Edna O'Brien and narrative diaspora space

Given the persistent presence of migration in the work of Edna O'Brien, it is surprising how marginal a theme it is in critiques of her work. This article explores how questions of diaspora have reached a renewed level of depth and intensity in her novel The Light of Evening (2006) and the related short story ‘My Two Mothers’ (2011). Looking, in particular, at how letters play a central role in the relationships of three generations of Irish women across three countries, it analyses how issues of mother(land), diaspora and belonging are mediated through migrant fiction. It draws on the work of Avtar Brah and Paul Ricoeur to argue that, along with related forms of textuality within O'Brien's oeuvre, letters represent a ‘narrative diaspora space’ which illuminates the relationship between mothers, daughters and writing in Irish migrant experience.     

Truth,plausibility, and the virtues of narrative at the millennium

While it is widely understood that medieval historiographers employed the techniques of rhetorical invention in their work, less attention has been paid to the way in which the standard of plausibility, upon which rhetorical invention was premised, could be reconciled with the historian's traditional obligation to tell the truth. This paper examines the ways in which the rhetorical doctrine of narratio probabilis was understood and put into practice by three authors active around the turn of the millennium: Richer of Saint-Rémi, Dudo of Saint-Quentin, and Adalbero of Laon. All three had been trained in the schools of northern Francia in the late tenth century and all reveal a sophisticated understanding of the doctrines of Ciceronian rhetoric, according to which plausible inventions were not seen to be incompatible with historical truth.     

International treaties and art

International treaties shape the legal context for the arts, provide policy tools for political ends, and reveal roles of the arts in state identity. Culture‐specific instruments, general agreements with cultural provisions, general agreements without culture‐specific provisions, and general statements of principle are all pertinent. Since 1990, treaties have intervened in the global division of labor and the entry of works into the art market, forced transformations of domestic law, and illuminated ways in which differences in legal cultures are valuable for those who would break the law. Treaties highlight complexities of national identity, exacerbate national/regional tensions, support restitution, and draw attention to human rights issues. Conflicts over art have also become an explicit part of the world of foreign policy.