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.     

Improvisation and Hybrid Genres: Reading Childe Harold’s Pilgrimage

ABSTRACT

In the first section I ask two questions: what sort of a poem is Childe Harold’s Pilgrimage, and what is the immediate experience of reading it in sequence? These two questions are the practical equivalents of the main terms of my title. I try to answer them by reconstructing a first reading of the poem in the light of my own experience and the imagined one of the first readers of the poem. I suggest that two terms—accretion and elimination—are helpful here and that, in some ways, the structure and sequential experiencing of the poem resemble the structures of extended nineteenth-century musical forms. In the second section, I reverse perspective and take a position at the end of the poem. From such a point, it is easier to find what the poem has included and eliminated and this, in turn, suggests the kind of poem that it is. In the third section I tackle the terms “improvisation” and “hybrid genres” directly, link them with my earlier arguments, and engage with some theorists, especially Bakhtin. In particular, I argue against the view that Childe Harold’s Pilgrimage dissolves genre but argue that genres are nevertheless “open categories.” My conclusion is less definite. I confess to difficulties that still bother me.