<?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>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>1</startPage>
    <endPage>13</endPage>
    <publisherRecordId>2527</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ William Trevor’s Felicia’s Journey: Inherited Dissent or Fresh Departure from Tradition? ]]></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>

        <abstract language="eng"><![CDATA[ The purpose of this essay is to refute the fairly usual critical pronouncement that William Trevor’s view of Ireland as reflected in his Irish fictions is static, ahistorical and outdated. While acknowledging that at first glance this may be so and that other aspects of his work, such as his style, narrative techniques or literary influences, may appear to support the view of Trevor’s status as a conventional writer and as a perfect candidate to the phenomenon of “inherited dissent” discussed by Augustine Martin (1965), it is my intention to show that a close examination of one of his novels, Felicia’s Journey (1994), contrasting it with the tradition that Trevor is supposed to be uncritically repeating –in this case Joyce’s short story “Eveline” (1914)– will reveal the extent to which his fiction clearly responds to a contemporary social and artistic sensibility. In my opinion, and as I hope will come through, Trevor is not a writer weighed down by tradition but rather one still capable of puzzling the reader by offering unexpected solutions for the plights of his characters.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/FeliciasJourneyCDelRioAlvaro.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Felicia’s Journey</keyword>
              <keyword>Eveline</keyword>
              <keyword>William Trevor</keyword>
              <keyword>James Joyce</keyword>
              <keyword>Tradition</keyword>
              <keyword>Inherited dissent</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-05-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>14</startPage>
    <endPage>31</endPage>
    <publisherRecordId>2540</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ At Swim, Two Boys: In Search of the Nation of Freedom ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Aída Díaz-Bild ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ The aim of this paper is to show how in At Swim, Two Boys, Jamie O’Neill demystifies one of the crucial moments in the history of Ireland by means of the subversive and liberating power of laughter. He points out the contradictions and absurdities of the Rising and unmasks the fanaticism and dogmatism of the revolutionaries. In order to undermine the heroic vision of the insurrection and the months that preceded it, O’Neill has created a series of characters, Anthony MacMurrough, his aunt Eveline and Mr Mack, through whom he offers us a different perspective of the political milieu of the time and testifies to the many-sidedness of human beings and the chaotic, random and absurd essence of life.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/AtSwimTwoBoysADiazBild.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Humour</keyword>
              <keyword>Subversion</keyword>
              <keyword>Absurdity</keyword>
              <keyword>Fanaticism</keyword>
              <keyword>Demystify</keyword>
              <keyword>Irish revolution</keyword>
              <keyword>Patriotism</keyword>
              <keyword>Religion</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>32</startPage>
    <endPage>43</endPage>
    <publisherRecordId>2555</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “Without contraries there is no progression”: The Paradoxical Heterogeneity of Identity in Sinead O‘Connor‘s Poetic Expression ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Anna Dyc ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ As a pop culture icon, the Irish musician Sinead O‘Connor has been exposed to harsh criticism, which, unfortunately, centres specifically on the superficial stratum of her artistic work. The shocking events which mark her career have diverted attention away from the sources of and ideas behind O‘Connor‘s songs, words and acts, overshadowing the fact that, among the abundance of contemporary art/showbusiness personalities, she remains one of the few who both create and interpret their own works. In fact, it is this situation and the consequent tension between the personal and the public which constitute the greatest source of inspiration for O‘Connor, thus making the resulting heterogeneity of identity both the background and the foreground topics of her lyrics. The intention behind the following article is to place the writings of the Irish “bald-headed banshee” (Buckley 1999: 704) in the postmodern context of fragmentation and confusion within the Self, but also to prove the genuineness which puts her beyond such straightforward categorizations.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/SineadOC2ConnorAnnaDyc.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Postmodernism</keyword>
              <keyword>The Other</keyword>
              <keyword>Fragmented Identity</keyword>
              <keyword>Pop Culture</keyword>
              <keyword>Poetry</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>44</startPage>
    <endPage>56</endPage>
    <publisherRecordId>2569</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Challenging History: Past Reconstruction in  Colum McCann’s Songdogs ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Andrzej Gabiński ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Universidad Complutense de Madrid ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The present paper analyses the way in which Colum McCann’s novel Songdogs (1995) constitutes an attempt at reconstructing and reconciling oneself with the past, a theme that a number of contemporary critics perceive as characteristic of the Irish literary experience. It will be argued that via the novel’s non-linear, fragmented narrative structure, on the one hand, and its frequent use of static images reminiscent of photography on the other, McCann engages the concept of memory and translates its founding functional principles into a personal literary technique. The task of recovering significance from distinct media – be it still images or the novel’s texture – will be construed as operating on two levels. The novel’s mixed plot lines constructed out of apparently unrelated clusters of images and the reader’s efforts at organising them into larger meaningful compositions will be understood as parallel to the protagonist’s attempts at forging all the stories embedded in Songdogs into a master narrative of his family’s history.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/McCannsSongdogsAndrzejGabinski.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Memory</keyword>
              <keyword>Reconstruction</keyword>
              <keyword>Photography</keyword>
              <keyword>Gaze</keyword>
              <keyword>Contemporary Irish literature</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>57</startPage>
    <endPage>67</endPage>
    <publisherRecordId>2585</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A Contemporary Voice Revisits the Past: Seamus Heaney’s Beowulf ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Silvia Geremia ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Pavia University, Italy ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Heaney’s controversial translation of Beowulf shows characteristics that make it look like an original work: in particular, the presence of Hiberno-English words and some unexpected structural features such as the use of italics, notes and running titles. Some of Heaney’s artistic choices have been brought into question by the Germanic philologists, who reproached him with his lack of fidelity to the original text. Moreover, the insertion of Hiberno-English words, which cause an effect of estrangement on Standard English speakers, was considered by some critics not only an aesthetic choice but a provocative act, a linguistic and political claim recalling the ancient antagonism between the Irish and the English. Yet, from the point of view of Heaney’s theoretical and cultural background, his innovations in his translation of Beowulf appear consistent with his personal notions of poetry and translation. Therefore, his Beowulf can be considered the result of a necessary interaction between translator and original text and be acclaimed in spite of all the criticism.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/HeaneysBeowulfSilvia-Geremia.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Translation</keyword>
              <keyword>Self</keyword>
              <keyword>Other</keyword>
              <keyword>Hiberno-English</keyword>
              <keyword>Further language</keyword>
              <keyword>(act of / process of) Appropriation</keyword>
              <keyword>Scullionspeak</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>68</startPage>
    <endPage>77</endPage>
    <publisherRecordId>2603</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “Her place among the nations of the earth”: Irish votes at the UN General Assembly, 1955-2005 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Christophe Gillissen ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Paris IV – Sorbonne ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Since joining the United Nations in 1955, Ireland has enjoyed a good reputation within the organization because of its commitment to multilateral diplomacy and its progressive position on human rights, self-determination and disarmament. However, when voting on resolutions in the General Assembly, the Irish delegation must take into account its effectiveness and impact on the UN, as well as the position of other countries. The USA has exerted particular pressure from the beginning, and since 1973 Ireland has also had to comply with the requirements of European solidarity. Nonetheless, various studies of Irish votes at the General Assembly show that on the whole Ireland has maintained a distinctive profile, faithful to its traditional values. Despite some changes over time, continuity seems to be the hallmark of Ireland’s UN policy, which is characterised by a moderate, constructive approach within the framework of a progressive grouping of states
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/IrelandUNChristopheGillissen.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Irish foreign policy</keyword>
              <keyword>United Nations</keyword>
              <keyword>General Assembly</keyword>
              <keyword>European Union</keyword>
              <keyword>EPC</keyword>
              <keyword>CFSP</keyword>
              <keyword>United States</keyword>
              <keyword>Human Rights</keyword>
              <keyword>Decolonisation</keyword>
              <keyword>Disarmament</keyword>
              <keyword>Frank Aiken</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>78</startPage>
    <endPage>84</endPage>
    <publisherRecordId>2608</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ James Joyce’s Home Rule Comet, Elvis Costello’s Anglo-Irish Agreement ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Dermot Kelly ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ College of the North Atlantic, Carbonear Campus ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ It is a truism that Anglo-Irish relations did not progress in the eighty odd years between Joyce’s Trieste lectures and articles and Elvis Costello’s King of America album. If anything they regressed. As Declan Kiberd and others have noted, Joyce foresaw the partitioning of Ireland and, as Greil Marcus has shown, the dark melodies of Costello’s 1986 album are an acrid response to Thatcherism. Tracks like “Sleep of the Just” and “Little Palaces” are threnodies of diaspora. Of course Joyce was prophetic and my reading of Ulysses enables me to fill in the backstory of Marcus’s visceral lines about “Little Palaces” in his 1986 Artforum review: for instance, Bloom’s speech from the dock when he is accused of assaulting the serving girl Mary Driscoll actually reveals the unhappiness of this immigrant’s son. My paper traces continuities of Irish dispossession from Joyce’s “Ireland, Island of Saints and Sages” lecture to Costello’s “Little Palaces” on the one hand and from the Trieste lecture on Mangan to “Sleep of the Just” on the other. I conclude with reflections on Irish absurdism and the seachange in Joyce studies occasioned by the work of critics like Seamus Deane who foreshadowed the Northern Ireland peace process with essays like “Joyce and Nationalism” (1982).
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/JoyceCostelloDermotKelly.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>James Joyce</keyword>
              <keyword>Elvis Costello</keyword>
              <keyword>Discrimination</keyword>
              <keyword>Catholicism</keyword>
              <keyword>Punk</keyword>
              <keyword>Diaspora</keyword>
              <keyword>Emigrants</keyword>
              <keyword>Nationalism</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>85</startPage>
    <endPage>92</endPage>
    <publisherRecordId>2620</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Shams and Cover-ups: The Spectacle of History in Paul Muldoon’s “Meeting the British” and “My Father and I and Billy Two Rivers” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Robert Lesman ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Shippensburg University of Pennsylvania, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Paul Muldoon’s poems “Meeting the British” and “My Father and I and Billy Two Rivers” represent history as a space of reversed allegiances.  In these poems, doubling is a constant activity that deceives the viewer or interlocutor.  This deception occurs both in the history of British imperialism and in a technological present in which an Irish father and son must make sense of the shifting and uncertain ground of their own cultural identity.  Behind the veil of the allegiance lurk obscured differences of both identity and power; Muldoon’s poems highlight the importance of being skeptical of all assertions of identity that purport to equate different, opposed and unequal cultural groups.  In the end, a knowledge of history is the most important tool for piercing the veil of deception and seeing clearly the working of difference and resisting the deception that is the weapon of those in power.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/HistoryinPaulMuldoonRobertLesman.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Poetry</keyword>
              <keyword>Paul Muldoon</keyword>
              <keyword>History</keyword>
              <keyword>Native American</keyword>
              <keyword>Difference</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>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>93</startPage>
    <endPage>106</endPage>
    <publisherRecordId>2631</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ The Quiet Man and Angela’s Ashes: Hollywood Representations of Irish Emigration as Male Quest Narrative ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Cornelis Martin Renes ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ This paper analyses Alan Parker’s Angela’s Ashes (1999) against John Ford’s seminalThe Quiet Man (1952). Both Hollywood productions reflect on the Irish return myth, adapting the homonymous memoir by Frank McCourt (1996) and short story by Maurice Walsh (1933) respectively. Although Angela’s Ashes reverses The Quiet Man’s mythical depiction of early 20thc. west of Ireland as rural paradise, the urban ‘inferno’ the former paints can be equally understood as the product of a romantic mindset which combines Irish émigré nostalgia with male quest narrative. Both views are the result of the objective each male protagonist pursues –a return to Ireland in The Quiet Man and to the USA in Angela’s Ashes– and, thus, the divergence in their perception of Ireland may be explained as instances of romance in which Ireland and its culture is reduced to opposing caricatures in the service of wish-fulfilment. Not surprisingly, the criticism of capitalist, industrial America embedded in Walsh’s story, masked as psychological conflict in Ford’s screenplay, and the rags-to-riches American immigrant success story of McCourt’s memoir were adapted to the screen with different degrees of independence from mainstream US film production. This gives additional clues on each film’s use of traditional Irish imagery to the point that Ford’s The Quiet Man may be understood to deliver a more emancipatory perspective on Irish identity than Parker’s Angela’s Ashes.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/QMAAMRennes.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Return Myth</keyword>
              <keyword>Romance</keyword>
              <keyword>Nostalgia</keyword>
              <keyword>Masculinity</keyword>
              <keyword>Quest Narrative</keyword>
              <keyword>Tradition</keyword>
              <keyword>Modernity</keyword>
              <keyword>Irish Identity</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>107</startPage>
    <endPage>120</endPage>
    <publisherRecordId>2649</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Music, Symbol and Negativity in Eilis Ni Dhuibhne’s “The Pale Gold of Alaska” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Michal Matynia ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ This article attempts to reveal a transitory point in the course of which the protagonist of Eilis Ni Dhuibhne’s “The Pale Gold of Alaska” endeavours to question polar truths that position her in the ‘Irish female’ scheme, thus causing her transformation into the enigma –a symbol that escapes the necessity of verbalising one’s Self. In order to carry out my goal, I dwelled heavily on musical parallels which proved helpful in the analysis of the mentioned negation of verbal identity. The use of musical symbolism, though, does not evolve solely from an analytical interest, since, as I see it, musical patterns and symbols are deeply rooted in literary works and help us understand literature in ways not yet explored. Though musicology bears a strong resemblance to philosophical and literary movements, the ideas of philosophers like Kristeva, who is very fond of musical metaphors while describing her semiotics, never formed a separate area of literary criticism. Still, her idea of using a non-verbal signifying system to explain linguistic and even psychological patterns is inspiring enough to carry out similar practice in relation to literature.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2022/02/EI-2-Matynia.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Psychoanalysis</keyword>
              <keyword>Semiotics</keyword>
              <keyword>Musicology</keyword>
              <keyword>Identity</keyword>
              <keyword>Negativity</keyword>
              <keyword>Enigma</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>121</startPage>
    <endPage>127</endPage>
    <publisherRecordId>2655</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Between Irish National Cinema and Hollywood: Neil Jordan’s Michael Collins ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Raita Merivirta-Chakrabarti ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ When Neil Jordan’s film Michael Collins was released in 1996, it was seen by some as a Hollywood epic, by others as a great national film. I would argue that Michael Collins combines these two traditions and occupies a space between Irish national cinema and Hollywood. The subject matter, the creative talent and the locations were Irish and the film was produced by using the Irish filmmaking infrastructure and the Irish government’s support mechanisms, but it was largely financed and distributed by a Hollywood studio. Also, to make it more appealing especially globally, but probably also locally (since Hollywood is now the international standard), it makes use of Hollywood conventions, making it accessible to international audiences as well. Despite the Hollywood mode, the fact remains that Michael Collins is a national film text, and Jordan does not make too many concessions to the non-Irish audiences.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/MichaelCollinsRaitaMerivirta.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Ireland</keyword>
              <keyword>National cinema</keyword>
              <keyword>Hollywood</keyword>
              <keyword>Michael Collins</keyword>
              <keyword>Neil Jordan</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>128</startPage>
    <endPage>134</endPage>
    <publisherRecordId>2659</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Women in the Twilight and Identity in the Making: The Concept of Transition in Eavan Boland’s Poetry ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Marta Miquel-Baldellou ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ Eavan Boland’s poetry often includes images denoting transition. The women that appear in her poems frequently undergo experiences of change and evolution. The transitional element which so often pervades Boland’s poetry is rooted in her personal experience as an Irish woman poet. In her childhood, Boland underwent the journey from Ireland to England. As a mature and married woman, she moved from the urban Dublin to the suburban Dundrum. Having imbibed the poetry of canonical Irish male poets, such as W.B.Yeats, she had to struggle to find her voice as an Irish female poet. Moreover, once she was a mother, she also became aware of the intergenerational transition and the exchange of roles ageing implies. These transitional instances can be appreciated in her thematic series of poems “Suburban Woman” (1975), “Suburban Woman: A Detail” (1983) and “Suburban Woman: Another Detail” (2001). Throughout this series of poems, thematically united, but published in different collections, Boland depicts transition as embodied by the same woman portrayed on three occasions at different points in her life. A close analysis of this series sheds light on the transition Eavan Boland underwent as a poet and as a woman.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/EBolandMarta-Miquel-Baldellou.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Transition</keyword>
              <keyword>Liminal Images</keyword>
              <keyword>Female Voice</keyword>
              <keyword>Domesticity</keyword>
              <keyword>Ageing</keyword>
              <keyword>Diachronic Analysis</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>135</startPage>
    <endPage>150</endPage>
    <publisherRecordId>2662</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ No More Than Human by Maura Laverty: Impressions of a Reluctant Governess in Spain ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ute Anna Mittermaier ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ This paper represents an imagological analysis of Maura Laverty’s strongly autobiographical novel No More Than Human (1944) about the experiences of a young Irish governess in Spain in the 1920s. Drawing on the theory and methodology of imagology, it discusses the well-rounded image of Spain conveyed by Laverty’s depiction of Spanish land- and cityscapes, characters, and socio-political conditions revealing the author’s familiarity with widespread Spanish stereotypes. In line with the imagological tenet that the creation of hetero- and auto-images is interdependent, the paper shows how by having her heroine comment explicitly on Spanish society and politics of the 1920s Laverty indirectly expresses her attitude
to her native country Ireland in the first decade of national independence. From both the political, religious, and moral values expressed in the novel under discussion and the scant existent biographical information on Laverty it is concluded that the writer shared the patriotism and the Catholic, rural, and patriarchal values of the official, Church- and State-sanctioned version of Irish
nationalism. At the same time, however, she seems to have rejected the extreme moral conservatism propagated by statesmen and clerics in the early years of the Irish Free State.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/MauraLavertyUteAnnaMittermaier.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Maura Laverty</keyword>
              <keyword>No More Than Human</keyword>
              <keyword>Imagology</keyword>
              <keyword>National Stereotypes</keyword>
              <keyword>Ireland</keyword>
              <keyword>Spain</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2010-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>151</startPage>
    <endPage>160</endPage>
    <publisherRecordId>2669</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Making the Case for Irish through English: Eco-critical Politics of Language by Learners ]]></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[ This paper examines recent accounts by Americans who have learned Irish. Their narratives from the West of Ireland express what translation theorist Michael Cronin calls ‘individualist politics of language’. He claims that the English-speaking majority will determine the survival of 21st century Irish.  Cronin shifts Irish into a globalized, ‘late modern’ network. Foreign-born learners enter this network when they choose to study Irish. They counter the stereotype of Irish schoolchildren forced into rote recitation of a moribund language.  Patricia Monaghan combines goddess-worship with academic research into indigenous spirituality, place-name lore, literature, and the Irish environmental inheritance. Her travelogue and reports by five other American visitors to Gaeltachtaí are compared with John Montague and Éilís Ní Dhuibhne’s literary depictions of 20th-century Irish-born school-level learners.Feminist, post-colonial, and literary criticisms enrich understanding of how American students apply ecological and cultural strategies that seek to recover this indigenous language. Choosing to make the case for Irish, adult students share Cronin’s ‘individualist politics’. In English-language books, American advocates preserve and expand a linguistic ecology in which Irish may survive.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/Eco-criticalLanguagePoliticsJMurphy.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Eco-criticism</keyword>
              <keyword>Irish language learners</keyword>
              <keyword>Irish Americans</keyword>
              <keyword>Feminist spirituality</keyword>
              <keyword>John Montague</keyword>
              <keyword>Éilís Ní Dhuibhne</keyword>
              <keyword>Post-colonial</keyword>
              <keyword>Dindshenchas or Irish place-name lore</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>161</startPage>
    <endPage>172</endPage>
    <publisherRecordId>2673</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ ‘And Somewhere the Dove Rose’: Seamus Heaney y su Fase Aérea en la Crítica Literaria ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Juan Ráez-Padilla ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ This article concentrates on the different analyses made by critics regarding the beginning of the so-called airy phase in Seamus Heaney’s oeuvre. In contrast with the generalized critical acceptance of a new airy, visionary, escapist phase, which follows a first earthy, sensorial, more politically committed phase, the main objective of this article is to show the outstanding critical disagreement over the collection/s which introduce/s this poetic shift and, consequently, the fragility of such critical hypothesis. After providing evidence on this discrepancy among critics and claiming our own disagreement with this airy phase, we offer a re-examination of Heaney’s poetic evolution which detaches itself from the binary opposition earth vs. air in favour of emphasizing tension and balance between both of them  –as in many other Heaneyian dualities–  all throughout his literary career.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2007/03/HeaneysFaseAerea-JuanRaez-Padilla.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Seamus Heaney</keyword>
              <keyword>Airy phase</keyword>
              <keyword>Heaneyian criticism</keyword>
              <keyword>Poetic evolution</keyword>
              <keyword>The Four elements</keyword>
              <keyword>Tension</keyword>
              <keyword>Balance</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>173</startPage>
    <endPage>182</endPage>
    <publisherRecordId>2682</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Transgressing Boundaries:  Belfast and the “Romance-Across-the-Divide” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Stephanie Schwerter ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ School of Literature and Languages, Coleraine University of Ulster ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ One of the most popular sub-genres of Northern Irish Troubles fiction is the so called ‘Romance-across-the-divide’, a narrative in which two characters from different religious, cultural and social backgrounds struggle to overcome the region’s sectarian divide. As the centre of the Northern Irish conflict, Belfast epitomises the obstacles posed by the political situation for lovers attempting to defy socio-cultural and denominational boundaries. Joe Cleary argues that in the Northern Irish context the romance narrative is employed to illustrate the possibility of a reconciliation of opposed political camps. This article attempts to refute Cleary’s view. Focussing on Naomi May’s Troubles (1976), Dermot Healy’s A Goat’s Song (1994) and Kate O’Riordan’s Involved (1995) it sets out to demonstrate that unhappy unions of lovers cutting across sectarian lines serve instead largely to depict the ongoing political division within Northern Irish society and the breach between the North and the South of Ireland.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/AcrosstheDivideStephanieSchwerter.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Northern Ireland</keyword>
              <keyword>Troubles</keyword>
              <keyword>Sectarianism</keyword>
              <keyword>Romance-across-the-divide</keyword>
              <keyword>Naomi May</keyword>
              <keyword>Kate O'Riordan</keyword>
              <keyword>Dermot Healy</keyword>
              <keyword>Joan Lingard</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>183</startPage>
    <endPage>204</endPage>
    <publisherRecordId>2688</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Latter-day Mother Irelands: The Role of Women in Michael Collins and The Wind that Shakes the Barley ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Pilar Villar-Argáiz ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ Despite the experimental and subversive work of Irish feminist filmmakers such as Pat Murphy and Margo Harkin in the 1980s, as Gerardine Meaney has contended, “the image of woman as Ireland, Ireland as woman, remains powerful and pervasive in the new Irish cinema” (1998: 250). The cinematic convention of representing Ireland through female characters becomes particularly relevant in two recent Irish historical films: Michael Collins (1996), directed and written by Irish Neil Jordan, and The Wind that Shakes the Barley (2006), written by Scottish Paul Laverty and directed by English Ken Loach. In their dealing with themes such as military occupation, colonisation and the heated debate about the Treaty, both films maintain the nationalist rhetoric that represents Ireland as a woman/mother in a direct manner. Over the course of this essay, I shall try to chart the implications of both films’ representations of women, with a view to demonstrating how, even at present, the trope of Mother Ireland continues to be deep in the national unconscious.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/MotherIrelandsPilarVillar.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Cinematic representations of Ireland</keyword>
              <keyword>Michael Collins; The Wind that Shakes the Barley</keyword>
              <keyword>Trope of Mother Ireland</keyword>
              <keyword>Female Republican Activism</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>205</startPage>
    <endPage>213</endPage>
    <publisherRecordId>2700</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Voice and Vision in The Poetry of Eavan Boland ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Richard York ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ Boland’s poetry seeks to reconcile political and personal, the moment and duration, self-knowledge –seen as an exteriorisation of the self– and narration. It is therefore fundamentally concerned with aesthetics, especially in visual art, which however it views as a form of division and hypostatization of the moment, while it also seeks to place the intense moment of vision in the processes of time by recurrent  images of transformation, anticipation, memory and loss; it is essentially elegiac, celebrating and lamenting the past and reflecting the constant presence of death within the everyday consciousness; hence the model of Vergil, and especially of the sixth book of the Aeneid,  and of Irish song.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/EBolandRichardYork.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Eavan Boland</keyword>
              <keyword>Self-knowledge</keyword>
              <keyword>Art</keyword>
              <keyword>Time</keyword>
              <keyword>Elegy</keyword>
              <keyword>Song</keyword>
              <keyword>Vergil</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>214 </startPage>
    <endPage> 217</endPage>
    <publisherRecordId>2709</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ How the Irish Speak English: A Conversation with T. P. Dolan ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Carolina P. Amador-Moreno ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ Professor T. P. Dolan is a lexicographer and regular contributor to programs on Irish radio and television, who has made the term Hiberno-English widely known in Irish society. He has thus been hugely influential in making the Irish more aware of the features that make their English different from other Englishes. Hiberno-English is nowadays very much a sign of identity for many, a form of English that sets the Irish apart from other native speakers of English. Professor Dolan is also the director of www.hiberno-english.com, which is, as he describes it ‘a living museum’ or ‘living laboratory of HE vocabulary and syntax’, where people from all over the world can log questions about the English of Ireland.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/IntwT.P.DolanbyCarolinaAmadorMoreno.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>218</startPage>
    <endPage>225</endPage>
    <publisherRecordId>2716</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A Novel is a Lengthy Question: An Interview with Frank Ronan ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Valentina Milli ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

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

        <abstract language="eng"><![CDATA[ Frank Ronan has published a collection of short stories, Handsome Men Are Slightly Sunburnt (1996), and six novels, The Men Who Loved Evelyn Cotton(1989), A Picnic in Eden (1991), The Better Angel (1992), Dixie Chicken (1994), Lovely (1996) and Home (2002), many of which have been translated into French, Spanish, German, Portuguese, Italian, Greek and Dutch. It is extremely difficult to pigeonhole Ronan’s writing and, according to him, it is also pointless since “it’s always the people who don’t read books who want to categorise them”. The following interview throws some new light on this brilliant contemporary Irish writer and his multifarious areas of interest.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2013/05/IntwFrankRonanbyValentinaMilli.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Frank Ronan</keyword>
              <keyword>The masculine body</keyword>
              <keyword>Childhood</keyword>
              <keyword>Love</keyword>
              <keyword>The sixties</keyword>
              <keyword>Religion</keyword>
              <keyword>Nature</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>226</startPage>
    <endPage>233</endPage>
    <publisherRecordId>2729</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Studies in Spain  -2006- ]]></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/2013/06/IStudiesinSpain2JFFernandez.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>233</startPage>
    <endPage>250</endPage>
    <publisherRecordId>2734</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Studies Round the World -2006- ]]></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/2013/06/IStudiesRoundtheWorldbyDPierce.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2007-03-15</publicationDate>
        <volume>2</volume>
    <issue>2</issue>
        <startPage>251</startPage>
    <endPage>286</endPage>
    <publisherRecordId>2740</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Film and Television -2006- ]]></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/2013/06/Film_Reviews_2007.pdf.pdf</fullTextUrl>
    
      </record>
</records>