Irish Theatre and Drama Research Papers (original) (raw)

2025, THE HETEROTOPIC PUB IN CONOR MCPHERSON'S THE WEIR

Conor McPherson makes use of a pub setting in his play entitled The Weir (1997), in which characters come together and begin telling stories to each other after the appearance of the only female character Valerie in the pub. The act of storytelling reveals the individual traumas of characters along with allusions to Irish folk culture and the collective troubles of the nation. The pub enacts a cultural space where characters are isolated from the outside world and contemplate personal and national problems. While the pub appears as a site of retreat for characters in crisis, they create an alternative community, opposing the individualism and consumerism of the Celtic Tiger Ireland. McPherson's portrayal of the setting becomes heterotopic in the sense that the pub functions as a countersite to contemporary Irish society by challenging new realities of the country in the 1990s. The juxtaposition of the past and the present in the pub not only reflects socio-cultural norms and values but also challenges them simultaneously, inverting the progress of everyday life in the dynamics of the Celtic Tiger Ireland. These aspects of the pub sit with Michel Foucault's dictum of heterotopia. This paper analyses the pub in The Weir as a heterotopic place where characters penetrate deeply into the stories teemed with cultural elements, uncovering individual and national troubles. In grounding the concept of heterotopia, this paper entails Foucault's discussion of the term and extends beyond his principles to elucidate McPherson's pub in the play.

2025, Ain Shams University

The current study attempts a comparative reading of the Irish dramatist and shortstory teller, Brian Friel (1929-2015) and the Egyptian playwright and screenwriter, Saad al-Din Wahba (1925-1997), in the light of Gramsci's theory of "cultural hegemony" and Spivak's view of the "subaltern". Two plays are selected for the study: Friel's The Freedom of the City (1970) and Wahba's Al-Sibinsa (1968). In the politico-philosophical shades of Gramsci and Spivak, the analysis of these two plays involves four main issues concerning dramatic achievement. Firstly: although Friel and Wahba never voiced an impact of Gramsci or Spivak in their careers, both seem to be professional practitioners in a philosophical, literary school firmly established by such two theorists. Secondly: despite representing a wide variety of conflicting dramatis personae that can be divided into two heterogenous camps, the oppressor and oppressed, each dramatist adopts a disparate dramatic vision. Thirdly: while Friel employs the flashback technique to unravel the tragedy of his three 'marchers,' Wahba depicts the pains of five 'subalterns' in terms of a direct plot line. Lastly: a close reading of the selected pieces may probably denote that, despite belonging to two different cultural backgrounds, both playwrights tend to dramatize the struggle for power between the voice of the colonizer and that of the colonized. To achieve such an end, both writers make their plays hinge significantly on the field of semiotics-deictic references and on Austin's and Searle's innovative ideas concerning the functions of speech acts.

2025, Éire-Ireland

Although best known internationally as the first translator from Polish to English of the novels of Henryk Sienkiewicz, who won the Nobel Prize for Literature in , Jeremiah Curtin (-) is a household name in Irish Studies. In his lifetime, he published three highly successful books of Irish folktales and legends (he called them "myths"), all of which are currently in print, and in , when he had been dead for thirty-eight years, the Irish Folklore Commission produced a fourth, with sixteen more of the stories he had collected in Ireland and edited for a New York newspaper. 1 His wife Alma Cardell Curtin (-), a former teacher from Bristol, Ver-141

2025, Revista Canaria de Estudios Ingleses: Restoration Fiction (1660-1714) Vol. 79, 161-180.

On 1 March 2017, former Taoiseach Enda Kenny announced formal recognition of Irish
Travellers’ unique heritage, culture and identity by the state. This fact triggered my interest
in exploring the important cultural questions surrounding Irish travellers and investigating
their (mis)representation in the fields of literature and film documentary, and its effects. The
aim of this essay is double: first, to focus on the role of formal innovation in representations
of Irish Traveller women in examples of contemporary Irish fiction, and its consequences,
because their authors use a wide range of formal devices to merge the issues of gender and
Irish Travellers’ lives and conditions; second, to contextualize their work by comparison with
a selection of documentary films featuring Irish Traveller women. The essay will facilitate
some reflections on the complexities of their representation in literature and on screen.

2025, Proceeding ECONDER Conference

Spreading The News is a drama play written by the Irish woman playwright Lady Augusta Gregory. The play is specifically written for a performance of the opening night of the Abbey Theatre in Dublin in 1904. It was performed along with William Butler Yeats’s iconic plays On Baile’s Strand and Cathleen Ni Houlihan. Spreading The News was very successful, and it was still acted on theatres until mid 20th century. The play’s setting in a small West Country village in Ireland. The main character Bartley Fallon is a gloomy individual and he always talks about his ill fate to everyone. Bartley is caught up in the middle of a town scandal, a number of misunderstandings make the villagers believe that Bartley has murdered Jack Smith, in a rage about Jack’s wife. At the end of the play, they are arrested together by the English magistrate to be sent to the prison. In this essay, the idea that Lady Gregory’s transformed views about the Irish-English dispute is represented by the portrayal of the magistrate and other characters tried to be exemplified with socio-political background. Moreover, the contribution of Lady Gregory to the Irish and world theatre as a woman writer, actor and manager is also considered in the paper.

2024

Leaving aside historical and mythological dramas, a considerable number of plays written for the Abbey Theatre between 1904 and the outbreak of the Second World War represent emigration. They enjoyed varying degrees of success. In 1904 G.B. Shaw portrayed an Irish émigré as one of the two protagonists in John Bull’s Other Island; in the following two years Padraic Colum’s The Land and William Boyle’s The Mineral Workers were enthusiastically received by Abbey Theatre audience, the former with its depiction of young Irish men and women emigrating to America, the latter, an engineer returning to Ireland from overseas; 1907 saw three plays presenting emigration as one of the great Irish issues, both politically and economically: J.M. Synge’s The Playboy of the Western World, George Fitzmaurice’s The Country Dressmaker and Lady Augusta Gregory’s The Jackdaw. They were followed by T.C. Murray’s Birthright, Lennox Robinson’s Harvest and Colum’s Thomas Muskerry. Indeed, it is almost imposs...

2024, 粤海风

今年是契诃夫逝世120周年，百余年来，契诃夫对中国文学与文化具有强大辐射性，反过来，中国(文)学界的接受史对理解其重要价值也有助益，值得我们认真总结和反思。
中国文学巨匠鲁迅先生和契诃夫虽然所处时代和国别有差，但彼此之间也有方方面面的内在关联，尤其是他们皆为短篇小说圣手，令人惊叹。

2024, Ricerche ellenistiche, 5

Per uso strettamente personale dell'autore. È proibita la riproduzione e la pubblicazione in open access. For author's personal use only. Any copy or publication in open access is forbidden.

2024, ANGLISTIK UND …

In this article I want to touch upon some of the aspects of Sarah Kane's legacy. By this I mean those features of her drama which mark out her importance as a writer, together with the role her work can provide in teaching practice, linking ideas and themes from past dramatic forms, texts and practitioners. Sarah Kane's debut, Blasted on 12th January 1995 provides a fortuitous nexus for theatre historians. Just as the death of John Dryden in 1700 provides a useful literary demarcation between the Restoration and eighteenth century, so the death of John Osborne on Christmas Eve 1994 in retrospect marked a transition between the passing of one of the most influential postwar dramatists and the emergence of a new voice, whose work -even in her own lifetime -came to be recognized as one of the most original within British drama. It is now widely recognized that Blasted alone is a seminal play in recent British theatre history, Kane's plays continue to be performed throughout the world, and within many British universities she has become required reading on courses dealing with post-war drama. However, in 1994 Osborne's passing somehow marked and confirmed what had been periodically commented upon throughout the 1990s -namely that new British drama was in decline. Whereas one of Dryden's last works, The Secular Masque ( 1700 ), openly welcomed in the new millennium and was critical of events in the past century: "Thy Lovers were all untrue / 'Tis well an old age is out / And time to begin a new," 1 the case was very different when it came to a critical assessment of British drama in the mid 1990s. Concerns were raised as to the quality and quantity of new writing reaching the stages, and indeed its whole relevance as a social and political force. By not only inspiring and bringing forward a new generation of other young dramatists such as John Arden and Arnold Wesker, Osborne's Look Back in Anger ( 1956 ) had left an indelible brought to you by CORE View metadata, citation and similar papers at core.ac.uk

2024

Tears and laughter, they are so much Gaelic to me' (Samuel Beckett, The Unnameable). 'Samuel Beckett is an Irishman but not an Irish writer (Vivian Mercier). Brian Singleton recounts a telling incident that took place during an international academic conference organized to mark Samuel Beckett's eightieth birthday in 1986 at the Centre Georges Pompidou in Paris. Tom Bishop, the American organizer of the celebrations, was asked by Michael Colgan, Artistic Director of The Gate Theatre Dublin, if there was going to be an Irish presence in acknowledgment of Beckett's country of birth. When the answer to this was a resounding negative, Colgan immediately made arrangements for Professor Terence Brown to deliver a lecture on the subject, and for the Irish actor Barry McGovern to perform his celebrated show I'll Go On, based on Beckett's prose work. The story serves to illustrate two things about Michael Colgan and the subsequent Beckett on Film Project: firstly the importance he placed on Beckett as an artist, together with a driven and proselytizing regard to Beckett being acknowledged as a quintessentially Irish writer. In 1991 the city of Dublin hosted another international Samuel Beckett festival. As producer, Michael Colgan was again behind the enterprise, whereby over a three-week period from 1 -20 October, all nineteen of Beckett's plays written for theatre were produced. 2 This ambitious theatrical event was seen in most quarters as being a genuine and worthwhile celebration of an important twentieth-century Irish dramatist held in the city of his birth, described as 'an enterprise, which spiritually brought Beckett home after his death'. The event was also supported by Ireland's state broadcaster RTE and by Beckett's alma mater, Trinity College Dublin. From 1991 the Gate productions remained a permanent, if intermittent fixture on the theatrical landscape by way of a series of tours and revivals throughout the decade. In 1996 the cycle of plays was performed to American audiences at the Lincoln Centre in New York; the following year a truncated 'mini-festival' of selected plays was presented in Melbourne, Australia; brought to you by CORE View metadata, citation and similar papers at core.ac.uk

2024, CRITICAL RACE THEORY in LITERATURE: IN THE BLOOD by SUZAN LORI PARKS

This study seeks to explore the fundamental principles of Critical Race Theory (CRT) and to use it as an analytical tool to discuss Suzan-Lori Parks’s play, In The Blood. Through the key tenets of CRT such as systematic racism, race as a social construct, intersectionality, and power structures, a theoretical background for a literary analysis is framed. Relatedly, the primary focus of this study is to deeply analyze race, gender, power relations, and socio-economic conditions with CRT through the playwright’s innovative representation of blackness. CRT clearly shows that racism is constructed through discriminative practices and sustained by law and institutions, resulting in justification and accordingly normalization of oppression. In line with CRT’s main concerns, In The Blood embodies societal and ideological barriers and the dehumanization of black female bodies through social judgment, racial, and gender discrimination, and motherhood. CRT essentially deals with how Parks reconstructs traditional narratives of guilt, shame, and femininity and claims that Hester, the protagonist, is portrayed both as a victim of intersectional oppression and an individual struggling with the harsh conditions of life.

2024, DIVE-IN – An International Journal on Diversity and Inclusion

Italiano) Nel presente articolo, analizzerò come l'invisibilizzazione del lavoro riproduttivo durante la Tigre Celtica in Irlanda venga narrativizzato attraverso l'uso di elementi gotici e perturbanti all'interno del romanzo Nothing on Earth (2016) di Conor O'Callaghan. Dopo aver dato alcune coordinate teoriche sul concetto di lavoro riproduttivo all'interno dell'ecologia-mondo capitalista e averle poi situate nel contesto irlandese, passerò all'analisi del testo. La mia argomentazione si baserà sul lavoro di teoriche come Maria Mies,

2024, Marina Carr - Kadın ve Korkuluk

Ünlü İrlandalı oyun yazarı Marina Carr'ın Woman and Scarecrow isimli oyununun Türkçe çevirisi.

2024

Translating for the stage involves a multiple range of negotiations. Based on Carlson’s (2001) notion of the «haunted stage» and Budick’s (1996) conception of translation as inhabiting the «in-between», this paper addresses the question of location in the dramaturgical translation of Marina Carr’s (1998) By the Bog of Cats... into Brazilian Portuguese under the title Era uma vez, no Pântano dos Gatos... The original play is set in the Irish Midlands, and its language sets a tone of bleakness and desolation, enlivened by crucial notes of humour. The challenge of translating this play into Brazilian Portuguese revolves around the dialogical movement between two different landscapes in which hidden similarities remain to be unlocked. That is to say that, when re-creating Ireland in Brazil, Brazil itself is also re-created in multiple versions on the theatrical stage. Therefore, this paper exposes the way a translated play travels from the Irish Midlands to diaphanous «wheres» in Brazil...

2024, Culture Matters

This article looks a Figuro in the Night and highlights the importance of seeing beyond O'Casey's Dublin Trilogy.

2024, Petrarchesca

Il saggio si interroga sulle modalità dell’esegesi degli elementi arborei del Canzoniere nei commenti quattro-cinquecenteschi. Nella prima parte si analizzano le esposizioni relative a presenze vegetali ricorrenti, evidenziando come i contesti determinino letture diversificate, consolidatesi precocemente in una tradizione condivisa da più commentatori. Nella seconda parte ci si sofferma sui casi di glosse digressive di tipo scientifico-naturalistico, sempre più svincolate dai testi petrarcheschi. Infine, si esamina come questa tendenza centrifuga si accentui con l’inventariazione dei fitonimi nelle tavole delle materie accluse alle edizioni.
The essay deals with the methods of exegesis of the arboreal elements of the Canzoniere in the 15th-16th c. commentaries. In the first part I analyze the commentaries related to recurring vegetal presences, highlighting how the contexts determine diversified readings, consolidated in a tradition shared by multiple commentators. In the second part I focus on some cases of digressive glosses of a scientific-naturalistic type, increasingly detached from Petrarchan texts. Finally, I examine how the recording of phytonyms in the indexes of matters accompanying the editions accentuates this centrifugal tendency.

2024, Platform

Trauma we are told is a perpetual present, resilient in its persistence and timeless occupation of a subject who does not and cannot know it. It happened but I do not know it that it happened or what it was that happened. Yet this... more

2024, Letteratura cavalleresca italiana

L’articolo intende riflettere sull’interpretazione dell’epiteto nella clausola «sacro Egisto» del XXI canto del Furioso (57, 5). Una lettura sinottica dei commenti al poema ariostesco lungo i secoli permette di problematizzare l’attuale vulgata, che spiega l’attributo come un latinismo dispregiativo (col significato di ‘sacrilego’). Grazie a un’analisi delle occorrenze del termine sacro e del personaggio mitologico in altre fonti letterarie antiche è possibile ragionare su un’accezione differente, cioè ‘sacerdote’.

2024, The Journal of Modern English Drama

This article examines William Butler Yeats’s eugenicist concerns in his play A Full Moon in March (1935) alongside his essays, primarily “If I were
Four-and-Twenty” (1919) and “To-morrow’s Revolution” (1938). This comparative study reveals how Yeats uses the interaction between the Queen and the Swineherd to warn against what he perceived as the reasons for the degeneration of Irish culture and society. The play’s climactic dance, or the Queen’s “ecstatic moment,” serves as a dramatic embodiment of Yeats’s growing belief in the crucial role of elite women’s sexual choice in determining the future of Irish society. Drawing on Yeats’s concept of “mother-wit” as well as his concerns about the population decrease of the “better stocks,” the study demonstrates how A Full Moon in March reflects Yeats’s preoccupation with eugenics and the continuity of upper-class family lineage in relation to societal progress and Irish cultural regeneration. This analysis offers a new interpretation of A Full Moon in March, highlighting the intricate connections between Yeats’s aesthetic, political, and eugenicist concerns in his later career, complementing existing studies which highlight the Japanese Noh-inspired aesthetics of the play.

2024

Mestrado em Estudos InglesesO presente trabalho propõe-se examinar o projecto póstumo que adaptou 19 peças de Samuel Beckett para o cinema, Beckett on Film, à luz de três grandes aspectos temáticos: memória, repetição e o corpo. Neste processo, os textos das peças que originaram os filmes, bem como relatos de performances importantes, serão usados como termos de comparação para estabelecer possíveis (e previsíveis) diferenças no tratamento destes assuntos fulcrais na obra do autor que possam ser originadas pela mudança de medium que este projecto representa. A realização de um projecto desta importância e envergadura, e que se pretende apresentar como uma obra definitiva e canónica, levanta questões de agência, identidade nacional e relevância da obra do actor no panorama cultural internacional que serão debatidas com a legitimidade do projecto Beckett on Film em mente. Aspectos práticos que se prendem com a realização do projecto também serão tidos em consideração, e é traçado um p...

2024

The present study aims to conduct a cognitive stylistic analysis of the characterization in Nathaniel Hawthorne's novel The Scarlet Letter (1850), specifically the character of the protagonist, Hester Prynne. Combining the perspectives of cognitive psychology and literary analysis, the study explores the linguistic and stylistic devices that Hawthorne employs to create and develop the character of Hester Prynne by utilizing the theoretical framework of cognitive linguistics (Gavins & Steen, 2003). The study employs a qualitative research approach to analyze selected excerpts of the novel from the perspective of cognitive stylistics, resulting in the fact that the combination of linguistic and stylistic devices used by Hawthorne, such as metaphor, imagery, and irony, constructs a character in Hester Prynne that is multi-dimensional and complex. The study provides a greater insight and analysis of Hester Prynne's character construction as the novel's protagonist, as well as an enhanced grasp of the literary character development process in light of the cognitive progressions in the novel.

2024, Litteria Pragnesia

Although most well-known for his plays and prose, the Irish writer Brendan Behan also recorded a number of songs, some of his own composition and others either traditional or written by contemporaries. His best-known recording, Brendan Behan Sings Irish Folk Songs and Ballads, remarkably captures not only his voice, but also his wit and distinct joie de vivre. The collection from 1960 includes not only the songs themselves (with Behan still in fine singing form), but also his introductions and wry comments on a range of subjects. The article looks at the circumstances behind the recording, the actual songs included on the album, and Behan's ongoing commentary about a range of topics. The focus is on the first half of the recording which consists of songs from his play The Hostage, with an additional short discussion of one of his most well-known pieces, "The Auld Triangle," which serves as an ongoing leitmotif in his earlier play, The Quare Fellow.

2024, In Irish Literatature in Transition, 1880-19402, ed. Marjorie Howes

2024, The Eugene O'Neill Review

Theatre Review of Eugene O'Neill's "The Hairy Ape" by Southwark Theatre in London and directed by Kate Budgen

2024, Modern Drama

The "Celtic Tiger" has changed Ireland on a material and ideological level. The material effects are easy to grasp; one has only to visit Dublin to see the glass office buildings and condominiums framed by a skyline filled with towering cranes. According to one estimate, if current building trends persist, Dublin could end up consuming as much land as Los Angeles in order to accommodate only a quarter of the population (Bacik 222). At an ideological level, the Celtic Tiger is a powerful cultural signifier for progress and newness. It is more than just a pithy slogan seized on by journalists to describe Ireland's dramatic economic transformation in the mid-nineties; the phrase has marked Ireland's passage into a new historical paradigm, an upheaval in the material reality of the nation that redefined the limits and borders of what could, or should, be considered Irish. Ray Mac Sharry, Padraig White, and Joseph O'Malley, in their book The Making of the Celtic Tiger, helped define this new language of Irishness when they framed Ireland's economic success as the nation's escape from its long history of famine, depression, and emigration. At the core of this new definition of Irishness is the language of globalization, complete with its promise of newness, success, and transformation. Mac Sharry, White, and O'Malley's book is an ideological defence of the precepts of global capitalism that connects economic development with an immediate freedom from the antiquated-and anti-modern-conditions of history and tradition. Whenever someone now mentions the Celtic Tiger, they are speaking the password of a newness that attempts to separate old from new, local from global, and past from present. Despite the many newspaper columnists, historians, and economists who have dedicated thousands of pages to articulating the new language of a globalized Ireland, it is only recently that the effects of the Celtic Tiger have caught the attention of scholars of literature. This dearth of

2024, Springer eBooks

When considering the avant-garde nature of the early Gate Theatre, critics rightly focus on the queer sexuality and liberal politics of many of the people associated with the theatre at the time. However, it is also important to consider the transnational backgrounds of so many based at the Gate then-especially those individuals whose outsider status and interest in the outré could be linked not simply to foreign origins but also to ethnic and cultural hybridity. This chapter will fill in many gaps and correct various misconceptions regarding the ethnic and cultural backgrounds of four key, English-born figures associated with the early Gate: the theatre's co-founders Hilton Edwards and Micheál mac Liammóir, the Gate's first "leading lady" Coralie Carmichael, and

2024

In Gate Theatre studies, the venue’s original artistic directors, Hilton Edwards and Micheál mac Liammóir, are commonly described as ‘Englishmen’. This chapter breaks new ground by exploring the Irish roots of Edwards and mac Liammóir, and the rumours that mac Liammóir had Spanish and Jewish ancestry. ‘The Boys’ were not the only figures associated with the early Gate to have transnational backgrounds. Coralie Carmichael, the theatre’s biggest female star in its early years, was of mixed Moroccan and Scottish ancestry, and Nancy Beckh, who worked as an actor, costume designer and milliner at the Gate between 1932 and 1956, was a Dubliner of half-German descent. Using critical theories around new interculturalism, the chapter suggests that the mixed backgrounds of these artists helped them to create intercultural performances. It further demonstrates that these performances cannot be simply dismissed as those of people condescendingly engaging in cultural imperialism or shallow cosmo...

2024, Mantichora

Focusing on the transition of contemporary poetry from writing to orality and from the correlated conversion of the modern poet into an oral performer, this essay aims to analyze the works of the Italian scholar, poet, musician, and performer Francesco Benozzo. An attempt will be done to offer a provisional assessment of Benozzo's poetry, which form a large unit of extraordinary stylistic and thematic strength, a "poetic novel" combining pure "landscape literature," metapoetic reflection and meditation on existence.

2024

Maxim Kelly - GALWAY ADVERTISER 21 Mar. 2024: Controversial Scottish agitprop theatre troupe 7:84 visited Galway in 1974 and left a lasting impression on the city and its nascent arts scene. To mark the 50th anniversary of the group’s... more

2024, Estudios Irlandeses

Reseña de la traducción al español y edición de la obra teatral de la dramaturga irlandesa Marina Carr titulada 'By the Bog of Cats...', una reescritura contemporánea del mito de Medea. * * * * * Book review of the 2022 Spanish translation of Marina Carr's play 'By the Bog of Cats...', a contemporary retelling of the myth of Medea, translated by Melania Terrazas Gallego and Álvaro Martínez de la Puente Molina (Universidad de la Rioja, Servicio de publicaciones).

2024, Theatre Journal

Book review of J.M. Synge: Nature, Politics, Modernism by Seán Hewitt in Theatre Journal

2024

SANTOS, A. G. dos. Keeping woman's sexuality in check: a study on slut-shaming in the Scarlet Letter and Easy A. 2016. 28f. Trabalho de Conclusao de Curso (Graduacao em Letras)- Universidade Estadual da Paraiba, Guarabira, 2016.

2024

Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or

2024, New Hibernia Review

2024, Irish Studies Review

What I mean by 'parody' here. .. is not the ridiculing imitation of the standard theories and definitions that are rooted in eighteenth-century theories of wit. The collective weight of parodic practice suggests a redefinition of parody as repetition with critical distance that allows ironic signalling of difference at the very heart of similarity.

2024

Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or

2024

This article focuses on two rewritings of Euripides's Medea-Marina Carr's By the Bog of Cats (1998) and Paulo Pontes/Chico Buarque's Gota D'Água: Uma Tragédia Brasileira (1975)-with the intention of discussing the similar solutions found by the Irish and the Brazilian playwrights to culturally contextualise their versions of the Greek tragedy in contemporary times. The five plays belonging to the second phase of Marina Carr's theatre production-the socalled 'phase of Midlands' (1994-2002)present a common feature regarding the technique employed by the Irish playwright. This consists of, as Eilis Ní Dhuibhne observes, 'underpinning a play with a folktale or myth': 'Portia Coughlan alludes to Shakespearian drama, By the Bog of Cats and On Raftery's Hill to classical myths. In the case of The Mai, its folkloristic parallel is not a wellknown story, but a local legend …' (Dhuibhne 2003: 69). Although the essayist does not mention Ariel, the same technique is used in this play, since its starting point is classical myths as recorded by Euripides and Aeschylus. Carr's characteristic technique is clearly an intertextual procedure, especially on two levels: allusion, which can be observed in all the five plays mentioned, and rewriting, which is the process used in By the Bog of Cats.

2024

The Irish writer Oscar Wilde was extremely popular in Croatian culture in the first decades of the 20th century. Although Croatian writers of that time generally did not read the original works of British authors but rather their translations, Wilde's popularity in Germany and Vienna sparked interest in his works among the Croatian readership and spectatorship. This paper explores the translation of Wilde's Salomé from German by Julije Benešić and Nikola Andrić, and the complex influence that this translation had on Croatian literature of early modernism, relying primarily on the interpretation of the same motif in the texts of young Fran Galović and Miroslav Krleža. The paper argues that the influence of Wilde's aestheticism is visible not only in the adoption of typical motifs, characters, or atmosphere but also in the autonomous and self-reflective language play in Krleža's texts.

2024, The European Journal of Literature and Linguistics

A major distinctive feature of Friel's dramatic works is his attitude toward history. The study aims to reveal how Friel employs history as the causal reactions related to self-realization. the study aims to high light Friel's vision of history as symbolic ritual action of self-discovery. In other words, the recurrent reference to the Irish history and culture is represented in rituals by which Friel developed his interest in the Irish past and history as interconnected dynamic process. The researcher aims to unveil Friel's vision of history, for his plays cannot separate the past historical sense from its present context. Also, both past and present are interrelated and dependent on each other. The researcher presents a detailed investigation of Friel's Faith Healer (1979) and Dancing at Lughnasa (1990). The study concludes that Friel sees history as a continuous dynamic process by which the present, not the past, imposes its power on the history by selecting specific and reprehensive past moments; to avoid the mistakes of the past to create a better future.

2023, Etudes Anglaises

Cet article analyse deux pieces qui mettent en scene le soulevement de Pâques 1916 a Dublin — The Plough and the Stars (1926), de Sean O’Casey, et The Patriot Game (1991) de Tom Murphy —, et montre comment les deux pieces utilisent des techniques meta-theâtrales pour interroger la maniere dont s’ecrit l’histoire du Soulevement. Tandis que The Plough and the Stars tente de deconstruire le mythe ebauche par les rebelles eux-memes, et consolide par l’historiographie nationaliste au cours des dix annees suivantes, The Patriot Game remet en perspective le scepticisme d’O’Casey et reaffirme l’importance du Soulevement pour la memoire collective irlandaise.

2023, Japanese Journal of Oral & Maxillofacial Surgery

2023, Beckett Beyond the Normal

In Samuel Beckett and the Politics of Aftermath (2018), James McNaughton has produced one of the finest monographs on Beckett to date. Just one year after Emilie Morin restored Beckett to his political milieu, in her landmark Beckett's Political Imagination (2017), McNaughton reads the majors work in light of that milieu (3). Taken together, these two represent a coming-of-age for Beckett Studies. They put Beckett's engagement with politics at the heart of his achievements, helping to explain, along the way, why so many engagé artists and philosophers have considered him an exemplary figure. Morin's book recovers so many neglected contexts for Beckett's work, and is so rich in suggestive detail, that it will remain indispensable for years, while McNaughton's take on his "radical political intelligence" is an ethical experience in itself (24). Here, responding to McNaughton's book specifically, I want to offer a different reading of the relevance of the Irish famine to the composition of Watt and Endgame. Ireland displaced? McNaughton's book is notable for its engagement with the logic of Irish exceptionalism. Much of the ethical force of his argument inheres in the corrective it offers to anyone who thinks Ireland a sufficient context for the comprehension of Beckett's postwar work. Here, he joins Morin (Problem of Irishness), but also Andrew Gibson, whose work on Vichy France did so much to clarify the limitations of the so-called Irish Beckett ("Afterword", "Vichy"). In two chapters of this book, those on Watt and Endgame, McNaughton addresses the issue of famine and similarly extends the field to Beckett's "direct encounter with contemporary politics" (3). Endgame is read as an enactment-an interrogation of the rhetoric-of food politics in Stalin and Hitler's Europe of the 1930s and 1940s (11), displacing previous readings that looked to Ireland for the famine context of the play (Pearson). Ireland does appear in McNaughton's account: it's relevance is clear (163). However, the force of his reading inheres in its analysis of rhetorical models that, he suggests, Beckett derived from "recent political ideologies" (131). This is also true in the case of Beckett's other great famine text, Watt (1953), which, McNaughton suggests, has its setting in "neutral Ireland" but is actually concerned with the problem of Nazi propaganda (64). As "an unlikely place to examine fascism", Ireland is chosen in critique of its

2023, Journal of Pesticide Science