Approaching a folklore archive: the Irish Folklore Commission and the memory of the Great Famine

Using the Irish Folklore Commission's centenary survey of local accounts of the Great Famine (1845–50), this article posits a tripartite taxonomy of collective memory: the “global,” the “popular” and the “local.” Global memory was structured by meta‐narratives, the explanatory accounts of the Famine derived from the Catholic Church and nationalist political organisations. Local memory dealt with named individuals and places. The intermediate level of popular memory drew on both the local and the global (although the Church's interpretation of the famine had proved more acceptable among the rural, landowning farmers who made up the majority of the Commission's informants), but also on folk narrative tradition to create a coherent system of representation in which motifs were replicated over a large area (and over time).     

The Negotiated Hibernian: Discourse on the Fenian in England and America

During the 1850s and 1860s, the British Empire faced a threat from nationalists advocating self‐rule for Ireland. Known as the Fenians, the English press quickly identified them as a monolithic terrorist organization and blamed them for all manner of threats against the Empire; furthermore, they argued that elements in the United States, for reasons of their own, supported the separatists. However, the image of the Fenian was far more complex than the simple rhetorical image constructed in the British press, especially when an alternate stream of pro‐Irish rhetoric is considered. Indeed, the Fenian was as much a rhetorical cultural construct as it was a transnational independence movement.     

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.     

Illegible ethnicity and the invention of Scots-Irish narratives on the stages of Belfast and Appalachia

Theatrical stages have long been home to performances of identity, creating and sustaining legible visions of various peoples and groups for their audiences. Indeed, in the nineteenth century, the playwright/actor Dion Boucicault popularised the “stage Irishman” for Irish and American audiences alike, thus contributing to the invention of “Irish-America”. This paper examines a similar attempt in the late twentieth and early twenty-first centuries to query the definition of a distinct group of Irish-Americans: the Scots-Irish. Productions from Belfast, Northern Ireland, as well as from the southern Appalachian Mountains, demonstrate how the illegibility of the Scots-Irish – in other words, their status as a non-recognisable, incoherent segment of the white population in the USA – allows for narratives about this group to be highly malleable. Contemporary productions of the Scots-Irish story demonstrate the ways in which ethnic identities emerge as constructions of past and present, memory and history, and politics and culture.     

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.     

The marriage plot and the plot against the Union: Irish Home Rule and endangered alliances in Henry James's “The Modern Warning”

By the period of the Irish Home Rule crisis – in which Catholics and liberal Anglicans lobbied for limited self-government while northern Presbyterians campaigned to keep Ulster wholly within the Union between Ireland and Great Britain of 1800 – certain of those of pre-Famine northern Irish Protestant origins (the “Scots-” or “Scotch-Irish”) identified with the position of their Presbyterian brethren in Ulster. This identifiably Ulster Protestant engagement with the Home Rule debate is detectable (and generally overlooked) in the Scots-Irish Henry James story “The Modern Warning”. Moreover, equally discounted is the fact that James's story deploys the Irish literary convention of the marriage plot as metaphor for political union in order to grapple with a moment in which that alliance is – in the unionists' view – in danger. This article concludes that the political-union-as-marriage trope still sporadically returns at moments of political crisis in the British Isles, as occurred during the 2014 Scottish independence referendum debate.     

The texted and textured construction of Irish identity in the theatrical world of Charleston,South Carolina

On the eve of the American Civil War, the Irish who had immigrated to the United States as a result of the Great Famine were in the process of constructing an Irish working-class identity in Charleston, South Carolina. A “legacy” for such construction had been created in the previous century: those who had come from Ireland then had used public displays of celebration and concomitant rhetorical devices to create the impression that they were willing and eager to assimilate. Their rituals at banquets and other public occasions “set the stage”, so to speak, for the next century's generation of immigrant Irish who also found it necessary to articulate publicly their claim to an ethnic American identity. Theatrical venues and staged performances served the Famine Irish well in this endeavour.     

“Talk & talk & talk”: Virginia Woolf's responses to Ireland

The complexity of Virginia Woolf's relationships with Empire can be illustrated by considering her responses to Ireland. Woolf's relationship with Ireland and Irish writers has received only cursory attention. Those critics who have addressed the topic have assumed that she responded positively to her experience of Irish “talk” on her holiday in Ireland in 1934. However, her response on that holiday reveals some underlying imperial presumptions and a sense of Ireland as stereotypically a land of “talk, talk, talk”. Indeed, this is in keeping with her responses to a wide range of Irish writers over many years (most notably, it chimes with her reading of Ulysses). This essay brings together for the first time Woolf's comments on Ireland and Irish writers, from her diaries, letters, essays and reviews, in order to show that she consistently characterised them as loquacious. Ireland was thus merely a subject of talk, a “question” that could only by discussed, and then only in stereotypical and liberalist terms. Further, Woolf associated talk with looseness and bad writing, and sought to maintain a mode of semi-privacy, apart from the “talk” that went on around her.     

“Godforsaken hole called … called …”: place,nation, and spatial crisis in Beckett’s fiction and drama

This essay explores how the figuring of place throughout the fiction and drama of Samuel Beckett registers and critiques narratives of place in Irish nationalist discourse. The Irish place-names of Beckett’s texts are read in relation to a toponymic re-territorialisation in post-independence Ireland, a process which enervated place identities synonymous with a Protestant culture and history. In this way, the essay argues that the celebrated “placelessness” of Beckett’s work and the collapse of spatial agency experienced by his protagonists is informed by the construction of nation-space in the country of the author’s early life. The preponderance of scatological place-names in the Beckett oeuvre is approached in these terms and read as a mode of resistance to the self-sacrifice to nation demanded in emplacement.     

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.     

Nostalgia and Titanic commemorations in Cobh,Ireland

The year 2012 marked the centenary of the sinking of the liner Titanic. This event has been commemorated in a variety of ways, including the development of “authentic” and “created” tourist projects related to Titanic. This research presents one location's tourist response to the centenary. The heritage town of Cobh in Ireland was the last port of call for the ill-fated liner. Its commemorative activities focused on a week-long festival of cultural events from 9 to 15 April. It will be contended that its use of nostalgia and “vintage” can be interpreted more as a function of the interpretative agenda of Irish tourism policy and its heritage construction of Cobh than as a genuine symbolic expression of a town remembering its past.     

Emer Martin and multimodal family dysfunction: More Bread or I’ll Appear (1999)

Emer Martin’s More Bread or I’ll Appear (1999) revisits the discourse of the family in Ireland between the 1970s and the 1990s. This article contends that Martin intersects her work with family “issues” of the day so as to accommodate the representation of what can be termed as multimodal family dysfunction. She provides insights to the role of women, family and global female diaspora. This paper draws upon work by Diarmaid Ferriter, Alpha Connelly and the tenets of transnational feminism to account for the historical, ideological and sociocultural contexts of the time. For Martin, dysfunction is multimodal in the way in which the Irish family portrayed faces real “hidden issues” from different discourses. Her novel also focuses on the “wounds” that have been the effect of abuse, secrets, appearances, violence and lack of communication within the family. Another mode of Martin’s representation of dysfunction considers the transnational experiences of her female characters on the margins of an Ireland becoming global. Her novel invokes transnational perspectives so as to commit to dislodging nation-centric and family-centric visions of Ireland.     

On the edge: ‘Community’ and ‘sustainability’ on the Isle of Harris,Outer Hebrides

Although scholars have recently begun to question the manner in which nationalist temporal narratives are constructed, a similar analysis of nationalist spatial narratives has yet to occur. Instead, scholarship often remains trapped within the territorial boundaries of the nation‐state; the only ontologically given container of nationalism. In order to advance theoretical understanding of nationalism, however, it is imperative that geographers break this sedentary spell, by beginning to map the interstitial historical‐geographies of nation‐building in the context of globalisation. Through an analysis of the transnational development of Irish nationalism in the second half of the 19th century in particular, this paper will illuminate the important role played by the diaspora and other transnational actors in the development of Irish nationalism in Ireland.     

Samuel Butler's Sheep

Alice Stopford Green, widow of proto-social and Teutonic nationalist historian J.R. Green, who went on to become an Irish nationalist historian and campaigner, complicates our view of fin-de-siècle women writers. Surprisingly for an amateur historian in an age of professionalization, she took a consciously separatist position, privileging the particular over the general, and defining her writing as both female and Irish.

This article focuses on Stopford Green's 1915 epilogue to her husband's Short History of the English People (1874), and her startlingly anguished periodical article of 1897 from Nineteenth Century, to demonstrate a separatism both bold and self-aware.‘Woman's Place in the World of Letters’ (1897) prefigures Cixous in its call for an écriture feminine. It views women as utterly alien to the established order of this world. Stopford Green at once acquiesces with female essentialisation – ‘woman’ comes in the singular – and undermines it by insisting that woman's true nature is almost never seen. In the ‘Epilogue’ (1915), which updates her husband's narrative to her war-torn present, Stopford Green voices jingoistic rhetoric, but employs unobtrusive asides to distance herself from these calls to imperialism. Through such surreptitious means, she uses her late-husband's popular textbook as the conduit of subversive ideas, both voicing and subverting his English nationalism.     

James Connolly on stage: history,imagination, and interpretations

James Connolly (1868–1916) has been an underrepresented figure in Irish history, despite the fact that he was one of the signatories of the Proclamation of the Irish Republic. The controversy surrounding Connolly centres mostly on his questionable role in this radical nationalist siege, even though he had been one of the most prolific Marxist theorists of his day. Interestingly, Connolly’s political ambivalence has yielded plenty of scope for the imagination of playwrights in envisaging his final few days before he was executed by the British government. Their theatrical conjectures – backed by archival research to varying degrees – allow audiences different alternatives for learning about, interpreting, assessing, or even celebrating, the legacy of this controversial Marxist. Most importantly, they are able to look beyond the selectiveness of historians in re-creating Connolly as a material figure. The three plays under discussion are Margaretta D’Arcy and John Arden’s The Non-stop Connolly Show (1975), Larry Kirwan’s Blood (1993), and Terry Eagleton’s The White, the Gold and the Gangrene (1993).     

Zionism and Irish Nationalism: Ideology and Identity on the Borders of Europe

This paper is a comparative cultural history of Zionism and Irish nationalism, focusing on themes of race, gender and identity. It seeks to highlight the strong similarities of both nationalist projects: to show how Zionists and Irish nationalists were both heavily invested in state-building projects that would disprove European racist stereotypes about their respective nations and yet, paradoxically, were also part of the general history of European nationalism. Both Zionism and Irish nationalism sought to create idealised images of the past and claimed to be rebuilding a glorious ancient society in the future as a means of escaping a degraded present. Both movements saw language revival as a key means of carrying out this ‘return to history’. And both emphasised martyrdom as a way to build up prideful ideals of devotion to the nation and used sport, militaries and agriculture as forms of nationalist social engineering. Despite their claims to the contrary, neither national movement was truly unique.     

Coarse cloth and clerical tailoring: negotiating Boston-Irish cultural imperatives in the Famine era

Recent calls for updated approaches to the Irish-American historical experience recommend more systematic attention to complexities inherent in Irish immigration and settlement. They also seek further contextualisation of the history of the Irish in the USA within broader North American, transatlantic and global frameworks. The need to review and potentially reappraise longstanding, essentialist perspectives on Irish arrival and assimilation is equally evident. This article expands on foundational narrative histories of the Boston Irish to re-examine Famine-era settlement and contending agendas within spheres of religious affiliation and political activism. The character and evolution of Irish-American ethnic identity, and the tragic imprint of the Famine under consideration here pave the way for new readings of traditional orthodoxies. Collectively, they reveal Boston's Irish historical terrain to be more complex than the record currently suggests.     

Of Peaceable Kingdoms and Lawless Frontiers: Exploring the Relationship between History,Mythology and Gun Culture in the North American West

The United States is more violent than Canada and it always has been. Even in the face of mass shootings, most Americans remain culturally and politically resistant to the sorts of gun control measures that have long existed in Canada. America’s unique gun culture is embedded in the history, imagery, and especially the mythology of the American frontier. Canada had its own frontier experience and has its own history of gun ownership, but it does not have a parallel gun culture. This article presents a comparative analysis of post-Civil War/post-Confederation frontier history and mythology, and examines the construction of contrasting cultural narratives of America’s “Wild West” and Canada’s “Mild West.” It suggests that US–Canadian differences in gun laws and gun culture—even in the borderlands region of Alberta/Montana—are better explained by the countries’ two different frontier mythologies than by their actual western histories.     

Gaeltacht Thuaisceart an Oileáin Úir: post-territorial Irishness and Canadian multiculturalism

In 2007 a remarkable development for the Irish language outside of Ireland took place. A dedicated space for speaking and learning the language was established in Ontario, Canada, now known as Gaeltacht Thuaisceart an Oileáin Úir. While the adoption of the term ‘Gaeltacht’ may be controversial in an allochthonous context, this site is sustained by a diasporic community that endeavours to preserve an Irish cultural identity through learning and speaking the language. This paper presents the results of fieldwork conducted among Irish-language learners in Canada who have invested time and resources to establish a permanent space for the language. Data retrieved through an online survey reveal that the language serves as a vehicle for those wishing to maintain or connect with an Irish cultural identity, as well as for those outside of the diaspora who learn the language for other social, professional or educational purposes. Notably, such narratives are perfectly at ease within a modern, multicultural Canada.     

The Irish Sandow school: physical culture competitions in fin-de-siècle Ireland

ABSTRACT

Beginning with an examination of Ireland’s turn of the century interest in physical culture, this article highlights the case of Eugen Sandow’s “Great Competition” and its Irish contestants. Seen as a precursor for today’s bodybuilding competitions, Sandow’s contest enjoyed submission photographs from hundreds of half-naked men – many of whom were Irish – posing in Greco-Roman pose. In studying this topic, the article addresses two pressing issues. In the first instance, the article examines how and why physical culture competitions became a competitive outlet for Irishmen in the first decade of the twentieth century. Secondly, it argues that these contests were often connected to broader societal ideals surrounding acceptable forms of masculinity. The article thus examines a previously unexplored but nevertheless important part of sporting and athletic behaviour in early twentieth-century Ireland.