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<records>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>1</startPage>
    <endPage>12</endPage>
    <publisherRecordId>10097</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Forms of a Posthuman Fantastic in Mia Gallagher’s Shift ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Hedwig Schwall ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Leuven Centre for Irish Studies (LCIS), Belgium ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In posthuman philosophy the human subject is not regarded as an entity but a relational process. Yet the historical construct of “the individual” remains the (unconscious) reference point in human perception, feeding ego- and anthropocentrism. This article will argue that in their call to revise the static ideal of the individual entity posthuman philosophers find “allies” in fiction. More specifically, the fantastic is a genre which offers great possibilities to drastically reshuffle basic tenets of perception. Mia Gallagher’s Shift offers a spectrum of fantastic stories in which protagonists relate to human and nonhuman agents such as animals, minerals, air and water. But, in this posthuman theory and fiction, not only human beings are deconstructed into relational nodes; the categories that constitute them are no independent concepts either, but mere interactional factors. This article’s analysis of Gallagher’s short stories focuses on the ways in which self and other, nature and culture, life and death, feminine and masculine, interior and exterior worlds interact.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Hedwig-Schwall-article.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>The posthuman as anti-individual</keyword>
              <keyword>Mia Gallagher</keyword>
              <keyword>Rosi Braidotti</keyword>
              <keyword>the fantastic</keyword>
              <keyword>being relational and transversal.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>13</startPage>
    <endPage>27</endPage>
    <publisherRecordId>9972</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “‘Idle Talk, Idle Talk, Idle Talk’: Samuel Beckett, Anglo-Ireland, and Heideggerian Thought” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Graham Price ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University College Dublin ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay analyses Samuel Beckett’s Trilogy and Waiting for Godot through the enabling theoretical lens of Martin Heidegger’s Being and Time. Special attention shall be paid to key Heideggerian concepts: idle talk, authenticity, and inauthenticity. A Heideggerian reading of Beckett’s influential middle period allows for a rich exploration of how his works provide a vision of the psychological state of the formerly powerful Anglo-Irish in post-independence Ireland. A Beckettian reading of Heidegger demonstrates how Heideggerian thought has been at the forefront of elucidating key challenges posed in the Twentieth Century concerning ways of being-in-the-world and being-with-others that allows for the authenticity of individual subjectivities.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-GRAHAM-PRICE-FINAL.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Beckett</keyword>
              <keyword>Heidegger</keyword>
              <keyword>Irish literature</keyword>
              <keyword>continental philosophy</keyword>
              <keyword>Irish drama</keyword>
              <keyword>Irish history</keyword>
              <keyword>Anglo-Irish</keyword>
              <keyword>psychoanalysis.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>28</startPage>
    <endPage>41</endPage>
    <publisherRecordId>9968</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Aesthetic Subjectivation and Identity in Seamus Heaney’s “Station Island” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ M. Reza Ghorbanian ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Université Côte d’Azur in Nice, France ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Seamus Heaney’s “Station Island” occupies an important place in Heaney’s work as it is an allegory of self-creation and subjectivation. It introduces a subject whose attempts at discovering and creating the self and identity are challenged by the socio-political atmosphere of Northern Ireland. This study sheds a new light on the process of aesthetic subjectivation, tracing the development of the subject&#8217;s personal and artistic abilities. Informed by different views about the art of self-creation, from philosophy, asceticism and art, including the ideas of Foucault and Deleuze, it traces the archaeology of personal and collective identities in this poem. The subject advances through a constant “curved” movement in order to unfold and reveal the fragments of his self. This movement is part of a strategy to circumvent social obstacles as he confronts a hostile space, the Other. Moreover, it positions him in various points of view, the sites that help him reveal the fragments of his self, once put together, constitute a complex mosaic representing a new and strong identity.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-GHORBANIAN-FINAL.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Heaney</keyword>
              <keyword>subjectivation</keyword>
              <keyword>self</keyword>
              <keyword>subject</keyword>
              <keyword>Deleuze</keyword>
              <keyword>identity</keyword>
              <keyword>other.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>42</startPage>
    <endPage>53</endPage>
    <publisherRecordId>9970</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ In Dialogue with Writing. Clare Boylan’s Non-Fiction ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Giovanna Tallone ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Independent Researcher, Italy ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In 1993 Clare Boylan edited a collection of essays by diverse writers on the act of writing entitled The Agony and the Ego. The Art and Strategy of Fiction Writing Explored. Here, Boylan takes the double stance of an outsider, as a critic, and of an insider, as a writer, and her concern with other writers’ work highlights her own preoccupation with writing and creativity, thus providing an interesting insight into her own fiction too. Besides writing seven novels and three collections of short stories, Clare Boylan also produced personal, autobiographical and critical pieces in a variety of essays and newspaper articles. She also showed a rigorous stance as editor in the thorough and engaging Literary Companion to Cats (1994). In particular, Boylan’s non-fiction work includes essays on Kate O’Brien and Molly Keane, as well as an introduction to Maeve Brennan’s posthumous novella The Visitor. Her critical work shows rigorous attention to texts and imagery, but also patterns of affinities with the writers she takes into account. The purpose of this essay is to analyse samples of Clare Boylan’s critical work vis-à-vis her own fiction. Significant cross-references can be identified which cast new perspectives on her literary work.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-GIOVANNA-TALLONE-FINAL.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Clare Boylan</keyword>
              <keyword>critical works</keyword>
              <keyword>autobiographical writing</keyword>
              <keyword>journalism</keyword>
              <keyword>Irish women’s writing.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>54</startPage>
    <endPage>67</endPage>
    <publisherRecordId>9978</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Poetic Emergencies: Senses of Ending in Paul Muldoon’s “Incantata” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ James Costello O'Reilly ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Queen's University, Belfast, U.K. ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Paul Muldoon’s lectures as Professor of Poetry at Oxford demonstrate a sustained interest in how poems might be said to “end”. On several occasions, he returns to Giorgio Agamben’s short essay “The End of the Poem” and its argument that a poem’s conclusion is a kind of “emergency”, a source of anxiety for the poem as a whole. This essay proposes that Muldoon’s engagement with Agamben and ideas of ending responds to his own poetic work, and especially to the elegies of his 1994 collection “The Annals of Chile”. The essay offers “Incantata” as an exemplar of Muldoon’s thinking about poetic endings, situating it within the context of modern elegy to show how a poem’s awareness of its own closure can shape its approaches to subject matter, form, and temporality.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-JAMES-COSTELLO-OREILLY-FINAL-1.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Paul Muldoon</keyword>
              <keyword>“Incantata”</keyword>
              <keyword>Giorgio Agamben</keyword>
              <keyword>Poetic form</keyword>
              <keyword>Elegy.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>68</startPage>
    <endPage>78</endPage>
    <publisherRecordId>10061</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Gendering Placement in Displacement: Transnational Im/mobility and the Refugee Camp in Emer Martin’s Baby Zero ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Aida Rosende Pérez ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ This article concentrates on the analysis of the space of the refugee camp in Emer Martin’s third novel Baby Zero (2007), critically appraising this space as a fundamental site of transnational im/mobility simultaneously “homing” those who have been violently expulsed from their home, as well as retaining them as a measure of containment of migratory flows. As such, the camp will be posed here as a relevant example of the necropolitics (Mbembe) that extremely precarise the lives of displaced populations thrusting them into bare lives (Agamben), while concurrently pushing forward a much needed insight into its gendered inflections. This examination will evidence not only that “placement in displacement matters” (Hyndman 25), but also that placement in displacement is profoundly gendered and brings with it distinct forms of violence that feed on the extreme social vulnerability of women and girls in conflict zones and also in refugee settlements.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Aida-Rosende-1.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Transnational im/mobility</keyword>
              <keyword>refugee camp</keyword>
              <keyword>gender</keyword>
              <keyword>displacement</keyword>
              <keyword>Emer Martin.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>79</startPage>
    <endPage>94</endPage>
    <publisherRecordId>9984</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ The Rubberbandits’ Guide to Satire: Absurdism and Social Commentary in a Cross-Media Environment ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Faye Mercier ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Media Studies, University of Amsterdam ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This paper argues that through an engagement with cross-media hybridity, Irish comedy duo The Rubberbandits have established a dynamic cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement. Central to this process is The Rubberbandits’ ability to use their absurdist satire as a foundational tool that can serve as the basis of this cultural forum, while also facilitating the negotiation of social and political issues across a variety of media. Given that this cultural forum exists across different media, platforms, and formats, this paper sets out to analyse the various ways in which the duo have adapted their satirical style to suit the demands of these different media forms, and what implications this process of adaption has had on their work. Beginning with an analysis of the social and critical functions of satirical comedy more broadly, this paper will then focus on the specific brand of satirical social commentary employed by The Rubberbandits, paying particular attention to the role of absurdity in their critical engagement with prominent issues facing Irish society. As this paper will demonstrate, by embracing the hybridity of the cross-media environment, all the while maintaining their absurdist satirical style, The Rubberbandits have established a dynamic and carnivalesque cross-media forum that aims to restore the Irish public’s capacity for critical social and political engagement.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-MERCIER-FINAL.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Cross-Media Specificity</keyword>
              <keyword>Satire</keyword>
              <keyword>Social Commentary</keyword>
              <keyword>Absurdism</keyword>
              <keyword>Carnivalesque</keyword>
              <keyword>Cultural Forum</keyword>
              <keyword>The Rubberbandits</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>95</startPage>
    <endPage>109</endPage>
    <publisherRecordId>9990</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Brian O’Nolan’s “Tales from Corkadorky” and Sgéalta Mhuintir Luinigh ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Tobias Harris ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Birkbeck, University of London, United Kingdom  ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay addresses a relatively untouched topic in the field of Brian O’Nolan / Flann O’Brien studies: the Irish-language “Tales from Corkadorky” vignettes published during 1941–42 in the “Cruiskeen Lawn” column O’Nolan wrote as Myles na gCopaleen for the Irish Times. This essay builds on the brief existing critical remarks about this series of columns by exploring, in unprecedented detail, Breandán Ó Conaire’s suggestion that the “Tales from Corkadorky” are modelled on the Sgéalta Mhuintir Luinigh (Munterloney Folktales) collected by Professor Éamonn Ó Tuathail and published in 1933. After summarising existing criticism, the essay presents the wider context of folklore collection for O’Nolan’s work in Irish, the background linking him to Ó Tuathail’s Sgéalta Mhuintir Luinigh, and proceeds to conduct a comparative reading of O’Nolan’s use of dialect features and themes from this source material in the “Tales from Corkadorky”. Facilitated by its analysis of the first tale to appear, the essay traces the origin and development of the tale format as it interacts with other recurring elements in “Cruiskeen Lawn”.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-TOBIAS-HARRIS-FINAL.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Brian O’Nolan</keyword>
              <keyword>Flann O’Brien</keyword>
              <keyword>Éamonn Ó Tuathail</keyword>
              <keyword>Folklore</keyword>
              <keyword>Newspapers.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>110</startPage>
    <endPage>124</endPage>
    <publisherRecordId>10074</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Brian Friel in Spain: An Off-Centre Love Story ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ María Gaviña-Costero ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel&#8217;s dramatic texts.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-María-Gaviña.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Brian Friel</keyword>
              <keyword>Spanish scene</keyword>
              <keyword>theatre reception</keyword>
              <keyword>translation</keyword>
              <keyword>identity</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>125</startPage>
    <endPage>138</endPage>
    <publisherRecordId>10072</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “Propaganda for peace”: a Gramscian reading of Irish and Spanish Civil War photography ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Nina White ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Teesside University, United Kingdom ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ At the outset of the Spanish Civil War, Ireland’s ruling party were faced with the challenge of maintaining political hegemony. Revealing the old fault lines of the Irish Civil War, the opposition cast the government’s Non-intervention policy as pro-Communist and anti-Catholic; a refusal to support Spanish insurgents in what was perceived by the majority as their defence of the Catholic faith. Following McNally, this paper utilises Gramsci’s theory of hegemony to explore political equilibrium in the contexts of the Irish and Spanish conflicts. The notion of the “organic intellectual” enables a Gramscian reading of war photography, finding common visual language in the works of Robert Capa and W.D. Hogan as they contributed to national and transnational projects of hegemony. Through such a reading, the author finds cultural compatibility between the conflicts and casts the Irish revolutionary period in new international light.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Nina-White.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Photography</keyword>
              <keyword>propaganda</keyword>
              <keyword>Irish Civil War</keyword>
              <keyword>Spanish Civil War</keyword>
              <keyword>Robert Capa</keyword>
              <keyword>Desmond FitzGerald</keyword>
              <keyword>W.D. Hogan</keyword>
              <keyword>Gramsci</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>139</startPage>
    <endPage>152</endPage>
    <publisherRecordId>9987</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ The Murphy Murder Mystery: An Irish “post-mortem situation” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Scott Eric Hamilton ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University College Dublin, Ireland ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This paper will propose that Beckett’s affinity for crime and mystery fiction also contributes to Murphy. The novel will be examined on the proposed hypothesis that Murphy’s death, so-called, is conspicuously left ambiguous to a certain degree, rendering it a type of mystery narrative. Approaching the mysterious death as something like a detective fiction “cold case”, the events of Murphy, and clues left by Beckett throughout the prose that follows, I will investigate whether or not Murphy does actually die toward the end of the book. Although Beckett does not present these aspects in the traditional form of “thriller” fiction, he does use them to create a modernist aesthetic which challenges traditions, identifications of being, identity, representation and space regarding both the individual and the social context of the Irish “postmortem situation” depicted in Murphy.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-SCOTT-HAMILTON-FINAL.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Samuel Beckett</keyword>
              <keyword>“detective fiction”</keyword>
              <keyword>Murphy.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>153</startPage>
    <endPage>164</endPage>
    <publisherRecordId>9981</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ From “dead saint” to “lyreless Orpheus”: Post-traumatic Narrativization of Myths and Fairy Tales in John Banville’s The Sea and Anne Enright’s The Gathering ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Héloïse Lecomte ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ École Normale Supérieure de Lyon, France ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In The Sea (2005) and The Gathering (2007), John Banville and Anne Enright incorporate modernist and postmodernist intertextuality into accounts of bereavement. While the shattered existence of the protagonists is seemingly devoid of religious belief, they mobilize the palimpsestic immemorial past of mythological and fairy-tale intertexts to make sense of broken realities. The narrators’ self-portraits and invocations of lost people and places, oscillating between reminiscence and mythification, underscore postmodernism’s play with canonical stories. Both authors use mythological syncretism to express their characters’ quest for meaning: while Greek, Egyptian and Norse gods invade The Sea’s modern-day “Atlantis” (132), The Gathering is peopled with subverted Christian and Irish figures. However, rather than restoring coherence, myth and fairy-tale tropes are suffused with desperate irony, and the magic spell woven by mythological counterpoints turns out to be a post-traumatic, grimacing reflection of the characters’ troubled psyches, or an obfuscating screen. By interweaving and debunking seminal myths and tales, Banville and Enright give life to personal myths that bespeak the characters’ deep-seated sense of loss and disenchantment. The reader is thus left wondering if, by filling the gaps of post-traumatic memory with mythological rewritings, these defamiliarizing narratives of bereavement convey potential solace or reinforce their protagonists’ post-traumatic loss of landmarks.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-LECOMTE-FINAL-2.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Banville</keyword>
              <keyword>Enright</keyword>
              <keyword>trauma</keyword>
              <keyword>postmodernism</keyword>
              <keyword>modernism</keyword>
              <keyword>mourning</keyword>
              <keyword>myth</keyword>
              <keyword>fairy tale.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>165</startPage>
    <endPage>182</endPage>
    <publisherRecordId>10076</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “It happened to all of us”: Disclosing Sexual Abuse  in Catholic Ireland in Roddy Doyle’s Smile ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Lluïsa Schlesier Corrales ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Universitat Autònoma Barcelona, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In Smile (2017), Roddy Doyle represents a society that is still heavily influenced by the moral authority of the Catholic Church and that, therefore, avoids any open discussion about sexuality in any of its manifestations. In the midst of this climate, Victor Forde, the working-class protagonist of the novel, tries to disclose the sexual abuse he suffered as a child in a Christian Brotherhood School. In my article, I argue that the silences and taboos that permeate the society as represented in the novel, and the protagonist’s awareness that his social position made him the perfect target for abuse, condition Victor’s only opportunity for disclosure; this – and the absolute failure of his attempts at divulgence – ultimately frustrates his chances of healing from trauma and of leading an ordinary life.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Lluïsa-Schlesier.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Sexual abuse</keyword>
              <keyword>Catholic Church</keyword>
              <keyword>working class</keyword>
              <keyword>silence</keyword>
              <keyword>disclosure</keyword>
              <keyword>Roddy Doyle</keyword>
              <keyword>trauma.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>183</startPage>
    <endPage>195</endPage>
    <publisherRecordId>9975</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “The act of reading is a bodily experience”:  an Interview with Mia Gallagher ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Hedwig Schwall ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Leuven Centre for Irish Studies (LCIS), Belgium ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ With Shift Mia Gallagher put together a collection of short stories which have been in the making for about thirty years. As many stories had been published separately in journals, they were given an overhaul to fit the new context: narrative perspectives were rewritten, layers added, so that the fifteen stories formed a new composition, variations on a theme. The collection forms a fugue building towards increasing weirdness, using faery tale techniques and magic realism to illustrate different shades of the uncanny. Emotions, originating in the protagonists’ unconscious, in a family’s past, whirl around yet are tightly structured. Gallagher’s prose is physical but focusing on the in-between: people’s perceptions shift, gender is fluid, objects metamorphose constantly. Her aesthetics are inspired by Baroque theatre, David Lynch and Francis Bacon.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/02/ed-INTERVIEW-WITH-MIA-GALLAGHER-FINAL-1.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Shift</keyword>
              <keyword>metamorphosis</keyword>
              <keyword>gender fluidity</keyword>
              <keyword>David Lynch</keyword>
              <keyword>the uncanny</keyword>
              <keyword>smell and skin</keyword>
              <keyword>magic realism.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>196</startPage>
    <endPage>204</endPage>
    <publisherRecordId>10078</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Why Ireland and Irish Studies in South America? ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Laura P.Z. Izarra ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Laura-Izarra-Think-piece.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>205</startPage>
    <endPage>220</endPage>
    <publisherRecordId>10068</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Patrick MacGill: Traducción al español  de una selección de sus poemas y semblanza crítica ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ José Manuel Pulido ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Investigador independiente ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ During the First World War, Patrick MacGill served with the London Irish Rifles, although once in the conflict, he worked as a stretcher-bearer. On the battlefield, he wrote his war novels and his book of poetry, Soldier Songs, where the poems “The Cross”, “I Will Go Back” and “The Trench” are included. In this article, the reader will find the first translation into Spanish of these three poems and a critical profile, overviewing MacGill´s life from his birth in Glenties to his death in the United States and analyzing how all his literary production is related to his own experiences and certain decisions taken, which will influence both his successes and failures. 
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Trad-Patrick-MacGill.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Patrick MacGill</keyword>
              <keyword>First World War</keyword>
              <keyword>Donegal</keyword>
              <keyword>Canon Dalton</keyword>
              <keyword>navvy</keyword>
              <keyword>translation.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>221</startPage>
    <endPage>223</endPage>
    <publisherRecordId>10070</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ LITERARY AND CULTURAL EVENTS  IN IRELAND  ANNUAL REPORT –2020 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Christina Hunt Mahony ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Trinity College Dublin, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Tina-Hunt-Mahony-Annual-Report.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>224</startPage>
    <endPage>237</endPage>
    <publisherRecordId>10084</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ IRISH STUDIES IN SPAIN 2020 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ María Losada-Friend ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[  University Pablo de Olavide, Spain ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-María-Losada.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>238</startPage>
    <endPage>283</endPage>
    <publisherRecordId>10080</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ IRISH STUDIES AROUND THE WORLD –2020 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Maureen O’Connor ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University College Cork, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Irish-Studies-around-the-world-1.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>284</startPage>
    <endPage>301</endPage>
    <publisherRecordId>10082</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ IRISH FILM AND MEDIA STUDIES PUBLICATIONS – 2020 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ciara Chambers ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University College Cork, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/DEF-Irish-Film-and-Media-Studies-publications.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2021-03-17</publicationDate>
        <volume>16</volume>
    <issue>16</issue>
        <startPage>302</startPage>
    <endPage>333</endPage>
    <publisherRecordId>10401</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ IRISH FILM AND TELEVISION &#8211; 2020 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Roddy Flynn ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ School of Communications, Dublin City University, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2021/03/Irish-Film-and-Television-Roddy-Flynn.pdf</fullTextUrl>
    
      </record>
</records>