this chapter finds it creatively engages with transimperial affiliations. Rather than reading Heaney as a provincial northern Irish poet rooted in the native soil, the chapter emphasizes the poet’s embrace of mobility, fluidity, and non-Irish sites. Underscoring Heaney’s indebtedness to Yeats, Joyce, and Beckett—whose works represented the circulations of seafaring cultural exchange—the chapter discovers in Heaney’s meditations on oceanic networks a corrective to the narrow critical focus on decolonization and nationhood.

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Vadde, Aarthi. "Alternating Asymmetry." In Chimeras of Form. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231180245.003.0003.

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Chapter two reconfigures the opposition between modernism’s aesthetic individualism and postcolonialism’s political collectivism by analyzing what I call, borrowing from Walter Benjamin, Joyce’s mediated solidarity with the Irish people. Mediated solidarity entails a critique but not an outright rejection of solidarity, both national and international, particularly when expressions of solidarity rely on rather than contest practices of self-deception. Joyce treated the self-deceptions of individual desire and collective national fantasies as chimeras with the potential to deflate the grandiose comparative claims of Irish revivalism. In a rejoinder to revivalism’s politically specious comparisons, Joyce developed his own techniques of international comparison in his fiction – techniques this chapter gathers under the heading “alternating asymmetry.” Its claim is that Joyce developed strategies of uneven and disproportionate comparison in order to explore the psychological and material effects of colonialism on ordinary Irish people and, further, to propose that the reassurances of collective solidarity do not always constitute an adequate solution to the challenges facing structurally underdeveloped communities. Eschewing narratives of progress and social acceptance for those of unlit pathways, failed unions, and betrayed friendships, Joyce brings attention to the residual inequalities and exclusions haunting nationalist and transnationalist projects of political unification from postcolonial Ireland to the continental fellowship of Europe.

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