Anne Fogarty - Academia.edu (original) (raw)
Papers by Anne Fogarty
Irish University Review, Nov 1, 2022
Cambridge University Press eBooks, Jul 1, 2021
Irish Academic Press eBooks, 1997
European Journal of English Studies, Dec 1, 1999
... identity politics with which That Lady is concerned revolve obses-sively around the problemat... more ... identity politics with which That Lady is concerned revolve obses-sively around the problematic intersection of ... development and safeguarding of Irish neutrality during the 1930s and 1940s seeTim Pat Coogan ... As always in her work, O'Brien uses Spain as a means of making an ...
Four Courts Press eBooks, 2013
Estudios Irlandeses, Mar 17, 2023
Copyright (c) 2023 by Anne Fogarty. This text may be archived and redistributed both in electroni... more Copyright (c) 2023 by Anne Fogarty. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Joycean anniversaries have always served as important milestones. Inevitably, they further add to Joyce's worldwide brand and cement his value as an incontestably global author. But more importantly they also provide opportunities to revisit and re-evaluate his work for aficionados and open it up for the uninitiated. In Ireland, significant years such as 1982, the anniversary of Joyce's birth, and 2004, the anniversary of Bloomsday, have proven vital for an increased appreciation of Joyce as a writer who directly connects with and speaks to contemporary Ireland. Joyce has in recent decades transmogrified from a scandalous author, upstart outsider, and foreign import to a kindred spirit and congenial but always challenging artistic role model. 2022 marked the centenary of the publication of Ulysses on 2 February 1922. Movingly, the no. 1 copy of Ulysses signed by Joyce "in token of gratitude" and given to Harriet Shaw Weaver, his British patron and friend, forms a centrepiece of the Museum of Literature Ireland (MoLI) which opened in Autumn 2019. Akin to the Book of Kells, it resides in a dimly lit glass case open at the dedication page on the top floor of the museum. Thus, generously but daringly, a book that normally is kept in the vaults away from prying eyes because of its financial and cultural value is given a dedicated public space of its own where it can be viewed by all. It now has become a totemic object in modern day Dublin but also a living force in its cultural scene. Many of the events to mark the anniversary of Ulysses were steered by this new museum. Dublin overall and the Tower in Sandycove in particular may have been deemed an omphalos in the "Telemachus" episode but Joyce's work is of course of global interest. This short overview will largely concentrate on events in Dublin in 2022, but they represent only part of a worldwide web of celebratory activities. Cognisant of how easily dedicated acts of homage can get lost, a website sponsored by the Irish Department of Foreign Affairs (https://ulysses100.ie) and curated by MoLI acted as a portal with the purpose of listing and permanently recording all of the Joyce-related events last year. It brings together a disparate programme of happenings that captures the dynamic nature of current interactions with Joyce's work. A half-day seminar on 4 February "Translating 'Penelope'", co-organized by Anne Fogarty and Margaret Kelleher, featuring readings by actors, Olwen Fouéré, Christiane Reicke, and Roxana Nic Liam, of sections of the text in French, German, and Irish and papers by Luca
In his introduction to The Oxford Book of Modern Verse , W. B. Yeats (1865- 1939) pronounced with... more In his introduction to The Oxford Book of Modern Verse , W. B. Yeats (1865- 1939) pronounced with careful qualification: 'I too have tried to be modern.' This statement, simultaneously tentative and emphatic, sums up the difficulties both of considering Yeats as a modernist tout court and of taking the measure of the undoubted modernism of his work from 1900 onwards. Not least of the factors seemingly setting him at a remove from this literary revolution is the fact that he was a member of an earlier generation than Ezra Pound (1885-1972) and T. S. Eliot (1888-1965), who were a couple of decades younger than him. Yeats, in fact, is at once inside and outside this movement. On one level, he may be viewed as an instigator and central practitioner of modernist poetry but, on another level, he is of note because he deviates from, or implicitly unsettles, any historiographical or conceptual map of modernism that we might want to adopt. Yeats, unlike Pound or Eliot, the poets with whom he is most closely connected in the early decades of the twentieth century, awkwardly occupies the roles of eminent precursor, revolutionary pioneer, sceptical antagonist and belated exponent of modernism. Multiplying such complications, in his later work, he appears in part to renege on some of the political radicalism of high modernism while never abandoning its creative potential and its anarchic promotion of change and social renewal. Paradoxically, Yeats is both a proleptic modernist and a late arrival in a movement that he helped to shape but never fully embraced.
Dublin James Joyce journal, 2008
ABSTRACT
Cambridge University Press eBooks, Mar 2, 2006
The Irish review (Cork), 2005
Anthem Press eBooks, Dec 6, 2022
Edinburgh University Press eBooks, Aug 7, 2019
Oxford University Press eBooks, Nov 1, 2011
Frank McGuinness has declared that acting in a student production of Richard II at University Col... more Frank McGuinness has declared that acting in a student production of Richard II at University College Dublin in 1976 influenced all of the work he subsequently composed. He has engaged continuously and profoundly with Shakespeare’s dramas throughout his career as playwright and academic. However, he fights shy of seeing him as an icon or as a convenient intertext who supplies all too recognizable allusions. Instead, McGuinness absorbs, reconfigures and deconstructs aspects of Shakespearean dramaturgy in his plays. Aspects of the architectonics of Shakespeare’s works, such as the soliloquy, the play within a play, the interlude centring on a subaltern group, the motif of absent presence, the conjuring up of ghosts and occult powers, starkly contrasting scene shifts, an emphasis on the metatheatrical and a meditation on different types of historical causality, may be discerned in Observe the Sons of Ulster Marching Towards the Somme (1985), Carthaginians (1988), Mutabilitie (1997) and The Hanging Gardens (2013). In Mutabilitie, McGuinness pointedly retools Shakespeare’s biography by inventing an interlude in which the writer washes up in North Munster, where he engages in debates about the purpose of art with Edmund Spenser and the native Irish, including File and her consort Hugh who are preparing an insurrection to overthrow English occupation of their country. However, ultimately, McGuinness renders Shakespeare as an elusive figure who cannot easily be co-opted and slips through the gaps of the counter-factual action of this work set in an Ireland that is still violently embattled. McGuinness’s engagement with Shakespeare is predicated hence on intimacy and distance: he is at once a close interlocutor who inspires his work and a precursor whose legacy must be self-consciously re-appropriated in an Irish context. Above all, for McGuinness tapping into and remoulding Shakespearean dramaturgical practices allows an alignment of his own singular dramatic imaginings with the uncanny and unsettling spaces of early modern theatre.
Irish University Review, Nov 1, 2022
Cambridge University Press eBooks, Jul 1, 2021
Irish Academic Press eBooks, 1997
European Journal of English Studies, Dec 1, 1999
... identity politics with which That Lady is concerned revolve obses-sively around the problemat... more ... identity politics with which That Lady is concerned revolve obses-sively around the problematic intersection of ... development and safeguarding of Irish neutrality during the 1930s and 1940s seeTim Pat Coogan ... As always in her work, O'Brien uses Spain as a means of making an ...
Four Courts Press eBooks, 2013
Estudios Irlandeses, Mar 17, 2023
Copyright (c) 2023 by Anne Fogarty. This text may be archived and redistributed both in electroni... more Copyright (c) 2023 by Anne Fogarty. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Joycean anniversaries have always served as important milestones. Inevitably, they further add to Joyce's worldwide brand and cement his value as an incontestably global author. But more importantly they also provide opportunities to revisit and re-evaluate his work for aficionados and open it up for the uninitiated. In Ireland, significant years such as 1982, the anniversary of Joyce's birth, and 2004, the anniversary of Bloomsday, have proven vital for an increased appreciation of Joyce as a writer who directly connects with and speaks to contemporary Ireland. Joyce has in recent decades transmogrified from a scandalous author, upstart outsider, and foreign import to a kindred spirit and congenial but always challenging artistic role model. 2022 marked the centenary of the publication of Ulysses on 2 February 1922. Movingly, the no. 1 copy of Ulysses signed by Joyce "in token of gratitude" and given to Harriet Shaw Weaver, his British patron and friend, forms a centrepiece of the Museum of Literature Ireland (MoLI) which opened in Autumn 2019. Akin to the Book of Kells, it resides in a dimly lit glass case open at the dedication page on the top floor of the museum. Thus, generously but daringly, a book that normally is kept in the vaults away from prying eyes because of its financial and cultural value is given a dedicated public space of its own where it can be viewed by all. It now has become a totemic object in modern day Dublin but also a living force in its cultural scene. Many of the events to mark the anniversary of Ulysses were steered by this new museum. Dublin overall and the Tower in Sandycove in particular may have been deemed an omphalos in the "Telemachus" episode but Joyce's work is of course of global interest. This short overview will largely concentrate on events in Dublin in 2022, but they represent only part of a worldwide web of celebratory activities. Cognisant of how easily dedicated acts of homage can get lost, a website sponsored by the Irish Department of Foreign Affairs (https://ulysses100.ie) and curated by MoLI acted as a portal with the purpose of listing and permanently recording all of the Joyce-related events last year. It brings together a disparate programme of happenings that captures the dynamic nature of current interactions with Joyce's work. A half-day seminar on 4 February "Translating 'Penelope'", co-organized by Anne Fogarty and Margaret Kelleher, featuring readings by actors, Olwen Fouéré, Christiane Reicke, and Roxana Nic Liam, of sections of the text in French, German, and Irish and papers by Luca
In his introduction to The Oxford Book of Modern Verse , W. B. Yeats (1865- 1939) pronounced with... more In his introduction to The Oxford Book of Modern Verse , W. B. Yeats (1865- 1939) pronounced with careful qualification: 'I too have tried to be modern.' This statement, simultaneously tentative and emphatic, sums up the difficulties both of considering Yeats as a modernist tout court and of taking the measure of the undoubted modernism of his work from 1900 onwards. Not least of the factors seemingly setting him at a remove from this literary revolution is the fact that he was a member of an earlier generation than Ezra Pound (1885-1972) and T. S. Eliot (1888-1965), who were a couple of decades younger than him. Yeats, in fact, is at once inside and outside this movement. On one level, he may be viewed as an instigator and central practitioner of modernist poetry but, on another level, he is of note because he deviates from, or implicitly unsettles, any historiographical or conceptual map of modernism that we might want to adopt. Yeats, unlike Pound or Eliot, the poets with whom he is most closely connected in the early decades of the twentieth century, awkwardly occupies the roles of eminent precursor, revolutionary pioneer, sceptical antagonist and belated exponent of modernism. Multiplying such complications, in his later work, he appears in part to renege on some of the political radicalism of high modernism while never abandoning its creative potential and its anarchic promotion of change and social renewal. Paradoxically, Yeats is both a proleptic modernist and a late arrival in a movement that he helped to shape but never fully embraced.
Dublin James Joyce journal, 2008
ABSTRACT
Cambridge University Press eBooks, Mar 2, 2006
The Irish review (Cork), 2005
Anthem Press eBooks, Dec 6, 2022
Edinburgh University Press eBooks, Aug 7, 2019
Oxford University Press eBooks, Nov 1, 2011
Frank McGuinness has declared that acting in a student production of Richard II at University Col... more Frank McGuinness has declared that acting in a student production of Richard II at University College Dublin in 1976 influenced all of the work he subsequently composed. He has engaged continuously and profoundly with Shakespeare’s dramas throughout his career as playwright and academic. However, he fights shy of seeing him as an icon or as a convenient intertext who supplies all too recognizable allusions. Instead, McGuinness absorbs, reconfigures and deconstructs aspects of Shakespearean dramaturgy in his plays. Aspects of the architectonics of Shakespeare’s works, such as the soliloquy, the play within a play, the interlude centring on a subaltern group, the motif of absent presence, the conjuring up of ghosts and occult powers, starkly contrasting scene shifts, an emphasis on the metatheatrical and a meditation on different types of historical causality, may be discerned in Observe the Sons of Ulster Marching Towards the Somme (1985), Carthaginians (1988), Mutabilitie (1997) and The Hanging Gardens (2013). In Mutabilitie, McGuinness pointedly retools Shakespeare’s biography by inventing an interlude in which the writer washes up in North Munster, where he engages in debates about the purpose of art with Edmund Spenser and the native Irish, including File and her consort Hugh who are preparing an insurrection to overthrow English occupation of their country. However, ultimately, McGuinness renders Shakespeare as an elusive figure who cannot easily be co-opted and slips through the gaps of the counter-factual action of this work set in an Ireland that is still violently embattled. McGuinness’s engagement with Shakespeare is predicated hence on intimacy and distance: he is at once a close interlocutor who inspires his work and a precursor whose legacy must be self-consciously re-appropriated in an Irish context. Above all, for McGuinness tapping into and remoulding Shakespearean dramaturgical practices allows an alignment of his own singular dramatic imaginings with the uncanny and unsettling spaces of early modern theatre.