Flann O'Brien: Acting Out ed. by Paul Fagan and Dieter Fuchs (review)

IF 0.1 4区 文学 0 LITERATURE, BRITISH ISLES
Erika Mihálycsa
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However, much of this maverick writer's output across media and genres \"acts out\" often contradictory potentialities and is inherently theatrical, including the performance of multiple writerly personae. <em>Flann O'Brien: Acting Out</em>, exemplarily edited by Paul Fagan (who also contributes the introduction) and Dieter Fuchs, the fourth volume in the series dedicated to this author published by the Cork University Press, is the first book-length study systematically to assess O'Nolan's protean <em>oeuvre</em> in the context of modernist debates about (anti)theatricality or within the institutional framework of performance. In his jocose manifesto of democratic fiction, the narrator of <em>At Swim-Two-Birds</em> provocatively reverts Stephen Dedalus's argument about the superiority of the dramatic form in <em>A Portrait of the Artist as a Young Man</em> and designs fiction as deceptive performance, which calls for frame-breaking devices to counteract outwitting the credulous reader;<sup>1</sup> while employed in a novel, these devices are inherently (meta)theatrical, showing that performance is never far away from O'Nolan's pranks.</p> <p>One of the key features of O'Nolan's writing is his keen audience awareness and constant preoccupation with the role of his contemporary Irish audiences and critics: through incorporating dramatic techniques, as Alana Gillespie shows in her chapter, his prose and journalism function as a \"grotesque revue\" (40) of Irish theatrical productions and their audience, nettling revivalist ideals of educating the public and subversively intervening in the debates about who should have a say in the cultural self-representation of the modern democratic nation state. O'Nolan's most sustained theatrical performance was his cultivation of multiple pseudonyms and masks, a subject explored by Johanna Marquardt and John Greaney; Marquardt traces the replacement of \"Flann O'Brien\" the novelist by the composite construct \"Myles na gCopaleen\" (279), the author of the comic column <strong>[End Page 169]</strong> <em>Cruiskeen Lawn</em> written for <em>The Irish Times</em>, in the memoirs of fellow Irish literati and family members, aided by the domestic cultivation of the figure as an eccentric, and coming to a secondary life as an intertextual fictional character in other writers' anecdotical reminiscing.</p> <p>O'Nolan's output and <em>Cruiskeen Lawn</em> in particular have long been recognized as the product of joint authorship, evincing a strong anti-authoritarian poetics. Maebh Long brings to light the \"flexibility around ideas of originality, borrowing, identity and inheritance\" (21) in the workshop of Niall Sheridan, Brian O'Nolan, and Niall Montgomery, incisively demonstrating that much of the foundational ideas and scaffolding, if not quite the fictional strategies, employed in <em>The Third Policeman</em> sprang from free-wheeling reciprocal takeovers among the three, including the motif of bicycles, policemen, and the narrator's purgatorial afterlife, anticipated already in Sheridan's 1939 short story \"Matter of Life and Death.\"<sup>2</sup> The image that emerges is of a collaborative network of intertextual inscriptions and acknowledged plagiarism, O'Nolan reacting protectively toward his \"handiwork\" only when he saw the brand \"Myles\" threatened by congenial stylistic pranks by Montgomery, one of the column's ghost-writers. Joseph LaBine traces the intersections of the 1930s and 1940s texts with the work of William Saroyan, a writer-friend who tried to aid O'Nolan's career overseas, pointing toward a shared poetics of \"eccentric, character-based drama.\"<sup>3</sup></p> <p>The volume's most significant contributions map the enmeshment of O'Nolan's texts with key modernist theories of theater, including nineteenth- and twentieth-century performance practices and institutions. Two of the book's highlights discuss the nexus between O'Nolan, Luigi Pirandello, and Bertolt Brecht. 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引用次数: 0

Abstract

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Flann O'Brien: Acting Out ed. by Paul Fagan and Dieter Fuchs
  • Erika Mihálycsa (bio)
FLANN O'BRIEN: ACTING OUT, edited by Paul Fagan and Dieter Fuchs. Cork: Cork University Press, 2022. xiv + 450 pp. $45.00 cloth.

Flann O'Brien's (Brian O'Nolan's) writing for the theater and television has received relatively little attention until recently, being less experimental and thus less suitable for framing inside the parameters of late-modernist or postmodern aesthetics or, lately, as enacting posthumanist or biopolitical preoccupations. However, much of this maverick writer's output across media and genres "acts out" often contradictory potentialities and is inherently theatrical, including the performance of multiple writerly personae. Flann O'Brien: Acting Out, exemplarily edited by Paul Fagan (who also contributes the introduction) and Dieter Fuchs, the fourth volume in the series dedicated to this author published by the Cork University Press, is the first book-length study systematically to assess O'Nolan's protean oeuvre in the context of modernist debates about (anti)theatricality or within the institutional framework of performance. In his jocose manifesto of democratic fiction, the narrator of At Swim-Two-Birds provocatively reverts Stephen Dedalus's argument about the superiority of the dramatic form in A Portrait of the Artist as a Young Man and designs fiction as deceptive performance, which calls for frame-breaking devices to counteract outwitting the credulous reader;1 while employed in a novel, these devices are inherently (meta)theatrical, showing that performance is never far away from O'Nolan's pranks.

One of the key features of O'Nolan's writing is his keen audience awareness and constant preoccupation with the role of his contemporary Irish audiences and critics: through incorporating dramatic techniques, as Alana Gillespie shows in her chapter, his prose and journalism function as a "grotesque revue" (40) of Irish theatrical productions and their audience, nettling revivalist ideals of educating the public and subversively intervening in the debates about who should have a say in the cultural self-representation of the modern democratic nation state. O'Nolan's most sustained theatrical performance was his cultivation of multiple pseudonyms and masks, a subject explored by Johanna Marquardt and John Greaney; Marquardt traces the replacement of "Flann O'Brien" the novelist by the composite construct "Myles na gCopaleen" (279), the author of the comic column [End Page 169] Cruiskeen Lawn written for The Irish Times, in the memoirs of fellow Irish literati and family members, aided by the domestic cultivation of the figure as an eccentric, and coming to a secondary life as an intertextual fictional character in other writers' anecdotical reminiscing.

O'Nolan's output and Cruiskeen Lawn in particular have long been recognized as the product of joint authorship, evincing a strong anti-authoritarian poetics. Maebh Long brings to light the "flexibility around ideas of originality, borrowing, identity and inheritance" (21) in the workshop of Niall Sheridan, Brian O'Nolan, and Niall Montgomery, incisively demonstrating that much of the foundational ideas and scaffolding, if not quite the fictional strategies, employed in The Third Policeman sprang from free-wheeling reciprocal takeovers among the three, including the motif of bicycles, policemen, and the narrator's purgatorial afterlife, anticipated already in Sheridan's 1939 short story "Matter of Life and Death."2 The image that emerges is of a collaborative network of intertextual inscriptions and acknowledged plagiarism, O'Nolan reacting protectively toward his "handiwork" only when he saw the brand "Myles" threatened by congenial stylistic pranks by Montgomery, one of the column's ghost-writers. Joseph LaBine traces the intersections of the 1930s and 1940s texts with the work of William Saroyan, a writer-friend who tried to aid O'Nolan's career overseas, pointing toward a shared poetics of "eccentric, character-based drama."3

The volume's most significant contributions map the enmeshment of O'Nolan's texts with key modernist theories of theater, including nineteenth- and twentieth-century performance practices and institutions. Two of the book's highlights discuss the nexus between O'Nolan, Luigi Pirandello, and Bertolt Brecht. While Pirandello's influence on O'Nolan had long been surmised, though never systematically charted, Neil Murphy treats both as part of...

Flann O'Brien: Acting Out ed. by Paul Fagan and Dieter Fuchs (评论)
以下是内容的简要摘录,以代替摘要:评论者 Flann O'Brien: Acting Out ed. by Paul Fagan and Dieter Fuchs Erika Mihálycsa (bio) FLANN O'BRIEN: ACTING OUT, edited by Paul Fagan and Dieter Fuchs.科克:科克大学出版社,2022 年。xiv + 450 pp.45.00 美元布版。弗兰-奥布莱恩(布莱恩-奥诺兰)的戏剧和电视创作直到最近才受到相对较少的关注,因为其实验性较弱,因此不太适合被纳入晚期现代主义或后现代美学的范畴,或者最近被视为后人文主义或生物政治的先入之见。然而,这位特立独行的作家跨媒体、跨流派的大部分作品都 "演绎 "了往往相互矛盾的潜能,本质上是戏剧性的,包括多重作家身份的表演。由保罗-费根(Paul Fagan)和迪特尔-福克斯(Dieter Fuchs)编著的《弗兰-奥布莱恩:表演》(Flann O'Brien:Acting Out)是科克大学出版社出版的该作家专著系列的第四卷,也是第一部系统评估奥诺兰在现代主义关于(反)戏剧性的辩论背景下或在表演的制度框架内的多变作品的长篇研究。在《游泳--两只鸟》(At Swim-Two-Birds )一书中,叙述者在其戏谑的民主小说宣言中,挑衅性地回溯了斯蒂芬-德达鲁斯(Stephen Dedalus)在《艺术家的肖像》(A Portrait of the Artist as a Young Man)中关于戏剧形式优越性的论点,并将小说设计为欺骗性的表演,这就要求采用打破框架的手段来抵消欺骗轻信读者的行为;1 虽然这些手段是在小说中使用的,但它们本质上是(元)戏剧性的,这表明表演从未远离过奥诺兰的恶作剧。奥诺兰写作的主要特点之一是他敏锐的观众意识和对当代爱尔兰观众和评论家角色的持续关注:正如阿兰娜-吉莱斯皮(Alana Gillespie)在她的章节中所展示的,通过融入戏剧技巧,他的散文和新闻作品成为爱尔兰戏剧作品及其观众的 "怪诞重演"(40),触动了教育公众的复兴主义理想,并颠覆性地介入了关于谁应该在现代民主民族国家的文化自我代表中拥有发言权的争论。奥诺兰最持久的戏剧表演是他使用多个假名和面具,约翰娜-马夸特和约翰-格里尼探讨了这一主题;Marquardt 追述了 "Myles na gCopaleen"(279)取代小说家 "Flann O'Brien "的过程,"Myles na gCopaleen "是为《爱尔兰时报》撰写漫画专栏《Cruiskeen Lawn》的作者。奥诺兰的作品,尤其是《克鲁斯肯草坪》,一直被认为是共同创作的产物,体现了强烈的反权威诗学。梅布-朗(Maebh Long)揭示了尼尔-谢里丹(Niall Sheridan)、布莱恩-奥诺兰(Brian O'Nolan)和尼尔-蒙哥马利(Niall Montgomery)工作坊中 "围绕原创、借鉴、身份和继承等理念的灵活性"(21),敏锐地证明了许多基础理念和脚手架、第三名警察》中采用的大部分基础构思和脚手架,即使不完全是虚构策略,也来自三人之间的自由相互接管,包括谢里丹 1939 年的短篇小说《生死攸关》2 中已经预见到的自行车、警察和叙述者炼狱般的来世这一主题。"奥诺兰只有在看到 "迈尔斯 "这个品牌受到专栏鬼才之一蒙哥马利的同类风格恶作剧的威胁时,才会对自己的 "手笔 "做出保护性反应。约瑟夫-拉宾(Joseph LaBine)追溯了 20 世纪 30 年代和 40 年代的文本与威廉-萨洛扬(William Saroyan)作品之间的交集,后者是一位作家朋友,曾试图帮助奥诺兰在海外发展事业,并指出了 "古怪的、基于人物的戏剧 "3 这一共同诗学。本书的两个亮点讨论了奥诺兰、路易吉-皮兰德娄和贝托尔特-布莱希特之间的联系。虽然皮兰德娄对奥诺兰的影响早已被推测,但从未被系统地描绘过,尼尔-墨菲将皮兰德娄和布莱希特都视为奥诺兰作品的一部分。
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来源期刊
JAMES JOYCE QUARTERLY
JAMES JOYCE QUARTERLY LITERATURE, BRITISH ISLES-
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期刊介绍: Founded in 1963 at the University of Tulsa by Thomas F. Staley, the James Joyce Quarterly has been the flagship journal of international Joyce studies ever since. In each issue, the JJQ brings together a wide array of critical and theoretical work focusing on the life, writing, and reception of James Joyce. We encourage submissions of all types, welcoming archival, historical, biographical, and critical research. Each issue of the JJQ provides a selection of peer-reviewed essays representing the very best in contemporary Joyce scholarship. In addition, the journal publishes notes, reviews, letters, a comprehensive checklist of recent Joyce-related publications, and the editor"s "Raising the Wind" comments.
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