Avenging ‘Bridget’: Irish domestic servants and middle-class America in the short stories of Maeve Brennan

This article will examine the representation of Irish women servants in Maeve Brennan's short stories, first published in The New Yorker in the 1950s, and collected in The Rose Garden (2001). The Irish ‘Bridget’, the most publicly visible, if troubling, image of Irish womanhood in late nineteenth- and early twentieth-century America, has received much-needed attention from historians and social scientists in the last decade, and is a central figure in discussions of Irish women and diasporic identity in the American context. Drawing on this body of work, and focusing in detail on key stories from the collection, including ‘The Bride’, ‘The View from the Kitchen’, ‘The Anachronism’, ‘The Divine Fireplace’, and ‘The Servants’ Dance', I argue that Brennan's reimagining of the Irish Bridget can be approached as a form of feminist revisionism, as Brennan's stories enter into a charged dialogue with the history of imagining the Irish woman servant as an undesirable but necessary presence in middle-class American domestic culture. Brennan's self-reflexive reworking of this paradigm is informed by her work as a satirist for The New Yorker, and proves an effective means of writing back to this problematic history, as she takes up recognisable tropes and motifs from earlier representations of Bridget in popular and literary culture, and alters them in knowing and subversive ways.     

Domestic espionage: David Park's Swallowing the Sun as Troubles thriller

David Park's standing as an author of finely observed works, in which individual frailties are pitted against larger scenarios of conflict and trauma, was recently acknowledged through his winning of the American Ireland Literary Award. His most recent novel, The Truth Commissioner, projects a model of the South African Truth and Reconciliation Commission onto a Northern Ireland setting, and won the 2009 Christopher Ewart Biggs Memorial Award. The novel this essay examines, Swallowing the Sun (2005), can be read as a re-working of the conventional Troubles thriller. In this novel, the traumas of domestic violence feed into and interweave with state violence in Belfast. Poverty and class inequities are highlighted as causes for both private and public conflict. David Park revises the Troubles thriller to suggest that the pressure to be quiet in the face of suffering is the real enemy to both individual and state welfare. Swallowing the Sun is a powerful challenge to established ideas about genre and context in Northern Ireland, and a moving work from a Northern Ireland author who has, until recently, been relatively overlooked.     

Sydney owenson's wild indian girl

In 1811, Sydney Owenson (Lady Morgan) published a novel set in India, The Missionary: An Indian Tale, arguably the first Irish Orientalist text. If, as Madeline Dobie has recently argued, the discourse of Orientalism in France was used to avoid moral questions about colonialism and slavery, Owenson used the genre in order to confront the brutalities of British colonialism. Owenson's intertextuality drew on not only other works about the east, but also her own literary productions and experience of authorship as an Irish woman of undistinguished background performing for an imperial audience. As she did in The Wild Irish Girl: A National Tale, her first publishing success, in The Missionary Owenson exploits just those equivalences imperialism posits among its peripheries. This essay examines The Missionary's intervallic position between the Irish novels The Wild Irish Girl and O’Donnel, and its possible role in the oft-noted shift in Owenson's practice of textualist history.     

Ulsterisation and the Troubles thriller: Eoin McNamee's Resurrection Man

Although the progression of peace is, in all likelihood, finally imperilling the ascendancy of the thriller as the literary venue for representing social and political life in contemporary Northern Ireland, the genre continues to provide important access points for understanding the Troubles. Eoin McNamee's grim and harrowing Resurrection Man, for example, may be the only contemporary Northern Irish novel to represent the British government's mid-1970s internal security strategy known as ‘Ulsterisation’. By suggesting the various ways in which violence and subterfuge were nourished by government interests and supported by covert operatives, McNamee's novel subtly depicts a London intent on managing the conflict while insulating it from British politics and international criticism. Even as it does so, though, Resurrection Man ultimately struggles to avoid the thriller's more regressive tropes and generic conventions.     

‘… that great swollen belly’: the abject maternal in some recent Northern Irish fiction

This essay will consider the representation of the maternal in some contemporary Northern Irish fiction written by men. It will examine, using feminist theories of embodiment and subjectivity, the power of the maternal image in Irish literary and critical discourse. The work of Julia Kristeva, Elizabeth Grosz and Mikhail Bakhtin will be employed in this argument. The pregnant body has the power to radically unsettle order, and this essay will explore the way in which men write their fears of this all-consuming imago. Northern Irish men write out their fears of all-consuming national ideology through infanticide and grotesque mother figures and this essay will trace how this figure is complicated through political ideology in Northern Ireland. The texts under consideration will be Ripley Bogle and Eureka Street by Robert McLiam Wilson and Resurrection Man and The Last of Deeds by Eoin McNamee, as well as a glance towards the work of Glenn Patterson as a possible alternative to the hegemonic view of the grotesque or abjected maternal.     

Countering the hegemony of the Irish national canon: the modernist rhetoric of Seán O'Faoláin (1938–50)1

ABSTRACT. The telling and re‐telling of national history has long been recognised in studies of nationalism as one of its key legitimising and mobilising strategies. In this article I illustrate how a rhetorical approach can effectively explore this dynamic and emotive dimension of nationalist ideology by examining the rhetorical strategies in the Irish liberal intellectual, Seán O'Faoláin's, attempts to reconstitute the popular canon of Irish history in the 1930s and 1940s. More specifically, I show that contrary to depictions of O'Faoláin as a European liberal who employed rational argument to undermine and encourage the rejection of Irish nationalism and its emphasis on rhetorical narratives of the past, O'Faoláin's challenge to the Irish national canon reveals that he himself mobilised historical narrative to promote his own modernist version of Irish liberal nationalism and demonstrated in the process that he was one of the most skilful rhetors of his day.     

‘Each fantasy chosen begin’: the music of The Divine Comedy

This article considers the cultural and social context for the music of the Northern Irish band The Divine Comedy. It focuses on three mid-1990s albums – Liberation (1993), Promenade (1994) and Casanova (1996) – and debates the significance of this performance of alternative Ulster masculinity during the peace process. It will detail the lyrical obsession with a very particular type of imagined Anglo-Irishness during the first two of these albums, and then consider the complicated uses of the ‘Britpop’ genre in Casanova. This music is baroque, literary and written by an Anglican bishop's son, Neil Hannon, who grew up in Enniskillen during the Troubles. It will consider how Hannon cobbles together an acceptable identity through the use of literary pretentiousness and a carefully crafted pop persona.     

Political imprisonment and the sanctity of death: performing heritage in ‘Troubled’ Ireland

The ‘Troubles’ is a euphemism associated with sectarian conflict in Northern Ireland from the late 1960s until the late 1990s. Similarly, that term also is used to depict turmoil in all of Ireland between 1916 through 1924. During both eras, political imprisonment coupled with various forms of political violence (e.g. bombings, executions, and prisoner abuse) marred Irish society in ways that invoke socio-religious meaning. In particular, the sanctity of death captures the intense semiotics of those events and points to further theorising along lines of the Durkheimian tradition. As we shall examine herein, violations of the sanctity of death compound social conflict and the resistance it creates. Fieldwork was undertaken in Dublin and Belfast where official landmarks were explored in-depth: Kilmainham Gaol and the Crumlin Road Prison, respectively. Additionally in Belfast, other – unofficial – cultural sites provide further evidence of socio-religious symbolism, most notably the Irish Republican History Museum, Roddy McCorley’s Club in West Belfast, and murals in both Loyalist and Republican communities. Whereas Durkeimian theory remains at the forefront of the analysis, insights also are informed by heritage studies, in particular notions of cultural performance in contested societies.     

Between the lodge and the meeting-house: Mapping Irish Protestant identities and social worlds in late Victorian Toronto

The urban lives of Irish Protestant immigrants and their descendants are a neglected feature in geographies of the Irish diaspora. Prominent settlers from the early nineteenth century, they played a key role in the shaping of a host culture in Anglophone Canada. The social and spatial processes that moulded Irish Protestants into a wider loyal British identity are examined at a number of scales in Toronto, 'the Belfast of North America'. After initially exploring the rhetoric and practices of city-wide institutions that served many Irish Protestants, the autobiographical reflections of John McAree are used as a case study on the micro-geographies of everyday lives experienced within local space as well as an empirical test for Bourdieu's ideas of practice and 'habitus'.     

Personal lives: narrative accounts of Irish women in the diaspora

The burst of writing about Irish women in the diaspora after the 1980s, led by Mary Lennon, Marie McAdam and Joanne O'Brien's Across the Water: Irish Women's Lives in Britain, coincided with the ‘narrative turn’ in the social sciences and literary representation. This paper uses Carol Smart's concepts of Personal Life (2007) – memory, biography, embeddedness, relationality and the imaginary – to examine a range of ways in which personal narratives have become central to our understandings of Irish women and their descendants in both written and visual representations. It interweaves disciplines, bringing together a wide range of sources including academic and public accounts in which Irish women appear both as main characters and in walk-on parts. It explores constructions of these ‘fictions’ and their connections with the biographies of authors.     

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.     

Northern Ireland Representation at Westminster: Constitutional Conundrums and Political Manœuvres

This article focuses on the issue of Northern Ireland's representation at Westminster. It investigates the political context of the decision to increase Northern Ireland's representation in the house of commons at Westminster from 12 members to 17 in 1978–9. Exploring this episode in more detail, it is argued, provides a more informed overall understanding of the history of devolution in the UK and of the way issues concerning Northern Ireland often overlapped with questions of constitutional change in Scotland and Wales. The article also throws light on the matter of Northern Ireland MPs and their voting rights at Westminster during Northern Ireland's experience of devolution prior to 1972.     

James Arbuckle and Dean Swift: cultural politics in the Irish confessional state

James Arbuckle, born a Presbyterian in Belfast, educated at Glasgow University, moved to Dublin under the patronage of the radical Whig Viscount Molesworth. He arrived at the time of Swift's triumph as ‘The Drapier’. Writing under the name ‘Hibernicus’, he produced a series of essays in the style of Addison's Spectator (1725–26). They can be read as a ‘polite’ Whig critique of Swift's Irish writing, particularly on confessional division. Arbuckle was clearly identified as a political opponent of Swift in a series of lampoons from Swift's circle. He wrote more incisively against the confessional state in his 1729 work The Tribune, lost to historians because of a mistaken attribution to Swift's friend Delany. This article will study Arbuckle's critique of Swift, aiming to give an insight into cultural conflict, both Whig/Tory and Anglican/Presbyterian in a period when both Whig and Presbyterian views have generally been overlooked.     

Ophthalmoscopy in Charlotte Brontë's Villette

This essay re-examines the representation of scopic conflict and discipline in Charlotte Brontë's novel, Villette (1853), within the context of the reconfiguration of the eye during the 1850s. Villette is pioneering in its representation of an ophthalmoscopic conception of the eye, as an organ which could be looked into by medical practitioners as well as looked at. This notion of the eye was only possible after Hermann von Helmholtz's invention of the ophthalmoscope in 1850. Villette is thus one of the first literary responses to the newly visible living retina. This essay argues that in light of the novel's emphasis on a penetrable, legible eye, the critical emphasis that scholars have placed on surveillance as a disciplinary model in Villette is overstated. Visual exchanges are described not in the disembodied abstractions of panopticism, but with references to a violent lexicon derived, in part, from the novel terminology of ophthalmoscopy. The prominence of opthalmoscopy points towards a remedial narrative in which diagnosis is succeeded by surgical intervention, and ultimately the restoration of sight. M. Paul Emanuel is the principal emblem of this visual practice: a merciless autocratic ophthalmologist who brings pain but also palliation. Villette's remedial narrative is organized around three devices designed to respectively look into, perforate, and enhance the human eye: the ophthalmoscope, the stylet (an instrument used in eye-surgery), and spectacles. This analysis adopts a historicist approach to re-contextualize Brontë's imaginative depiction of optical technology and perception within the mid-century emergence of ophthalmology.     

Sovetskaya Arktika journal as a source for the history of the Northern Sea Route

This paper is about reading and using the Soviet texts published in the 1930s on the Northern sea route (NSR) and the Arctic in general. The history of the NSR exploration and exploitation and its current potential as a round-the-year transportation waterway connecting the Pacific and the Atlantic is outlined. Specific features of the 1930s’ sources for the study of the NSR are explored using the example of the journal Sovetskaya Arktika (The Soviet Arctic), published between 1935 and 1941. The representation of the Northern Sea Route in this journal is described from two perspectives: what was presented (and what wasn't) and how it was presented. Special characteristics of the language used are considered to be interesting examples of the Soviet version of “totalitarian language” (newspeak, langue de bois). Historical sources written in this kind of language require special skills and special caution to read, interpret, and use.     

'And They Think I'm Just a Nice Old Lady' Women and War in Belfast,Northern Ireland

This article examines the spatial construction of gender roles in a time of war. During a period of armed conflict both women and men are perceived as beings who exemplify gender-specific virtues. The relationship of gender and identity in this case is a paradoxical one: war-usually a catalyst of change-can often become an agent of conservatism as regards gender identities. This conservatism can be seen in the wartime spatial relegation of women to the private/domestic realm. When a society is in armed conflict there is a predisposition to perceive men as violent and action-oriented and women as compassionate and supportive to the male warrior. These gender tropes do not denote the actions of women and men in a time of war, but function instead to re-create and secure women's position as non-combatants and that of men as warriors. Thus, women have historically been marginalized in the consciousness of those who have researched the events of war. This article is largely based on interviews I conducted in the fall of 1993, in an Irish Catholic community in Belfast, Northern Ireland. I will offer both female and male interpretations of what women did and how they were affected by the upheavals of the Irish Nationalist struggle in Northern Ireland.     

Patrick O’Farrell and the Irish History Wars, 1971–1993

While Patrick O’Farrell's achievements as an historian of the Irish and of Catholicism in Australia are well recognised, little attention has been paid to his significance as an historian of Ireland. This article takes his two major Irish monographs, published in 1971 and 1975, and considers how they influenced leading Irish political historians of the 1970s and 1980s. In doing so, the article examines the crisis created for historians by the Northern Ireland Troubles. It demonstrates that the work of O’Farrell, which called into question the primacy of politics and of the nation state, helped open up new avenues for the analysis of Irish culture and identity. Yet, at the same time, such an approach challenged the republican reading of Irish history as a struggle against colonialism, and thus O’Farrell's work attracted severe criticism.     

Railway Architecture: The Great Northern Railway (Ireland) at Dundalk

ABSTRACT

This article is adapted from the dissertation ‘Railway Architecture: The Great Northern Railway (Ireland) at Dundalk’, completed by Siobhan Osgood for the MPhil in Art History: Art + Ireland, where it was awarded a distinction. The study provides an historical analysis in the context of architectural development and broader railway culture in Ireland to provide an interpretation and understanding of the use of polychromatic yellow, red and black brickwork to create a visual identity for railway architecture. The use of accented colours to pick out key features is repeated across a series of buildings, thus creating a distinctive style of ‘brick-branding’. These are most prominent in the town of Dundalk, where the GNRI had its central engineering works at the halfway point on the Dublin to Belfast mainline and at the point where the Irish North line extended west and north. The buildings were each intricately designed by the GNRI's first chief engineer, William Hemingway Mills, a second-generation railway engineer who merged the roles of architect and engineer using an amalgamation of architectural designs from his earlier career in Derby, Scotland, Mexico and Spain. Mills thus created his own ‘Millsian’ style of industrial architectural design.     

Estranging Ireland: The underground self of the Irish free state in Joseph O’Neill’s Land Under England

Land Under England is an out of print, rarely-cited Irish science fiction novel by the author Joseph O’Neill. Written at a time of crisis in Irish society in the 1930s, the novel has been relatively ignored in studies of the literature of the period. Although critics of science fiction tend to situate the novel as a purely anti-fascist work, taking its cues from events happening in Europe, this article places the novel firmly within its postcolonial Irish context, opening up the text to alternative readings based on the writings of Irish historians, as well as Marxist, cultural materialist and postcolonial critics. The article also utilises documents such as work written by O’Neill in his capacity as a civil servant, letters to the author from the controversial author Francis Stuart, and reviews contemporary to the publication of the novel.     

The historical significance of President Kennedy's visit to Ireland in June 1963

President John F. Kennedy's visit to Ireland in June 1963 was the first by a serving American President. Using materials from archives in London, Dublin, and Boston, this article re-assesses the motives behind Kennedy's decision to visit Ireland and concludes that it was largely a personal journey. However, the trip was not without wider historical and political significance and was surrounded by controversy. The visit was unpopular in the United States, proved a security nightmare, and provoked much discussion amongst the political leadership in Belfast, Dublin and London over Kennedy's attitude to partition. The visit marked a major development in the history of Irish-American relations as it eased tensions over Ireland's neutrality, marked a shift towards White House activism in Irish affairs, boosted Irish tourism, and fostered increased trading and cultural links between the two countries.