Challenging Englishness from the racial margins: William Macready's Irishman in London; Or; The Happy African

William Charles Macready's farce The Irishman in London; Or; The Happy African (1792) can be read as an exploration of Englishness in its relationship to Irishness as presented on the London stage in the period following the French Revolution. This article examines Macready's play as a critique of the common identification of Irishness with blackness that uses stock characters and attitudes to examine English identity. Through a marriage plot displaced from the traditional romantic heroes onto their Irish and black servants, we see English as a commercial identity rather than a cultural one. Linking race to culture and culture to nationality, Macready's play presents Irishness and blackness as culturally rich while calling into question the content of Englishness.     

A Land and a People of Extremes – Ireland and the Irish in German Cinema

Irish film history has often been seen as a pragmatic “creative bricolage” that draws almost exclusively on images of Ireland and Irishness that have emanated from the cinema industries of the USA and the United Kingdom. Yet, Ireland has also featured in the film industries of other non-Anglophone countries and the images produced in these contexts also represent an element within the vast and extensive archive of Irish filmic images. This article writes the first chapter in the expansion of Irish film history by examining the depiction of Ireland and Irishness in German film. Ireland and the Irish, not unlike the Anglo-American gaze, are depicted as a people and a land of extremes marked by an intensity of emotion, nationalism, Catholicism and alcohol, while extremes of poverty and wild untameable landscapes also feature prominently.     

“Hugon come erindwards”: Finnegans Wake and Ireland’s Huguenots

This paper analyses the rich variety of allusions to the Huguenots in Finnegans Wake, and considers the reasons for Joyce’s interest in this group of Protestant émigrés. Joyce makes several references to the Saint Bartholomew’s Day massacre, the apotheosis of Huguenot persecution at the hands of the French Catholics, and he draws analogy between their experience and that of other groups of heretics and dissenters. Joyce celebrates the social, commercial, and cultural impact made by the migrants and their descendants, which was disproportionately great for the size of the diaspora. I argue that there are several reasons for Joyce’s engagement with the Huguenots. Their story of sectarian persecution, dispossession, and exile recalls the Irish Catholic experience, but it offers balance to the narrative of Catholic victimhood in depicting a Protestant group that suffered comparable oppression. Most importantly, the remarkable success with which the Huguenots integrated into Irish society offers a positive model for the plurality that Joyce espoused throughout his writing career, culminating in his final work.     

George Egerton,James Joyce and the Irish Künstlerroman

George Egerton (Mary Chavelita Dunne, 1859–1945), from Co. Laois, was the New Woman author most closely associated with the Decadent movement. As such, she was also the New Woman writer most profoundly affected by the downfall of Oscar Wilde. After the Wilde trials of 1895, Egerton's connection to Decadence and New Womanhood would make her work anathema to much of the British public. This essay will argue that ongoing tendencies to situate her texts solely within the New Woman categorisation and an English cultural location have had the detrimental effect of obscuring their importance to a specifically Irish literary tradition. By examining Egerton's 1898 novel The Wheel of God, focusing on its status as an Irish Künstlerroman written from a position of exile, and drawing comparisons between it and the works of James Joyce, this essay will seek to redress this imbalance.     

Performing identities: music and dance in the Irishcommunities of Coventry and Liverpool

This article will examine how British-born second- and third-generation Irish people use Irish music and dance in the production of an Irish cultural identity. The article draws on research undertaken with members of the Irish communities in the English cities of Coventry and Liverpool. The research was conducted with music and dance practitioners in Liverpool who strongly identify as Irish and also with schoolchildren in Coventry whose parents or grandparents were born in Ireland. The paper first explores the comments of the Liverpool respondents and points to how music and dance can offer a space in which different generations can mark out their affiliation or embody their Irishness. Secondly, the paper considers interview work with schoolchildren in Coventry, concentrating on their responses as listeners to Irish traditional music. Their comments point to the capacity of this music to resonate with multiple, even conflicting, productions of Irishness. The comments of all the respondents raise key debates about authenticity and the construction of identity.     

“Celticism,ballad transmission,and the schizoid voice: Ossianic fragments in Owenson,Yeats, Joyce,and Beckett”

ABSTRACT

This essay surveys responses to Macpherson’s Ossian in Irish literature, alongside analysis of the development of literary Celticism. Despite being a key text behind the development of Celticism in Irish writing, Ossian is consciously rejected in Irish Romanticism and in the Celtic Revival. However, Ossian becomes a symbol of literary recycling and mental fragmentation in Irish Modernism. Texts studied in this essay include Owenson’s The Wild Irish Girl, Joyce’s Finnegans Wake, and Beckett’s Murphy.     

Just this Once: urban Ireland in film

By focusing on the city of Dublin as both setting and character, Once, written and directed by Dublin native John Carney, portrays urban Ireland in the global context. Using a series of replacements – replacing population loss with in-migration, and replacing parochial ideals with multicultural ones – the film re-places Dublin, both representing the city it has become and providing space for continuing growth and change. For Dublin, as elsewhere, change enters as global flows of information and people become part of the city. Rather than conforming to the traditional global power of American culture, Bord Scannán na hÉireann (Irish Film Board) is striking its own global poses, producing and distributing films that construct an urban Irishness for international audiences. In my article, I examine how this award-winning Irish film constructs Irish urban identity in the face of globalism's cultural flattening.     

The tyranny of transnational discourse: ‘authenticity’ and Irish diasporic identity in Ireland and England

Through the prism of current state discourses in Ireland on engagement with the Irish diaspora, this article examines the empirical merit of the related concepts of ‘diaspora’ and ‘transnationalism’. Drawing on recent research on how Irish identity is articulated and negotiated by Irish people in England, this study suggests a worked distinction between the concepts of ‘diaspora’ and ‘transnationalism’. Two separate discourses of authenticity are compared and contrasted: they rest on a conceptualisation of Irish identity as transnational and diasporic, respectively. I argue that knowledge of contemporary Ireland is constructed as sufficiently important that claims on diasporic Irishness are constrained by the discourse of authentic Irishness as transnational. I discuss how this affects the identity claims of second‐generation Irish people, the relationship between conceptualisations of Irishness as diasporic within Ireland and ‘lived’ diasporic Irish identities, and implications for state discourses of diaspora engagement.     

Identity predicaments and the music metaphor in contemporary Irish fiction

Abstract

Ever since Jimmy Rabbitte proffered his oft-quoted “niggers of Europe” line in Roddy Doyle’s The Commitments (1987), contemporary Irish culture, especially during the boom years, was characterised by an insistent revisiting of popular music as a metaphor for interracial and/or intercultural connection or understanding. Cross-cultural identification through music may be seen, in Werner Sollors’s memorable terms, as an eschewing of “descent” relations in favour of “consensual” relations. This essay revisits the music metaphor as it has manifested itself in Irish fiction since it was announced officially that Ireland had entered recession in 2008. Specifically, it explores Kevin Curran’s Beatsploitation (2012) and Joseph O’Connor’s The Thrill of It All (2014) arguing that, through their deployment of the music metaphor, the novels stage the murky politics of contemporary Irish iterations of consent and descent. By exposing the extent to which the rhetoric of Irish economic recovery is yoked to paradoxical invocations of volitional and ancestral Irishness, the novels urge their readers to consider the ways in which discourses of economic recovery work to reinforce and perpetuate patterns of exclusion and marginalisation established during the Celtic Tiger years.     

From golden hills to sycamore trees: pastoral homelands and ethnic identity in Irish immigrant fiction, 1860–75

The prose fiction that remembers the trials of starvation and eviction of the Great Famine (1845–50) often juxtaposes representations of blasted, infertile land with images of a green, idyllic Erin. Through a discussion of Mary Anne Sadlier's Bessy Conway (1861), Elizabeth Hely Walshe's Golden Hills: A Tale of the Irish Famine (1865) and John McElgun's Annie Reilly (1873), this article reveals that immigrant writers of the Famine generation often negotiate depictions of Famine-stricken wasteland with evocations of a pastoral homeland. In the case of the two Catholic novels, Bessy Conway and Annie Reilly, the pastoral becomes a point of ethnic identification through which the immigrants can recollect and reconstruct a sense of Irishness in exile. By contrast, Golden Hills, which focuses on the Anglo-Irish ascendancy, does not lament the mass exodus of afflicted Irish: the novel rather envisions emigration as a way to regenerate Ireland as locus amoenus.     

‘If I was Irish I'd be crying by now’: Irishness and exteriority,Doyle's Deportees and the Irish plays of Martin McDonagh

While variations on the relationship between Irishness and exteriority resound throughout Irish literature and Irish studies, the implications and applications of the version offered by Roddy Doyle's short story ‘Home to Harlem’ remain underdeveloped. This article explores the particular paradigm of Irishness derivable from Doyle's work, and is motivated by it to revisit and re-examine the Irish plays of Martin McDonagh and the question of audience relation to them. I argue that the constituents of the overly rehearsed ‘McDonagh enigma’ – his reliance on stereotypical representation and his highlighting of artifice – ensure a dynamic of recognition and exteriority in the Irish-identifying audience, which, in turn, enacts an extreme version of the process of Irishness extrapolable from Doyle.     

The Last September: Irish modernism,narrative deferral,historicist determinism

This article questions the idea that Irish literary modernism is defined by Irish postcoloniality. The continued influence of historicist approaches in literary studies have inspired an understanding of Irish modernism as determined by material base. An oversight of such approaches, however, is that much of the respective fiction which constitutes Irish modernism resists representing the cultural circumstances from which it emerges. Particular to this predicament is Elizabeth Bowen’s The Last September given that it is the novel which is often read as representing Ireland’s transition from colonial to postcolonial status. Through an analysis of its fractured, and thus typically modernist, narrative strategy, this article argues that colonial history is an absent presence which lacks constitutive meaning in this fiction, and thus suggests that Irish literary modernism does not neatly correspond to or reflect the story of Irish monumental history.     

‘Realpoetik’: Revolution by Other Means in European Romantic Restoration Thought

Summary

This essay speculates about the degree to which a counter-image of Europe imagined by Romantic period writers showed them to be transforming an inherited idea of the republic of letters for political purposes. While Anglophone romanticists recognise that the French Revolution is an indisputable agent in shaping the contemporary English literary imagination, they then usually ignore the role played by the Restoration which followed. Romantic criticism can perhaps learn an appropriate sensitivity here from the work of critics of English Restoration writing of the seventeenth century. That epochal uncertainty, when the regicides beheaded the King and then wondered what to do politically, was succeeded in the Restoration by a kind of Dissenting determination to continue under or memorialise that uncertainty, not as a dilemma but as the experience of political opportunity. A similar pattern of pursuing revolution by other means is visible in the political revisionism and literary experimentation of post-Revolutionary Romantic radicals. In my picture, then, the Romantic transformation of the republic of letters recovers an older literary republicanism. In what is here dubbed Realpoetik the battle for what is to be political reality is fought on a rhetorical field whose free speech is exemplary of what politics should be like.     

British Romantic Poets and the African Plight

The enslavement of Africans did strike the young, hopeful and radical Romantic poets of nineteenth-century England as the most blatant example of human oppression and the clearest example of humans being deprived of liberty. Although their poetry refers to and draws on the imagery of African slavery, the major poetic figures of the Romantic Movement in England rarely spoke directly against the slave trade and colonial slavery. Thus the issue of slavery, the transatlantic trade, and Britain's role in it, though well established in the nineteenth-century historical context, remained a subject only partially explored by the English Romantic poets, who were, at the time, more preoccupied with British domestic policy and the enslavement of their own nation.     

The irreparable and the imprevidible: fathers and failures at Joyce's family circus

This paper reconsiders ideas of the father in Joyce's writing. It does so by examining in detail those ideas as they are elucidated through circus anecdote and imagery. The focus rests decisively on Ulysses (1922), but references to Joyce's earlier writing and to Finnegans Wake (1939) demonstrate the enduring popularity of the circus as image or metaphor for the author. The paper works broadly to contextualise hitherto overlooked circus references within the history of nineteenth- and early twentieth-century popular culture – Joyce is here connected to circus clown Johnny Patterson, music hall star Henry Clifton, and artist Jack B. Yeats. Through this history, it appears that Joyce imitates others in placing male authorities within both actual and invented circus rings to question legitimate influence in local domestic and wider social settings. It moves between these two locations to assess disquieting consequences of imagining political authority within this particular performance space in the fraught period of Irish history from 1904 to 1922.     

The two Jameses: a Joycean politics of criticism as commemoration

Abstract

This article considers how, and to what extent, James Connolly is represented in the works of James Joyce and evaluates the place of Connolly in Joyce through an exposition of Andrew Gibson and Len Platt’s characterisation of a “London method” and “Irish method” of Joyce criticism. Examining the relative absence of Connolly from Joycean representation in comparison to overt commemorations such as those of Yeats et al., I claim that historical criticism on Joyce displays a will-to-connection between Connolly and Joyce that makes present the absence of the former. Where Connolly appears in Joyce, I suggest it is as a ghost called into presence through suggestive absence and a drive to commemoration in critical readings, inscribed not only in a Joycean politics but also in a politics of Joyce criticism. At a critical historical juncture for a reappraisal of Connolly and in the light of recent movements for self-determination such as in Scotland, this article examines how it is Joycean criticism that forges a narrative of connection to Connolly, outlining a genealogy of Joycean criticism centring on politics and nation and drawing on examples from across the Joycean canon to posit a politics of criticism that is illuminating of both the historical method and historical moment.     

On national dress and the problem of authenticity in Ulysses

This article considers James Joyce’s representation of Irish dress, arguing that his ambivalent treatment of it accurately reflects his fractious relationship with the Irish Revival movement. The article begins with a discussion of the metaphor of performance and relates this to issues around “authenticity”. From here, it discusses Douglas Hyde’s thoughts on dress, as presented in “The Necessity for de-Anglicising Ireland”, contextualising these within a brief history of nineteenth and early-twentieth-century Irish dress history, and recognising the important work of women in this. Assessing Joyce’s depictions of Irish dress, especially in “Scylla and Charybdis”, “Cyclops” and “Circe”, this article argues that Joyce sees Irish dress as a contingent and fragile cultural performance.     

Irish Female Emigration in the 1930s: Transgressing space and culture

Following the establishment of the Irish Free State in the 1920s, the continuing levels of emigration from Ireland came as a disappointment to many who believed that British colonialism had caused and perpetuated the emigration problem. Within this context, there was a need to explain emigration in ways that deflected blame away from the new state authorities. In this article, the author contributes to a gendered analysis of these shifting constructions of emigration. Drawing upon Irish newspapers of the period, she suggests that the figure of the 'emigrant girl' was central to post-colonial discourses on emigration. During the 1930s, the emigration of thousands of young Irish women to English cities such as London sparked widespread comment and criticism. The Irish press and the Catholic hierarchy in particular propagated an image of these vulnerable young women as lost and alone in the big, bad cities of England. The author analyses the ways in which the 'emigrant girl' embodied specific representations of place, culture and gendered identity; the 'emigrant girl' embodied an Irishness marked by religion, culture and landscape. Through her transgression of physical, cultural and religious spaces, she encountered loneliness, danger and the risk of denationalisation.     

James Joyce: Steps towards a Diagnosis

Authors whose scholarship is in the golden realm of English literature have not hesitated to make pronouncements on James Joyce’s health. A publication in this genre claims he had tabes dorsalis. One feels that an authoritative comment, accepting or rejecting a diagnosis of neurosyphilis, should be provided by the Journal of the History of the Neurosciences.     

‘Wel gelun a gud?’: Thomas Sheridan's Brave Irishman and the failure of English

Scholarship on Thomas Sheridan's popular farce The Brave Irishman has to date focused on its engagement with the figure of the ‘stage Irishman’, testing the title character's thick accent and Irish idiom against a standard English that rarely appears in the play itself. This essay considers the farce on broader terms, addressing both regional variations in the play's performance and the other idioms of the play, in order to argue that the farce overturns the devaluing of the Irish idiom and instead dramatises the shortcomings of English on terms consistent with Sheridan's large body of writing on the English language as spoken in the British Isles.