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- Cuinneagain, Eoin O.
(author)
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The Darker Side of Jonathan Swift : On the Coloniality of Being in A Modest Proposal (1729)
- 2023
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In: Estudios Irlandeses. - : Spanish Association for Irish Studies (AEDEI). - 1699-311X. ; :18, s. 11-27
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Journal article (peer-reviewed)abstract
- This article reads A Modest Proposal from the darker side of the westernised/anglicised Enlightenment. Firstly, it critically engages with the proclivity within the Anglocentric academy to celebrate English language literary figures associated with "The Enlightenment" in Ireland without a questioning of their role in the colonial project and in shaping its discourses of racism and sexism. Secondly, it focuses on how, from an Irish decolonial perspective, Jonathan Swift can be understood as a manager of the colonial racial/patriarchal matrix of power. Thirdly, it argues that the satire written by Jonathan Swift should be understood as an Anglocentric geo-cultural category and may be understood as westernised/anglicised Enlightenment satire. Finally, A Modest Proposal is analysed in terms of the exceptionality principle of irony, Swift's project of improvement and salvation of the colonised, and modernity/coloniality's rhetorical promise yet inability to solve the problems it produces.
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| 4. |
- Gray, Billy, 1961-
(author)
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“A thrilling beauty”? : Violence, Transcendence and the Shankill Butchers in Eoin McNamee’s Resurrection Man
- 2014
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In: Estudios Irlandeses. - 1699-311X. ; :9, s. 54--66
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Journal article (peer-reviewed)abstract
- The Shankill Butchers, a small group of Ulster Volunteer Force (U.V.F.) members based in aprotestant enclave in Belfast called the Shankill Road during the 1970’s, acquired areputation for indulging in pathological violence to a degree unparalleled in the annals of‘Troubles’ related murders. Led by a prominent U.V.F. member called Lenny Murphy, theShankill Butchers became notorious for the kidnapping, torture and murder of randomlyselected Catholics. As Conor Cruise O´Brien has noted, the Shankill Butchers “remain uniquein the sadistic ferocity of their modus operandi” and according to Feldman, the extremity oftheir actions push all conventional notions of violence in Northern Ireland to the backgroundand mark an “outer limit” in relation to what he terms “the symbolics of sectarian space andthe radical reduction of the Other to that space”.Eoin McNamee’s Resurrection Man, while unable to lay claim to being the first literaryinvestigation into the atrocities carried out by Lenny Murphy and his associates, isnevertheless a text which has been accorded the greatest degree of critical attention in relationto the controversial manner in which it has attempted to remediate the Shankill Butcherlegacy. My paper will attempt to prove that the novel’s metafictive universe, self-consciousreflectivity and innovative generic hybridity, represents an attempt to transcend the spatialborders of Northern Ireland in order to present the conflict as an allegory of existential,postmodern alienation. Moreover, the violent psychopathology of the Shankill Butchers is, inMcNamee’s text, of universal as opposed to local, significance. Violence is portrayed as asearch for intimacy and transformation, a performative act that conveys agency in a worlddefined by virtual reality
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- Persson, Åke, 1959-
(author)
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"Where love can have its way" : conformity versus resistance in Brendan Kennelly's version of Federico Garcia Lorca's Blood Wedding (Bodas de sangre)
- 2009
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In: Estudios Irlandeses - Journal of Irish Studies. - : Spanish Association for Irish Studies. - 1699-311X. ; :4, s. 69-81
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Journal article (other academic/artistic)abstract
- Considerable critical attention has been paid to Brendan Kennelly's versions of the ancient Greek plays, Antigone, Medea, and The Trojan Women, while his version of Federico Garcia Lorca's Blood Wedding (Bodas de sangre) has largely been ignored. This article examines the ways in which Kennelly's Blood Wedding challenges fixed gender patterns and traditional social codes. Thus, although set in 1930s rural Spain, the play resonates with issues that have for long been central to Irish identity. Linking Lorca's artistic concerns to Kennelly's, and locating the play within areas of great importance to Irish feminism, which questions traditional constructions of womanhood, the article argues that Kennelly's play proposes a resistance to dominant behaviour, represented as highly restrictive, as well as to the unquestioning conformity to oppressive norms that prevent women, and men, from leading fulfilling lives. In other words, the article suggests that the play ultimately voices the possibility of change, the driving force of which lies in a kind of sisterhood. The play therefore takes part in a questioning and a renegotiation of Irish identity.
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| 6. |
- Wrethed, Joakim, 1968-
(author)
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The infinities by John Banville
- 2010
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In: Estudios Irlandeses. - 1699-311X. ; :5, s. 201-202
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Review (other academic/artistic)
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