<?xml version='1.0' encoding='UTF-8'?>
<records>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2010-03-15</publicationDate>
        <volume>5</volume>
    <issue>5</issue>
        <startPage>119</startPage>
    <endPage>128</endPage>
    <publisherRecordId>2247</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Elizabeth Bowen, Modernism,  and the Spectre of Anglo-Ireland ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ James F. Wurtz ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Indiana State University ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The recent scholarly focus on Elizabeth Bowen’s modernism tends to reinforce a false dichotomy between Bowen as an Ascendancy Big House novelist and Bowen as a literary modernist. In keeping with Jameson’s argument that the colonial experience is at the root of Western modernism, I propose that her representations of Anglo-Irish Big House culture, in The Last September in particular, are in fact focal points for understanding Bowen as a modernist, and I argue that the Gothic, with its unavoidable political and colonial resonances, is fundamental to Bowen’s Irish modernism.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/James_F_Wurtz.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Bowen</keyword>
              <keyword>Modernism</keyword>
              <keyword>Gothic</keyword>
              <keyword>Big House</keyword>
              <keyword>The Last September</keyword>
            </keywords>
      </record>
</records>