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The Reimagining Ireland series will soon have one hundred volumes in print; this book brings together a selection of essays from the first fifty volumes, chosen to give a flavour of the diversity of the series. It showcases the work of a talented array of established and emerging scholars currently working in Irish Studies.
"This landmark collection marks the publication of the100th book in the Reimagining Ireland series. It attempts to provide a 'forward look' (as opposed to what Frank O'Connor once referred to as the 'backward look') at what Irish Studies might look like in the third millennium. With a Foreword by Declan Kiberd, it also contains essays by several other leading Irish Studies expertson (among other areas) literature and critical theory, sport, the Irish language, food and beverage studies, cinema, women's writing, Brexit, religion, Northern Ireland, the legacy of the Great Famine, Ireland in the French imagination, archival research, musicology, and Irish Studies in North America. The book is a tribute to Irish Studies' foundational commitment to revealing and renewing Irishness within and beyond the national space"--
The number of people experiencing homelessness is rising in the majority of advanced western economies. Responses to these rising numbers are variable but broadly include elements of congregate emergency accommodation, long-term supported accommodation, survivalist services and degrees of coercion. It is evident that these policies are failing. Using contemporary research, policy and practice examples, this book uses the Irish experience to argue that we need to urgently reimagine homelessness as a pattern of residential instability and economic precariousness regularly experienced by marginal households. Bringing to light stark evidence, it proves that current responses to homelessness only maintain or exacerbate this instability rather than arrest it and provides a robust evidence base to reimagine how we respond to homelessness.
This book explores the differences between 'high' and 'low' cultures in an Irish context, arguing that these differences need constant redefinition. It examines the boundary between élite and popular culture using objects of study as various as canonical Irish literature, postcards, digital animation, surfing and the teaching of Irish mythology.
This landmark collection marks the publication of the 100th book in the Reimagining Ireland series. It attempts to provide a «forward look» (as opposed to what Frank O'Connor once referred to as the « backward look») at what Irish Studies might look like in the third millennium. With a Foreword by Declan Kiberd, it also contains essays by several other leading Irish Studies experts on (among other areas) literature and critical theory, sport, the Irish language, food and beverage studies, cinema, women's writing, Brexit, religion, Northern Ireland, the legacy of the Great Famine, Ireland in the French imagination, archival research, musicology, and Irish Studies in North America. The book is a tribute to Irish Studies' foundational commitment to revealing and renewing Irishness within and beyond the national space.
This book examines film versions of Irish myth, lore, and legend, concentrating particularly on stories which encompass the life journey of the hero, as proposed by Carl Jung and adapted by Joseph Campbell. The films analysed include Into the West, In America, The Quiet Man, The Wind That Shakes the Barley, Veronica Guerin, and In Bruges.
Reading Paul Howard: The Art of Ross O’Carroll Kelly offers a thorough examination of narrative devices, satirical modes, cultural context and humour, in Howard’s texts. The volume argues that his academic critical neglect is due to a classic bifurcation in Irish Studies between high and popular culture, and will use the thought of Pierre Bourdieu, Sigmund Freud, Mikhail Bakhtin and Jacques Derrida to critique this division, building a theoretical platform from which to examine the significance of Howard’s work as an Irish comic and satirical writer. Addressing both the style and the substance of his work, this text locates him in a tradition of Irish satirical writing that dates back to the Gaelic bards, and includes writers like Swift, Wilde, Flann O’Brien and Joyce. Through textual and contextual analysis, this book makes the case for Howard as a significant and original voice in Irish writing, whose fusion of the three traditional types of satire (Horatian, Juvenalian and Menippean), has created a parallel Ireland that shines a satirical light on its real counterpart. As Freud suggests, humour is a way of accessing aspects of the psyche that normative discourses cannot enunciate, and Howard, through the confessional voice of Ross, offers a fictive truth on twenty years of Irish society, a truth that is not accessed by discourse in the public sphere or by what could be termed literary or high cultural fiction.
This engaging, personal chronicle by Irish poet Gerald Dawe explores the lives and times of leading Irish writers, including W.B. Yeats, Elizabeth Bowen, Samuel Beckett and Stewart Parker, alongside lesser-known names from the earlier decades of the twentieth century, such as Ethna Carberry, Alice Milligan, Joseph Campbell and George Reavey. It also portrays the changing cultural backgrounds of the author’s contemporaries, such as Derek Mahon, Eavan Boland, Eileán Ní Chuilleanáin, Colm Tóibín, Leontia Flynn and Sinéad Morrissey. Gerald Dawe presents an accessible view of modern Irish literature, filtered perceptively through his own distinctive lens, and raises important questions about cultural belonging, the commercialisation of contemporary writing, and the influence of Irish literary culture in a digital age. In this lyrical exploration of national identity, The Wrong Country repositions our understanding of modern Irish writing in a wider context for today’s readers.
Revolutionary bodies provides a detailed study of the erotics and politics of the male body in Irish fiction. Some of the authors discussed in the book include: Oscar Wilde, Brendan Behan, John Broderick, Colm Tóibín, Keith Ridgway, Jamie O’Neill, Micheál Ó Conghaile and Barry McCrea. The book critically analyses the emergence of contemporary Irish gay fiction since 1993, especially its most notable genres: the coming out romance and the historical romance. It assesses the role of the novel in the evolution of Irish LGBT politics, mapping a literary and cultural space where the utopian aspirations of sexual liberation have clashed with the reformism and neo-liberal political rationality of identity politics. Revolutionary bodies offers a unique critical intervention into our understanding of queer Irish cultures in the wake of the 2015 referendum and the Varadkar election.