EIGSE-A JOURNAL OF IRISH STUDIES最新文献

{"title":"A Life of Their Own: Women's Mid-Life Quest in Contemporary Irish Women's Short Stories","authors":"A. Chang","doi":"10.24162/EI2015-5949","DOIUrl":"https://doi.org/10.24162/EI2015-5949","url":null,"abstract":"Introduction: The Lonely Other Voice There have been some notable, if gradual, changes in many aspects of Irish women's role and life in general since \"the other voice\" emerged in Irish society in the post-Eamon De Valera period from the 1960s. It is evident, possibly inevitable, that these changes in Irish women's lives are echoed in contemporary Irish women's stories, some writers of which are self-declared feminists or have engaged actively with the Irish women's movement. (1) Consequently, their literary works tend to be gynocentric, concerned overtly with women's issues and seek explicitly to give voice to women's quest for justice within male-dominated Irish society. This essay evaluates a recurrent motif in stories by Clare Boylan, Eilis Ni Dhuibhne, Stella Mahon, Mary Dorcey and Marilyn McLaughlin, the motif of \"quest\". As opposed to the traditionally male genre of the \"monomyth\" or \"Bildungsroman\", Irish women's quest motif is about a heroine who embarks on a different kind of adventure with the aim of achieving a different kind of goal. (2) This female quest involves subversion of the social norm, rebellion against a socially prescribed role and destiny, and reclamation of a lost place within Irish society. This essay argues that Irish women's stories serve both as a vibrant narrative genre within Irish literary tradition, and as a strategic device by Irish women writers who are seeking to engage with a collective, and evolving, Irish feminist awareness. Typically, such stories focus on women who start by accepting passively a socially imposed role and life as wife or mother, subsequently become \"bad\" by diverging from the traditional patriarchal view of women's role in Irish society, and undergo, ultimately, a transformative inner journey of self-discovery which leads them towards emotional independence and individuality. The short story genre as a strategic narrative device for Irish women has roots in Ireland's literary tradition and heritage. According to Frank O'Connor, the short story in an Irish literary context is a \"natural form\" deriving from the Irish storytelling tradition \"embedded in the Irish psyche\" (Casey 1990: 9), a genre associated closely with Irish history as well as with Irish women's writing. The short story is considered to be a \"natural progression of story-telling, letter-writing, diary-keeping, and even school essay-writing\", forms of writing with which women were already familiar in their lives (Madden-Simpson 1984: 13, 18). The skills and techniques inherent in the short story medium are also relevant when seeking to reach a broad and diverse audience through printed, visual or social media. (3) Traditionally, the short story also plays an essential role in Irish culture and politics. (4) O'Connor argues also that the short story is a vital expressive tool for the \"submerged population\" of a country, such as Ireland, in a post-colonial state (O'Connor 1963: 20). In the light of Frank O'Connor's view, Colm To","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"128 1","pages":"33-44"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75278876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Terrys in Spain and Latin-America: Exile and Rise of an Irish Merchant Family","authors":"Beatriz García-Álvarez de la Villa, K. Terry","doi":"10.24162/EI2015-5887","DOIUrl":"https://doi.org/10.24162/EI2015-5887","url":null,"abstract":"Introduction In recent years the role played by foreign families in the modern and contemporary history of Spain has been increasingly recognized by historians (Oscar Recio 2012). The most numerous groups were French, Genoese, Flemish and Irish who settled in colonial Cadiz during the 17th and 18th centuries. According to Bustos (2005: 141), the Irish community represented 18 percent of foreigners in Cadiz by 1750 and were the third most important colony after the Genoese and French. This work traces the history of a noble Irish family from Cork, the Terrys, since 1600. Following a long family tradition marked by a strong influence in commercial, civil and ecclesiastic affairs in their home country, the Terrys lost power and most of their possessions during The Cromwellian wars. This prompted a number of them to go into exile to Spain during the first half of the 18th century, where they achieved remarkably rapid social and economic ascent. Particular attention is given to the origin and accomplishments of some prominent Terrys in military, diplomatic, and commercial affairs in 18th and 19th century Spain. Our study of the genealogy of these Terrys in Cadiz and Malaga illuminates their origins and family relationships. Three family branches can be distinguished: two of which arrive in Cadiz directly from Ireland, whereas a third branch came from Genoa. Historical Context of the Early 17th Century: The Constitutional Struggle (1603-1641) In 1600, there were three distinct groups in Ireland, Gaelic Irish, Old English and New English. (1) The vast majority of Gaelic Irish were rurally based. Towns were not characteristic of Gaelic lordships, except for Episcopal centres and the unusual exception of the O'Reilly's settlement at Cavan (Foster 1988: 16). The towns existing in 1600 were often imposed on older foundations or sited at a port or estuary. Franchises and liberties were extensive by English standards. The freemen of these towns tended to be aristocratic merchants rather than craftsmen: Old English burgher families or local gentry who had migrated inside the walls. On Queen Elizabeth's death, James VI of Scotland became King James I of England. James was a son of the Catholic Mary Stuart. In expectation that he would show himself well disposed towards his mother's faith, the Irish recusants, i.e. those who refused the Oath of Supremacy of the King (or Queen) as Head of the Church, looked forward hopefully to his reign. It was among the Old English, and not among the natives, that this expectation was highest (Beckett 1966: 46).This was the case in Cork City, where the delay in proclaiming the new King was intended to impress upon the new monarch the seriousness of the opposition of Catholics to the law compelling them to attend Protestant worship. One of the ringleaders to the opposition was Edmund Terry (2) (Hackett 2001: 116). Traditionally, the Old English had held themselves aloof from the conspiracies and rebellions of the Gaelic Irish. B","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"4 1","pages":"69-81"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91307230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Representing the Irish in Russell Banks's Cloudsplitter. Swift's American Resonances?","authors":"L. Schuhmacher","doi":"10.24162/EI2015-5971","DOIUrl":"https://doi.org/10.24162/EI2015-5971","url":null,"abstract":"Introducing Cloudsplitter, the novel Race is at the centre of Cloudsplitter, Russell Banks's award winning grand scale novel (1) that that tackles the issue of slavery in the troublesome years before the American Civil War. The life and strife of the abolitionist--hero or villain--John Brown constitutes the leitmotif of this epic narration, which spellbindingly reveals his religious and ethical motivations that eventually resulted in actual confrontation. As Anthony Hutchison states: \"Aside from William Faulkner it is difficult to think of a white twentieth-century American writer who has negotiated the issue of race in as sustained, unflinching and intelligent a fashion as Russell Banks\" (2007: 67). While the author is, indeed, fully sympathetic with the blacks as an oppressed and outcast community, and while his work pivots on them, the sometimes critical stance when dealing with other social and ethnic groups, such as American Indians and the Irish, offers insight into the racial and cultural complexity of the United States. The historic figure of the radical abolitionist John Brown looms large throughout the 750 pages of this work, written in the mode of neo-or postmodernist realism. (2) In response to the challenge the reader is confronted with at the blurred line between fiction and reality, Banks insists: \"It's a novel, not a trial transcript; and Brown is a fictional character in the novel, not a real person. I wasn't trying to write his biography\" (Faggen 1998: 50-88). In the narrative voice of Brown's third son Owen, the story presents the protagonist's and his family's life between the 1830s and the 1850s, focusing on his character and motivations. Monomaniacal, obsessed with the idea to eradicate slavery, driven by what nowadays would be considered religious fundamentalism, not unlike Melville's captain Ahab, John Brown's \"all-consuming idea, of course, is the destruction of the 'white whale' of slavery\" (Hutchison 2007: 68). Owen had been his father's right hand in the Kansas Wars of the 1850s, and was also involved in the raid on Harpers Ferry (1859), in which several of his brothers were killed. The failure of this action resulted moreover in his father's execution, thus marking the beginning of the legend around his figure. It is around fifty years later, towards the end of the nineteenth century, that Banks's metafictional narrative unfolds in form of a supposed memoir. The now elderly Owen is urged by Katherine Mayo, a researcher for the editor of The Nation, Oswald Garrison Villard, (3) to reveal his recollections and thus to help shed further light on his father's character. Though initially adamant in his refusal, Owen eventually warms up to the project, seizing the opportunity to contribute to correcting the image biased by a blend of myth and imagination that has been built up around his father. However, this will also entail a tortuous process of introspection for Owen, as he tries to come to moral terms with his past. Emo","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"26 1","pages":"172-183"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74641587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"What's in a Name? Reading the Character of Mary/Moira in Jane Urquhart's Away","authors":"Audrey Robitaillié","doi":"10.24162/EI2015-5977","DOIUrl":"https://doi.org/10.24162/EI2015-5977","url":null,"abstract":"Introduction Jane Urquhart's Away (1993) is centred on the character of Mary, who is thought to be \"away with the fairies\", in a context of Famine and emigration. The novel, starting on Rathlin Island in the north of Ireland, ends in Ontario, and thus highlights the double meaning of its title. As a young woman on the island, Mary finds a dying sailor washed ashore after a shipwreck. Believing that he comes from another world, she falls in love with him and decides that her name has changed: \"she recognized, immediately, that he came from an other world island, assumed that he had emerged from the water to look for her, and knew that her name had changed, in an instant, from Mary to Moira\" (Urquhart 2002: 8). From then on, she is considered \"away\" by the rest of the community, that is, \"away with the fairies\", gone to the Otherworld. In the islanders' minds, the being who wanders on the shore and speaks to no one but the sea is not Mary but a changeling, a substitute for the stolen woman. She later marries a schoolteacher, Brian O'Malley, to whom she bears a child, Liam. During the Great Famine, the family is forced to emigrate to Canada, where a daughter, Eileen, is born. The narration focuses alternatively on Mary, Eileen and the latter's granddaughter, Esther, spanning four generations of women who have, one way or another, been \"away\". The Canadian writer plays on the meanings of the word itself to raise issues of belonging and identity in her fourth book. The very fact that the protagonist of the novel changes her name at the start of the narrative prompts the reader to wonder what the significance of this name is. In the same fashion that Urquhart plays on the various meanings of the term \"away\" for the title of her novel, it seems that the numerous connotations of the name Mary/Moira are used by the author to develop a postcolonialist stance. Postcolonialism is a political, social and cultural movement which aspires to look back on the colonial years with a new focus, not on the coloniser and dominant power any more, but on the oppressed and repressed peoples and cultures. Postcolonialism has thus seen a renewed interest in local cultures, languages, folklore, etc., which is also a feature of nationalist movements. The postcolonial current is characterised by a focus on the disempowered minorities, and on the effects of colonialism. Urquhart wrote Away from a perspective which criticises the colonial takeovers of Canada and Ireland (Sugars 2003: 5), though admittedly rather problematically (Goldman 2010: 133), while looking for a way of reconciling the various heritages brought together by colonisation. According to Libby Birch, \"Urquhart draws on themes of muted cultures who can know a rebirth and thus emulates Lady Gregory and Yeats who play a vital role in effecting the Celtic revival in Ireland\" (Birch 1997: 118). The novel indeed focuses on the Irish immigrants to Canada and their interaction with indigenous peoples, rather than with ","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"41 1","pages":"163-171"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86848718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Interculturalism in Sam Najjair’s account of the battle for Tripoli: Soldier for a Summer","authors":"Marie Louvet","doi":"10.24162/EI2015-6200","DOIUrl":"https://doi.org/10.24162/EI2015-6200","url":null,"abstract":"We, here in our internment camp, greet the 1st September revolution and its leader, Colonel Mu'ammar al-Qhadafi. The voice of this leader reaches us despite the solitary confinement cells and the prison guards. [...] Long live the Arab-Irish struggle. Libyan radio Voice of the Arab Homeland, 22 December 1976 This message of support for Muammar Gaddafi's pan-Arab and quasi-socialist aspirations emanated in 1975 from republican prisoners in the Maze prison in Northern Ireland. It was read on the official Libyan radio Voice of the Arab Homeland one year later, as part of the propaganda celebrating the anti-imperialist convictions of the Libyan regime a few years after Gaddafi came into power following the 1969 coup against King Idris. (1) Simultaneously with the radio announcement, An Phoblacht, the Irish republican newspaper, was publishing extracts from Gaddafi's Green Book promoting his model of direct popular democracy, based on the participation of grassroots popular committees. (2) The striking contrast between the republicans' enthusiasm shortly after Gaddafi seized power in the 1970s and the general discredit at the moment of his fall in 2011 resulted from a reign associated with despotism, corruption and widespread oppression of the people. In Soldier for a Summer, Irish Libyan Sam Najjair gives a detailed account of his participation in the Libyan revolution against Gaddafi in 2011, while making a point of explaining his motives to the general public, in particular to Irish readers. In the narrative, he conjures up the memory of the republican commitment of his Irish grandparents to anti-imperialism. After 40 years of the Gaddafi dictatorship, the republican ideal was intact but the old Libyan ally had become an enemy to destroy. Comparisons between the Irish struggle to obtain independence from Britain and conflicts in the Arab world have been commonly deployed by militants since the end of the 1960s (Louvet 2016), but one striking feature in Sam Najjair's autobiographical work is the extent to which interculturalism pervades the narrative of the man born in Ireland to an Irish mother and a Libyan father. Interculturalism results from an interaction between different cultures and announces the possibility of the emergence of a new form of cultural expression and identity. As such, interculturalism can be observed in particular as an outcome of immigration, with the second generation of immigrants being steeped in two cultures and trying to reconcile them in the narrative of the self to build a sense of identity. In the case of second-generation immigrants, autobiographical narratives are written testimonies of the process of conciliation and reconciliation at play in \"minor literature\" in the words of Deleuze, that is to say emerging from a minority living among a majority culture and whose main three characteristics are the deterritorialization of the language, the connection of the individual and the political and collective arrangement","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"27 1","pages":"82-92"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87360247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A \"Distant Music\": Invoking Phantasmagoria in Joyce's \"The Dead\"","authors":"Julio Ángel Olivares Merino","doi":"10.24162/EI2015-5990","DOIUrl":"https://doi.org/10.24162/EI2015-5990","url":null,"abstract":"1. Summoning Deadness and its Spectrality: The Story's Foundations Epitomizing notions of paralysis, exile or return to the origin, James Joyce's \"The Dead\" frames an unstable rendition of identities which transcends any categorization based on discriminative traits or fixed archetypes. The narrative resorts to an ambivalent and dynamic method or taxonomy both concealing the immediate and showing the invisible or delayed. In fact, this \"novella\" (1) about death, alienation and life renewal combines realist and antirealist segments which result in a discontinuous and disruptive flow yet bearing balance, cohesion and coherence. Joyce's text blurs reality, pressing against and beyond tangibility, displacing its livid scenes to covertness, while invoking phantasmagoria to erase the limits between the immediate signs of physicality and the supplement invisibility. The text destabilizes the normal automatized reading, involving fluctuations, \"cross-overs, the blurring of boundaries, mergers and exchangers of position\" (Riquelme 1994: 228). A close analysis of this narrative proves it is resourceful to view it in a poststructuralist sense, away from any reductionist reading, and, more concretely, adopting a deconstructive interpretation. The latter is specially pertinent in a story playing with contradiction and binary oppositions (differance), but ultimately illustrating the convergence of institutionalized or dominant centers of meaning and their corresponding devalued or subliminal margins. (2) We can read \"The Dead\" as a marked semantic free play and inversion of roles between the aforementioned legitimized center --in this case, the living, who are made deferred--and those excluded or peripheral the concealed dead, who float to the surface to finally settle mutuality. In other words, deconstruction in this work does not bring a new hierarchy, reversing or destroying the previous one--the average living Dubliners dominating over those already gone--, but dismantles the opposition between the living and the dead, the present and the past, creating a balance between the traditionally superior terms and the inferior ones (Murfin 1994: 208). \"The Dead\", consequently, stands as a ghost story Joyce himself referred to it that way (Wheelan 2002)--in which the others, the immaterial legions of the deceased and those remnants of the past are summoned and endowed with presence, replacing the moribund living, though, in essence, what remains is an exchange of properties between both modes through balancing phantasmagoria. In a story where referentiality seems to be \"subtle\" and \"atmospheric\" (Kelleher 1965: 433), the substance of things is understood \"from its shadow\" (Benstock 1969: 150). This strategy dynamizes the center of meaning by legitimizing the validity of the ostensible opposites, not mutually exclusive as a result, and having both interacting in a palimpsest of undecidability and equivocity of identity (Riquelme 1994: 219). The same principle appli","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"28 1","pages":"132-148"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89462300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Power, Gender and the Nation: Negotiations of Belonging in Evelyn Conlon’s Short Story “Park-Going Days”","authors":"M. D. Río","doi":"10.24162/EI2016-6011","DOIUrl":"https://doi.org/10.24162/EI2016-6011","url":null,"abstract":"Introduction During the decades following the Civil War, the Government of Ireland devoted itself to reconstructing a nation that had been a colony for several centuries. Aided by a protectionist national policy, the State cultivated its own rigid and uncompromising version of Republican Motherhood based on a self-sacrificing attitude that would put the good of the nation above any personal desire (Valiulis 1995, 2011). That political, economic and ideological process served to revive the old concept of \"Mother Ireland\" which took a new shape under the dictates of the State and the Catholic Church. Thus, in the central decades of the 20th century, the feminine icons of Mother Church and Mother Ireland were presented as conduct models to follow to the extent that women were \"actively interpellated as national subjects through identification with territory, soil, land and landscape\" (Gray 1999: 205). In practice, that meant a tough legal and moral control over the Irish population founded on traditional patriarchal values. According to Heather Ingman, \"nations construct their identity around fixed concepts of gender\" (2007: 3), and Ireland has been no exception as, for too many decades, the social status of women was framed by institutions that oppressed them one way or another. These institutions, identified as family and household structures, and employment and welfare policies, were supported in the 1937 Constitution. More particularly, in terms of employment, by 1926 only 6% of married women were working outside the home and this figure remained low until the 1960s (O'Dowd 1987: 27). Consequently, the vast majority of the married women were economically dependent on their husbands what inevitably had an impact on their personal autonomy and agency. Accordingly, a series of laws designed to seclude women and mothers in the home were passed in the 1920s and 1930s (Steiner-Scott 1997). At the same time, all sorts of violent behaviour were secluded within the walls of the home and socially perceived as domestic affairs. Legal attention to the matter had to wait until 1996 when the Domestic Violence Act was passed. In response to that multi-tiered repressive context, women exerted many forms of negotiation to accomplish some degree of agency. For example, Gray and Ryan (1997), O'Keefe (2013) and Walter (2014) among others, have indicated that the main causes of migration among women were poor labour conditions and dismal social prospects and dissatisfaction or disagreement with certain aspects of Irish society and morality. Unlike other European nations, it all led to a higher rate of female than male migration in the central decades of the 20th century (Walter 2004). Those women who remained in the island were ideologically, economically and socially pushed to become wives-and-mothers. Contrary to this mandate, many of them found ways to contest the norms, as Inglis has summarized: For most of the last century they had (in comparison with other Wes","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"31 1","pages":"12-22"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85126520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The Familiar Style of Decaying Colonial Powers\": Irish National Newspapers and Portugal's Colonial Wars, 1961-1974","authors":"Jean N. F. Mercereau","doi":"10.24162/EI2015-6164","DOIUrl":"https://doi.org/10.24162/EI2015-6164","url":null,"abstract":"Salazar's Estado Novo dictatorial regime in Portugal was the object of particular attention in many European countries, especially in its early stage, between the new Constitution of 1933 and the end of World War II in 1945. In Ireland, Salazar's early recipes were then widely considered as a potential panacea that had allegedly contributed to putting the country back on track after years of political and economic crisis following the demise of the Republic in 1926. On 4 December 1941, at a time when both Ireland and Portugal were maintaining their neutrality during World War II, and as Dublin was about to open its first diplomatic representation in Lisbon (2) (Meneses 2005: 16), Eamon de Valera, then Taoiseach for almost a decade, made the following statement in the Dail (Irish Parliament): Portugal is a neighbouring country. In certain respects, her geographical situation and her attitude in relation to the present conflict are similar to our own and, no doubt, the problems which confront the two countries, particularly at the present time, have also many points of resemblance. We have all heard of the great advance which Portugal has made under the leadership of her present Premier, Dr. Salazar. The progressive and Christian manner in which the Portuguese Government is handling its economic and other domestic problems has attracted attention and admiration throughout the world and not least, I think, in this country. (3) With these words, de Valera was not so much reaffirming his own respect and admiration for the Portuguese leader, with whom he shared many characteristics (Meneses 2009: 354), as echoing the general praise of Salazar's handling of Portugal and of the alleged \"Christian manner\" of the Estado Novo expressed in Irish nationalist newspapers throughout the 1930s (Mercereau 2013: 144, 145). However, from the mid-1940s onwards, Ireland gradually lost interest in the Portuguese situation to such an extent that, when Portugal's colonial wars eventually broke out in the early 1960s, de Valera's Ireland and Salazar's Portugal, despite their numerous common characteristics, had been drifting apart for over a decade and were left with very little in common. More importantly, Portugal's determination to cling to its colonies went against what Ireland largely stood for since it had become a member of the United Nations in 1955, and would remain at the heart of growingly irreconcilable differences between both countries through the following decade. This article, which is part of a wider research project about Ireland's views on Salazar's Estado Novo dictatorship in Portugal (1928-1974), focuses on the later years of the dictatorship. Although there have been studies comparing the Portuguese Estado Novo in the 1930s with other European countries then governed by dictatorial regimes (particularly Franco's Spain, Hitler's Germany or Mussolini's Italy), few studies have focused on the relationship between Ireland and Portugal throughout the four","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"37 1","pages":"108-117"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89983960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Dublin Traitors” or “Gallants of Dublin” The Argentine Newspapers and the Easter Rising","authors":"Mariano Galazzi","doi":"10.24162/EI2015-6098","DOIUrl":"https://doi.org/10.24162/EI2015-6098","url":null,"abstract":"\"Sir Roger Casement Captured off Irish Coast\". This was the main headline of the front page of Buenos Aires Herald on 25 April. The first article on that page gave detailed information about the arrest of \"the arch-traitor\" and, at the end, a subtitle \"Capture of Dublin!: Amazing New York Story\", under which it was succinctly reported that it was \"also announced that the Irish volunteers have captured Dublin and are holding it\". The same happened in other Argentine daily newspapers, like La Nacion, La Prensa and The Standard: the first news of that key week in Ireland was about the former British diplomat and his failed landing of weapons, with a brief reference to unconfirmed news about problems in Dublin. The Standard even gave this latter cable the title \"A Stupid Rumour\", and added at the end: \"Ed. Note: Our readers will understand this to refer to the insignificant Sinn Feinn [sic] movement described in other cables\" (p. 13). But during the following days the news about Casement received less attention: the Easter Rising occupied an important place on Argentine newspapers until the end of the executions of its leaders on 12 May. (1) The next pages will analyse the treatment of this news by some Buenos Aires papers: La Prensa, La Nacion, and Critica, which were printed in Spanish; and The Standard, the Buenos Aires Herald, and The Southern Cross, published in English. (2) The Argentine newspapers examined By 1916 La Prensa (1869) and La Nacion (1870) had been published for more than forty years and had grown \"to be among the great daily papers of the world\" (Murray 1919: 307). They belonged to the Paz and Mitre (3) families, respectively: in 1916 Jorge Mitre was the director of La Nacion, and Ezequiel Paz of La Prensa. More recently, Natalio Botana had founded Critica (1913-1962), an innovative newspaper of sensationalist tones (Beltran 1943: 257-63 and 279; Fernandez 1943: 113-22; De Marco 2006: 310-5 and 319-22). Britain was an important topic in these newspapers. For example, in the case of La Prensa, \"not only is all local news fully chronicled, but its correspondents all over the world send articles of great literary merit. The letters from the London correspondents, Mr. H. Nield and Sr. Ramirez [sic] de Maeztu, show perfect knowledge of all British movements, the lengthy articles from the pen of the latter showing a deep acquaintance with all phases of thought in Great Britain\" (Pennington 1910: 284). (4) This is not surprising since Argentina in the early 20th century has a clear relationship to the western world. Its ruling classes admired and tried to imitate from France its culture, from England the economic development, and from Germany its militarism ... In 1914 the Third National Population Census was conducted; it reported a total of 7,885,237 inhabitants, of which 2,357,952 (30%) were foreigners, most of them Spaniards and Italians (Ramirez Bacca 2015: 192). The pro-British attitude was related as well to the fact that \"[t]here","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"29 1","pages":"56-68"},"PeriodicalIF":0.0,"publicationDate":"2016-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89179111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Writing the Naked Body: Sex and Nudity in Nuala Ní Chonchuír’s Nude","authors":"Máximo Aláez Corral","doi":"10.24162/ei2016-6193","DOIUrl":"https://doi.org/10.24162/ei2016-6193","url":null,"abstract":"Introduction John Berger says about the female nude in painting: \"She is not naked as she is. She is naked as the spectator sees her\" (1972: 50). Berger's work directly addresses the differences between nakedness and nudity, especially when connected with voyeurism, and was one of the first efforts to bring awareness to the phenomenon of objectification--i.e. treating a subject as an object--of women in art. Sexual objectification has been analysed repeatedly from different perspectives, but probably the feminist approach remains the more interesting, even despite the high level of diversity and occasional confrontations deriving from each analysis within the feminist methodological paradigm. Laura Mulvey also established a cornerstone in the critical analysis of the male gaze and objectification of women in Hollywood's classic cinema with her 1975 essay \"Visual Pleasure and Narrative Cinema\". (1) A couple of decades later, Martha Nussbaum (1995) defined the basic ingredients in the production of objectification in her analysis of texts by several authors, ranging from D.H. Lawrence to James Joyce or Henry James. Nussbaum cited seven key factors or notions for a process of objectification to be complete: \"instrumentality\", \"denial of autonomy\", \"inertness\", \"fungibility\", \"violability\", \"ownership\", and \"denial of subjectivity\" (1995: 257). In between Mulvey's and Nussbaum's essays other feminists released their own analyses of objectification in contemporary cultural manifestations. This was the case of Andrea Dworkin and her book Pornography: Men Possessing Women (1979), or Catherine Mackinnon's Pornography and Civil Rights: A New Day for Women's Equality (1988), written in collaboration with Dworkin. The topic I would like to focus on in this essay, however, is not so much pornography as objectification and the way(s) in which the latter is connected to the representation of nudity, as exemplified in Nuala Ni Chonchuir's (2) collection of short stories Nude (2009). (3) Far from shying away from such a delicate subject-matter, Ni Chonchuir boldly explores the possibilities of representing/narrating the naked body (both male and female), in tight connection with a preference for the sexual reading of the body as it is gazed upon by a far from innocent gendered \"gaze\". It is precisely this particular way of depicting and interpreting the naked body that interests me, for both sexual objectification and the (fe)male gaze are combined in Nude to produce a piece of literature that unexpectedly reverses the orthodox normative dichotomies concerning nudity and at the same time blurs gender differences between male and female \"ways of seeing\". Can we, therefore, identify a 'genuine' non-objectifying gaze in Ni Chonchuir's stories? Probably the best way to find an answer to this question would be to briefly examine some aspects of both (sexual) objectification and the male gaze, in order to reach some insight for the analysis of these evasive stories. T","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"83 1","pages":"1-11"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83989646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}