<?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>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>1</startPage>
    <endPage>15</endPage>
    <publisherRecordId>1229</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ The Times and the Northern Ireland Conflict ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Zouhaïr Abassi ]]></name>
        <affiliationId>1</affiliationId>
      </author>
     
      <author>
        <name><![CDATA[ Nadège Soubiale ]]></name>
        <affiliationId>2</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Université de Reims, France ]]></affiliationName>
     
      <affiliationName affiliationId="2"><![CDATA[ Université de Bordeaux III, France ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Abstract: In societies in conflict the role of the media is supposed to be neutral and to report conflicts fairly and with balanced analyses. By their public debates on conflicts they are also supposed to take part in pacifying societies and in helping to bring peace. Cottle (1997), for instance, explained that even though some findings related to the British media and its reporting of the Northern Ireland conflict were relevant, he argued that they needed revision. Consequently, he proposed new paradigms of media studies. Elliott (1977) and Curtis(1996) showed that the British media concentrated on violence in general and on republican violence in particular. Moreover, they argued that the British media neglected social and political contexts in their reporting of the conflict. The aim of this paper is then to examine some aspects of how the British media cover the Northern Ireland conflict. We studied the coverage of the Northern Ireland conflict by The (London) Times (1990-1995). We used a discourse analysis method to study the paper’s discourse structure in its representation of the Northern Ireland conflict.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/Abassi-Soubiale.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Media discourse</keyword>
              <keyword>British Press</keyword>
              <keyword>The Times</keyword>
              <keyword>Reporting Conflicts</keyword>
              <keyword>Northern Ireland Conflict</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>16</startPage>
    <endPage>22</endPage>
    <publisherRecordId>1247</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A Portrait of the Artist as a Young Man: James Joyce, the Myth of Icarus, and the Influence of Christopher Marlowe ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ivan Cañadas ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Hallym University, South Korea ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Joyce’s A Portrait of the Artist as a Young Man (1916) concludes at the point when Stephen Dedalus – a character substantially modeled on Joyce himself – is about to leave the Ireland of his childhood and young-adult years. Presented as a means of maintaining independence and distance as a writer, this move marks the culmination of a process of self-discovery. However, beyond this basic narrative dimension, A Portrait is hardly a simplistic novel. In this respect, the novel’s oft-discussed patterns of imagery, and its complex, sometimes ambiguous, use of irony, for instance, continue to invite new interpretations. The present article, in fact, aims to provide insight into the function of Christopher Marlowe as a role-model and precursor – to-date unrecognized in Joyce criticism – of the idealized subversive artist, a writer whose work and cultural image contributed to the Stephen Dedalus-James Joyce persona as constructed in A Portrait.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2022/02/EI-1-Canadas.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>James Joyce</keyword>
              <keyword>Christopher Marlowe</keyword>
              <keyword>Irishness</keyword>
              <keyword>Individualism</keyword>
              <keyword>Radicalism</keyword>
              <keyword>Subversion</keyword>
              <keyword>Artistic independence</keyword>
              <keyword>Exile</keyword>
              <keyword>Faust</keyword>
              <keyword>Faustus</keyword>
              <keyword>Daedalus and Icarus</keyword>
              <keyword>Daedalus</keyword>
              <keyword>Icarus</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>23</startPage>
    <endPage>31</endPage>
    <publisherRecordId>1258</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Intertextual Re-creation in Jamie O’Neill’s At Swim, Two Boys ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Bertrand Cardin ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Université de Caen, Basse-Normandie, France ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ As the title of the book indicates, Jamie O’Neill’s At Swim, Two Boys, published in 2001, refers back to Flann O’Brien’s At Swim-Two-Birds (1939). Through the use of such a parodic title, O’Neill places himself within a postmodern literary tradition, involving the influence of famous Irish parodists such as O’Brien or Joyce, who overshadow his novel. This title alludes to a famous text, gives it a new meaning, a new story and re-locates it in a different context, namely a gay universe which calls to mind another famous literary predecessor, Oscar Wilde, a writer also referred to repeatedly, whether explicitly or implicitly, throughout the novel. This paper focuses on the intertextual articulations of the novel in connection with the theories advanced by Neil Corcoran, Augustine Martin and Harold Bloom, whose essays take a real interest in the literary phenomenon of intertextuality.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/BertrandCardin.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Influence</keyword>
              <keyword>Tradition</keyword>
              <keyword>Intertextuality</keyword>
              <keyword>Irishness</keyword>
              <keyword>Writer</keyword>
              <keyword>Postmodernism</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>32</startPage>
    <endPage>38</endPage>
    <publisherRecordId>1279</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ ‘Talk talk talk …’ Virginia Woolf, Ireland and Maria Edgeworth ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Paul E. H. Davis ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ The University of Buckingham, England ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This article considers Woolf’s only visit to Ireland and her attitude to the country as revealed in her diary and in a review of a book about Maria Edgeworth. She considered the fault of the Irish to be their loquaciousness. Her diary reveals her belief that Irish literature had declined since Dean Swift. Woolf, both in her twenties and when she visited Ireland in 1934, revealed a certain antipathy to the country. She asserted, for example, that the Irish propensity to talk had prevented the production of literature of any quality after the eighteenth century. In the 1909 review, Woolf, while criticising the author of a book about Maria Edgeworth, attacks Edgeworth herself. But her words imply that she had not read Maria’s Irish novels. Bloomsbury’s ‘snobbery’ and Woolf’s Feminism throughout the essay are evident in her implicit criticism of the way that Edgeworth sacrificed love for duty. In dismissing Edgeworth’s achievement, Woolf betrays a degree of ignorance that is worth considering.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/PaulE.-H.Davis_.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Woolf</keyword>
              <keyword>Edgeworth</keyword>
              <keyword>Swift</keyword>
              <keyword>talk</keyword>
              <keyword>superficial</keyword>
              <keyword>Land Question</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>39</startPage>
    <endPage>44</endPage>
    <publisherRecordId>1294</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Tradition and the (Re)Writing of Poetry in Roman Script by Derek Mahon ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Elisabeth Delattre ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Centre for Irish Studies, University of Lille3, France ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This paper aims at showing in what way artistic and historical traditions constitute for Derek Mahon a fundamental element of poetic writing, which is perhaps only a form of rewriting. Our purpose will follow three main lines: first the matter of form, which appears to be traditional in many respects; the second part will belong to the order of representation, in so far as the poem contains a return to artistic and historical sources placed in a contrapuntal mode. The third aspect of this analysis will deal with what proves to be a quest for the ultimate, a reflection on creation. By way of consequence, writing becomes the very subject of the poem.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/ElisabethDelattre.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Sonnet</keyword>
              <keyword>Intertextuality</keyword>
              <keyword>History</keyword>
              <keyword>Cinema</keyword>
              <keyword>Photography</keyword>
              <keyword>Representation</keyword>
              <keyword>Reality</keyword>
              <keyword>Creation</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>45</startPage>
    <endPage>57</endPage>
    <publisherRecordId>1301</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ An Essential Picture in a Sketch-Book of Ireland: The Last Hedge Schools ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Mª-Yolanda Fernández-Suárez ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Burgos ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The national system of education was introduced in Ireland in 1831, which meant the beginning of the end for hedge schools. Nevertheless, they lasted longer than it is popularly believed and up to the 1870s there were still many parents willing to pay for the education of their children at the native schools. This was due to several reasons: the changing attitude of the Catholic Church towards the new system, the curriculum of the national school, its rules and material conditions, etc. After this date there is hardly any information about them. However, we have found a unique photograph which shows a hedge school still in use in 1892! In spite of being the last native school documented, it does not seem to be so different from the ones that many writers travelling in Ireland reported on earlier in the nineteenth century. In fact, it could vividly depict a scene belonging to pre-Famine rural Ireland, an essential document in any history of Irish education.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/YFernandez.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Hedge schools</keyword>
              <keyword>Native schools</keyword>
              <keyword>Elementary education</keyword>
              <keyword>School buildings</keyword>
              <keyword>Nineteenth-century Ireland</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>58</startPage>
    <endPage>66</endPage>
    <publisherRecordId>1340</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “Troubling” Thrillers: Between Politics and Popular Fiction in the novels of Benedict Kiely, Brian Moore and Colin Bateman ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Marisol Morales-Ladrón ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Alcalá de Henares, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Since the beginning of the Northern Ireland “Troubles”, interest in exploring the social and political concerns of a region affected by sectarian violence and religious bigotry has produced a significant body of literary works within which the thriller has become one of the most suitable forms of expression. The traditional action thriller has acquired in this context a rich political dimension, producing what is now widely known as the “Troubles” thriller. The development of this mode has diverged into two categories: the “Troubles-trash”; and a more “literary” form, which draws on serious political matters to reflect upon social and religious disputes. Both kinds, however, have been criticised for offering a stagnant and reductive version of the dynamics of the conflict; a judgement that should be qualified. Bearing this in mind, the purpose of the present article is to analyse the ways in which these issues are echoed in the literary productions of three well-known writers: Benedict Kiely, Brian Moore and Colin Bateman. The research carried out for the writing of this paper has been financed by the Spanish Ministry of Education (DGICYT, research project HUM2004-02413/FILO) and by the University of Alcalá (Vicerrectorado de Investigación, research project UAH PI2004/020).
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/MMorales.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Troubles</keyword>
              <keyword>Thriller</keyword>
              <keyword>Detective</keyword>
              <keyword>Northern Ireland politics</keyword>
              <keyword>Identity</keyword>
              <keyword>Benedict Kiely</keyword>
              <keyword>Brian Moore</keyword>
              <keyword>Colin Bateman</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>67</startPage>
    <endPage>80</endPage>
    <publisherRecordId>1420</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Antoine Ó Flatharta’s Elviad: from Grásta i Meiriceá to Grace in America ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ John L. Murphy ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ DeVry University, Long Beach, CA, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Antoine Ó Flatharta bilingually charts media-saturated global impacts upon Galway’s Gaelic-speakers. His play in Irish,Grásta i Meiriceá (1990) features two young Irishmen who journey by bus on a pilgrimage to Elvis’ Graceland. In its 1993 English adaptation, Grace in America, the pair meets relatives who emigrated to 1940s Buffalo. Reading these plays by applying Seamus Deane’s “primordial nomination,” Edward Said’s “cartographical impulse,” Declan Kiberd’s “spiritual tourism,” and sociolinguistics, their relevance sharpens. In transforming Grásta into Grace, Ó Flatharta foreshadows his own shift into publishing in English. The fate of the play’s mutating Irish vernacular, as shown in Ó Flatharta’s drama, becomes less lamented than might be supposed. America, and English, represent liberation for his characters, in his work not only in English but –unexpectedly– in his other native language of Irish.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/JohnLMurphy.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Antoine Ó Flatharta</keyword>
              <keyword>Irish-language drama</keyword>
              <keyword>Elvis Presley: drama</keyword>
              <keyword>Linguistic code-switching</keyword>
              <keyword>English-language versions of Irish-language drama</keyword>
              <keyword>Tourism</keyword>
              <keyword>Emigration</keyword>
              <keyword>Globalization</keyword>
              <keyword>Mass Media</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>81</startPage>
    <endPage>89</endPage>
    <publisherRecordId>1455</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “Those Five Glenties Women”: Echoes Of Lorca In Dancing At Lughnasa ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Inés Praga-Terente ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Burgos, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay will attempt to show the numerous points that Lorca’s La casa de Bernarda Albaand Friel’s Dancing at Lughnasa have in common. Both plays create an intense rural atmosphere in their respective countries –Ireland and Spain– with echoes of the tragic days of 1936; and both introduce us to the rarefied community of five single women dominated by sexual repression and enclosed in the narrow confines of domestic space. The role of women at home was strongly emphasized by the papal encyclicals Castii Connubbi (1930) and Quadragesimo Anno (1931), highly influential in both countries. Interrogations and redefinitions of the female domestic space have been a central issue in gender studies, and so from this perspective we approach both plays as evidence of feminine oppression and its representation in the house, which stands for the five women’s honour. The strict law of space will prove an obstacle for their sexuality, marriage and motherhood and its transgression will be severely punished. The sexual morality imposed by the Catholic Church will make the five women lifelong prisoners and will preside over the claustrophobic society they belong to.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/IPraga.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Women</keyword>
              <keyword>rural atmosphere</keyword>
              <keyword>Catholic Church</keyword>
              <keyword>Morality</keyword>
              <keyword>Sexual repression</keyword>
              <keyword>Domestic space</keyword>
              <keyword>Transgression</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>90</startPage>
    <endPage>102</endPage>
    <publisherRecordId>1464</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ El enigma de la feminidad: La música en “The Dead” de James Joyce y la adaptación cinematográfica de John Huston ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Gerardo Rodríguez-Salas ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Universidad de Granada, España ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2022/02/EI-1-Rodriguez.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>James Joyce</keyword>
              <keyword>John Huston</keyword>
              <keyword>Cinema</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>103</startPage>
    <endPage>111</endPage>
    <publisherRecordId>1469</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Accepting the Grotesque Body: Bildungs by Clare Boylan and Eilis Ni Dhuibhne ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Jeanette Roberts Shumaker ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ San Diego State University, Imperial Valley, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In Clare Boylan’s fantasy novel Black Baby  (1988) and Eilis Ni Dhuibhne’s realistic novel The Dancers Dancing  (1999), female protagonists fear those who symbolize the grotesqueness of their own overweight bodies; hence, these heroines reject marginalized women, either black or retarded, and Irish peasants. Through their heroines’ struggles to accept both themselves and marginalized others, Ni Dhuibhne and Boylan deconstruct the psychology of self-hatred, whether it occurs in teenage or elderly women. Bakhtin’s ideas about the grotesque body, along with Stallybrass and White’s connection of the grotesque to prejudice, and Kristeva’s theory of abjection illuminate the conflicts over self-acceptance that Boylan’s and Ni Dhuibhne’s heroines face.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/JeanetteRShumaker.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Self-hatred</keyword>
              <keyword>Grotesque</keyword>
              <keyword>Women</keyword>
              <keyword>Body</keyword>
              <keyword>Abjection</keyword>
              <keyword>Overweight</keyword>
              <keyword>Fantasy</keyword>
              <keyword>Disability</keyword>
              <keyword>African</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>112</startPage>
    <endPage>118</endPage>
    <publisherRecordId>1473</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Fabulism and Irish Censorship ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Katarzyna Szmigiero ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Piotrków Trybunalski, Poland ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The aim of the article is to analyse the effects of the introduction of Censorship legislation on Irish culture. The analysis focuses on  the reasons behind the introduction of the Censorship of Publications Act of 1929 and previous cases of literary ostracism. Then, it deals with anti-censorship journalism published in The Bell and the most controversial bannings, which increased the general awareness of the inadequacies of the Act and caused it to be lifted. Finally, the article examines the Act’s impact on Irish letters, especially the rise of fabulist fiction and the techniques used by writers such as Eimar O’Duffy, Flann O’Brien, and Mervyn Wall to circumvent and ridicule the censorship laws. The emergence of satirical fantasy writing can be seen as a reaction to oppressive legislation. As publishing realistic novels became nearly impossible, Irish writers expanded their range of expression to include non-mimetic fiction.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2022/02/Ei-1-Szmigiero.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Censorship</keyword>
              <keyword>Satire</keyword>
              <keyword>Fabulism</keyword>
              <keyword>Flann O’Brien</keyword>
              <keyword>Mervyn Wall</keyword>
              <keyword>Eimar O’Duffy</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>119</startPage>
    <endPage>124</endPage>
    <publisherRecordId>1478</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Talking with William Trevor:  ‘It all comes naturally now’ ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Constanza del Río-Álvaro ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Zaragoza, Spain ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/InterviewWTrevor.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>William Trevor</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>125</startPage>
    <endPage>133</endPage>
    <publisherRecordId>1484</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Pharaoh’s Daughter de Nuala Ní Dhomhnaill (Siete poemas) ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Mia Smyth ]]></name>
        <affiliationId>1</affiliationId>
      </author>
     
      <author>
        <name><![CDATA[ Rosana Herrero Martín ]]></name>
        <affiliationId>2</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ EFL teacher in Bolonia ]]></affiliationName>
     
      <affiliationName affiliationId="2"><![CDATA[ University of Salamanca, Spain ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/MiaSmythRosanaHerrero.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Poems</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>134</startPage>
    <endPage>140</endPage>
    <publisherRecordId>1541</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Studies in Spain – 2005 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ José Francisco Fernández-Sánchez ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Almería, Spain ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/IrishStudiesinSpain.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>141</startPage>
    <endPage>155</endPage>
    <publisherRecordId>1572</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Literary Reviews – 2005 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ David Pierce ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ York, England ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/LiteraryReviews.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2006-03-15</publicationDate>
        <volume>1</volume>
    <issue>1</issue>
        <startPage>156</startPage>
    <endPage>189</endPage>
    <publisherRecordId>1778</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Cinema – 2005 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Tony Tracy ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ NUI Galway, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/FilmReviews.pdf</fullTextUrl>
    
      </record>
</records>