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.     

Multiculturalism and the immigrant “Irish woman” after the Celtic Tiger: marginalisation,gender-based violence and family dysfunction in Ebun Akpoveta’s Trapped: Prison Without Walls

This article breaks new ground in examining how “new Irish” immigrant women have responded to the collapse of Ireland’s Celtic Tiger economy and the different forms of gender discrimination and marginalisation they face both within their minority ethnic communities and the Irish host society. It approaches Ebun Akpoveta’s Trapped: Prison Without Walls (2013) as an exemplary work of fiction which exposes unresolved injustices and inequalities suffered by immigrant women. Akpoveta creates a narrative that complicates previous representations of cultural encounters between newcomers and long-established members of Ireland’s host society, not least because her Nigerian female protagonist arrives as a postgraduate student rather than an asylum seeker or refugee. She fictionalises female experiences of marginalisation, gender-based violence and family dysfunction within an all-Nigerian family that outwardly appears to be a model of integration and social inclusion in an open and welcoming Irish multicultural society.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

Trauma,Male Fantasies,and Cultural Capital in the Films of Pablo Larraín

This paper explores the visualization and intersection of trauma, male fantasies, and cultural capital in the first four feature-length films of Chilean director Pablo Larraín: Fuga (2006), Tony Manero (2008), Post Mortem (2010), and No (2012). Larraín’s first feature sketches out these themes in individual and familial terms; the subsequent three, forming what Larraín has called an ‘unintentional trilogy’ of the Pinochet dictatorship, visualize them in a more collective, historical, and political register. Categorizing these films as examples of ‘posttraumatic cinema,’ I demonstrate how Larraín images the fantasy scenarios that structure Chile’s ‘true horror’: namely, the weaponization of male fantasies and of cultural capital – the combination of which induced indelible traumas during the dictatorship. The attendant institutionalization of injustice, impunity, and neoliberalism – which, as Larraín shows, was conserved during the country’s transition to democracy – has limited the possibilities of working through the recurring traumas ever since.     

Gast! A Breton moment in Cré na Cille,and why it matters

Máirtín Ó Cadhain’s famously difficult Irish language novel Cré na Cille contains a cluster of Breton words that have not all been recognised as such. These words are a clue that the French-speaking airman, arguably the only character in the novel with a significant “arc”, is in fact supposed to be a Breton. His immersion in Gaelic Ireland, his frustrated hope of fulfilment in philological studies and pan-Celticism and his ultimate lapse into patriotic Frenchness mirror the experiences of Breton nationalists of the 1940s – some of whom were helped by Ó Cadhain himself to take refuge in Ireland after the Second World War – and represent a subtle critique of Brittany’s pan-Celticist hopes within the novel’s larger multifaceted critique of Irish rural life.     

From the Absent Mother to the Oppressive Mother to the New Mother in Lucía Etxebarria's Un milagro en equilibrio

This article examines the transformation of maternal and paternal images that occurs in Lucía Etxebarria's 2004 novel Un milagro en equilibrio. Sandra Schumm argues that the novel engages and transforms the postwar archetype of the “absent mother.” Using Schumm's study as a springboard, my article takes this argument further by showing how Etxebarria rewrites a second maternal archetype, the “oppressive mother,” a figure that symbolizes patriarchal values and the Francoist regime in many postwar narratives by women. At first, protagonist Eva Agulló characterizes her mother, Eva Benayas, as one of these oppressive mothers, a characterization that Etxebarria has also employed in her two most famous novels to date, Amor curiosidad, prozac y dudas and Beatriz y los cuerpos celestes. Un milagro en equilibrio marks a change in Etxebarria's treatment of mothers because, as the novel progresses, Agulló questions and then complicates this portrayal. The Benayas that emerges is a complex woman influenced by personal, familial, and national conflicts. Conversely, Agulló's father comes to assume more culpability for family abuse and dysfunction as Agulló associates him with Francoism. This reassessment of maternal and paternal roles demonstrates Etxebarria's own evolution in maternal representations as it dialogues with and recreates previous works such as Ana María Moix's 1969 novel Julia and Ana María Matute's 1959 Primera memoria and 1969 La trampa—three foundational novels that also employ tyrannical maternal figures. In rejecting the oppressive mother role she had assigned to her mother, Agulló rewrites a long history of maternal figures associated with the Francoist regime in many postwar narratives by women.     

El Caballero de Dios y la muy noble reina: María de Molina's patronage of the Libro del Caballero Zifar

This article analyzes the political discourses on chivalry and gender in Libro del Caballero Zifar and provides textual evidence in support of the theory that María de Molina was an original patron of this anonymous work from the cathedral school of Toledo. Using the portrait of the queen in the prologue as a point of departure, this study explores the intertextuality of Libro del Caballero Zifar and contemporary royal chronicles, elucidating the manner in which the political discourse of the former supports the political propaganda of the latter, ultimately creating a legitimizing discourse for María de Molina's rule as queen of Castile-León at the turn of the fourteenth century.     

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.     

The Humanism of André Malraux

In this essay, I explore the influence of Byzantine literature in the New World from a transatlantic perspective. Specifically, I examine the Scala paradisi of Juan Clímaco (570–649) as it is found in the Peregrinación de Bartolomé Lorenzo (1586) by the Jesuit José de Acosta (1539–1600), a text from the colonial period. Surprisingly, this text has received almost no critical attention. I focus on the study of the text (and the context in which it was produced and received), basing my analysis on a comparison of Acosta's text with other similar works. By using a comparative method, I explore the ideological and aesthetic tensions that underlie Acosta's work. Moreover, this analysis makes manifest the cultural and literary continuities (or traditions) and ruptures which, coming as much from the East as from the West of Europe, arrived in the Vice-regency of Peru in the second half of the sixteenth century.     

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.     

Recent Books in the Field of Medieval Literature

The main objective of this article is to analyze the relationship between the novísimos poets—Pedro Gimferrer, Luis Antonio de Villena, Leopoldo María Panero, and Guillermo Carnero, among others—and the avant-garde movements in Spain. If during the forties the garcilasismo opposed the avant-garde, in the seventies, with the novísimos, the -ismos returned to be considered not as a radical change but as one more stage in the evolution of Spanish poetry. The -ismos are now considered not as a subversive departure from the past, but as part of Spanish artistic heritage and tradition, thus reconciling tradition and modernity or even converting the vanguard into literary tradition. The -ismos are described not as an absolute novelty but simply as a process of innovation in the same way, with their own poetic precedents, as the garcilasistas and the neoromantics of the past.     

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.     

Absurd Avatars,Transcultural Relations: Elia Suleiman,Franco-Palestinian Filmmaking and Beyond

This article illuminates the threads of connection drawing together the work of the Palestinian filmmaker Elia Suleiman and French cultural production, while acknowledging the broader international contexts of these connections. The transcultural relations identified in the article title are a means of articulating these concerns. Suleiman's films, funded by French production companies and supported by French film festivals, have a tacit connection to France. Suleiman's mute self-representation within his films also draws upon auteurist and absurdist tropes familiar to European literature and art in the twentieth century. First discussing the broader cultural and geopolitical contexts of Franco-Palestinian filmmaking, the article then engages closely with critical tropes of the Absurd and human gesture in relation both to the critical reception of Suleiman's films, and the films' aesthetics, specifically in his recent feature films Divine Intervention (2002) and Le Temps qu'il reste/The Time that Remains (2009). Offering an alternative articulation of these complex transcultural relationships, the article explores Suleiman's position as a mute filmic figure and auteur director. It re-opens an often ‘unspoken’ dialogue of Franco-Palestinian cinematic relations which has been frequently designated as historical or political, rather than also and in equal measure, cultural, aesthetic, ethical and personal. At the same time, it seeks to open out these dialogues beyond France and Palestine, towards transcultural relations between Europe, the Middle East, North Africa and North America.     

Beyond the stereotypes: Mary Lavin's Irish women

This paper discusses Mary Lavin's place within the Irish literary tradition by means of an analysis of her representations of female characters. It argues, first, that Lavin's short stories depart from the short story tradition in general and the Irish short story tradition in particular by failing to subscribe to the cultivation of the romantic outsider and focusing instead on family relations and social responsibilities. Second, Mary Lavin's marginal position in a feminist or female literary tradition is explained through her unwillingness to portray women as victims and through the absence of a clear critique of patriarchy in her work. The paper then tries to characterise the relationship between individual and society in Lavin's short fiction in a more positive way, by focusing on the notions of individual fate and personal responsibility, which turn out to be crucial to Mary Lavin's philosophy. This philosophy is first discussed explicitly in a reading of the story ‘Happiness’ and ‘The Widow's Son’ and subsequently shown to lie behind the oppositions and dilemmas in several other stories. Finally, the article demonstrates how Lavin manages to realise her Nietzschean belief in an Amor Fati in some of her most positive female characters through a clever use of imagery and point of view, without thereby succumbing to sentimentality or cliché.     

Historical duty,palimpsestic time and migration in the Decade of Centenaries

Abstract

This article analyses Sonya Kelly’s How to Keep an Alien (Dublin Tiger Fringe, 2014) and ANU Production’s Vardo (Dublin Theatre Festival, 2014) in relationship to the performative backdrop of the Irish Decade of Centenaries (2012–22) and a series of key extra-theatrical political events have that featured asylum seekers and migrants prominently in Ireland and to a limited extent in Europe at large from 2012 to 2015. Both theatrical productions centrally engage tropes of Irish national memory vis-à-vis engagement with migration through a primary focus on women’s stories and premiered against the backdrop of the Decade of Centenaries. How to Keep an Alien and Vardo’s embrace of what M. Jacqui Alexander terms “palimpsestic time” and their critical focus on gender during this moment of the Decade of Centenaries models a theatrical dramaturgy that aids in reading key theatrical and extra-theatrical events featuring asylum seekers and migrants against one another. These works reveal the relationship between these events and the ongoing redefinition of Irish national memory and political community, a process thrown into sharp relief by the present commemorative mode. They insist that a turn to the past is inseparable from querying the lived political structures of the present, structures that have repeatedly displaced as well as instrumentalised the bodies of migrant women from the post-inward migration of the mid-1990s onwards.     

Lincoln and Chiriquí Colonization Revisited

Abstract

This article looks at Abraham Lincoln's pursuit of colonization in the Chiriquí region of Colombia (now Panamá), conventionally known as one of just two places that he seriously considered with respect to his policy of relocating African Americans. Challenging the standard account of the scheme's demise around October 1862 due to vehement Central American protest, this piece questions whether such a development really took the president by surprise. The two weak threads running through the Chiriquí proposal were its scope for diplomatic upset and the embarrassment that might arise from its corrupt proponents’ links to the administration. The author argues that Lincoln was aware of both issues from an early date – even if they each became more complicated than he had initially realized – but that he made persistent attempts to address them. The administration was also more concerned about the ramifications of divisions within Colombia than the widespread isthmian outcry at colonization. Lincoln accordingly tried to place colonization policy on a sounder diplomatic and legislative footing as it became apparent that his contract with a domestic businessman also carried international implications. Yet ultimately, it was the Chiriquí venture's corruption that killed it when the president discovered that it went all the way to the cabinet.     

The Disappearing Body

Although Chile was the first country in Latin America to report cases of anorexia nervosa in 1982, the issue had already gained notoriety during the 1970s, the decade when North American policies and the United States capitalist economy began to infiltrate Chilean society. The category of eating disorders, which may be manifested in a variety of diseases (such as anorexia, bulimia, and compulsory overeating), has only recently become the focus of Chilean literature and, in turn, literary criticism, which has primarily focused on the metaphorical interpretations of these illnesses. One novel that treats the multifaceted manifestations of eating disorders, not merely the metaphorical representations, is Marcela Serrano's Antigua vida mía (1995). The societal demands of unhealthy body images have been the concern of feminist criticism such as Susan Bordo's Unbearable Weight: Feminism, Western Culture, and the Body (1993). In Marcela Serrano's novel the treatment of eating disorders reflects the evolving expectations on women in contemporary Chilean culture. Through the application of Bordo's analysis of the cultural pressures and significances of body expectations, this article delves into the various manifestations of unhealthy eating practices in Serrano's Antigua vida mía and reveals the self-destructive and self-isolating consequences of an often-occulted illness while also recognizing that by treating body image and illness, the author engages in a cultural discourse regarding the expectations and repercussions of cultural demands.     

De Manuel Zeno Gandía a Wilfredo Mattos Cintrón: Exploraciones en torno al género negro en Puerto Rico

This article proposes an analysis of Wilfredo Mattos Cintrón's seventh noir novel (novela negra), Las dos muertes de Catalino Ríos (2012), and a comparison of its poetics with that of Manuel Zeno Gandía's La charca (1894). The article questions the naturalist label often applied to Zeno Gandía's novel and instead views it as a nascent hardcore detective novel (proto novela negra). In comparing the two novels, it validates both Mattos Cintrón and Zeno Gandía as initiators of the noir thriller in Puerto Rico.     

Re-writing Protestant history in the novels of Glenn Patterson

This article considers the representation of the history of Belfast in Glenn Patterson's 2012 novel The Mill for Grinding Old People Young. It situates this novel within the context of Patterson's previous work and the history of the Northern Irish novel, as well as with the representation of maritime Belfast in the Titanic centenary year. This novel will be read as a recovery and rehabilitation of a Protestant history which could be problematic for Patterson, an avowedly liberal writer, but instead this context allows for an exploration of the uses of history in contemporary Northern Irish cultural and political discourse.     

Probability and certainty in seventeenth-century england. a study of the relationships between natural science,religion, history. law,and literature

Enlightenment optimism over mankind's progress was often voiced in terms of botanical growth by key figures such as John Millar; the mind's cultivation marked the beginning of this process. For agriculturists such as Arthur Young cultivation meant an advancement towards virtue and civilization; the cultivation of the mind can similarly be seen as an enlightenment concept which extols the human potential for improvable reason. In the course of this essay I aim to explore the relationship between ‘culture’ and ‘cultivation’ through botanical metaphor. By using the recurring motif of the mind's cultivation as a site from which to explore enlightenment views on female understanding, I investigate how far concerns with human progress extended to the female mind.

I examine the language of botany and cultivation in texts by authors such as Mary Wollstonecraft and Anna Laetitia Barbauld alongside that of Rousseau and Millar. Wollstonecraft's appropriation and subsequent inversion of the conventional cultivation metaphor, for example, demonstrates her desire to draw attention to society's neglect of women's educational potential by substituting images of enlightened growth with those of luxuriant decay. By pushing this analogy further she indicates how society has cultivated women rearing them like exotic flowering plants or ‘luxuriants’ where ‘strength of body and mind are sacrificed to libertine notions of beauty’. I discuss the antipastoral rationalism which enables her to unmask the false sentiment behind this traditional metaphoric association between women and flowers arguing that such familiar tropes are the language of male desire and are indicative of women's problematic relationship to culture.