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The representations of non-Irish immigrants in recent Irish crime fiction
David Clark

Irish emigrants forced to leave their homes in past times. As Coyne ponders, the new immigrants were ‘the Blasket Islanders coming home’ (59). Hamilton thus employs two motifs which will be used with some consistency in subsequent novels, with the immigrants as victims and the heirs to the Irish of past periods. Another recurring motif is that of the ‘unsympathetic Garda’. This model takes the figure of the police officer who is openly hostile to the presence of immigrants in the country and who is generally challenged by another officer or person of authority whose

in Literary visions of multicultural Ireland
Lynne Attwood

enough space; but even when they did, women generally persisted in cooking separately for their own families on their own Primus stoves, turning the kitchen into a battleground as they competed for elbow room. Publications such as Rabotnitsa and Zhilishchnoe delo attempted to persuade them of the error of their ways. Rabotnitsa painted a rosy picture of the future: ‘Coming home from work, we will go to the dining room, have dinner, and be free from all superfluous worries so that we will be able to put our time to the greatest use for ourselves and the state.’12 It

in Gender and housing in Soviet Russia
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Katy Hayward

to Nice’: still no direct answers about the future shape of the EU, intimations of lagging faith in EU partners, wariness of pinning colours to the EU mast. If the 2001 referendum saw some chickens coming home to roost, the 2008 referendum on the Lisbon Treaty witnessed the hatching of their eggs. Conclusion The result of the first Nice Treaty referendum does not represent the end of a symbiotic fit between the Irish nation-state and the European Union; on the contrary, it highlights the importance of the relationship between official nationalism and European

in Irish nationalism and European integration
Bryan Fanning

who pledged their allegiance to the Irish State over two days at special ceremonies in Dublin recently, Taoiseach Enda Kenny also told them to make Ireland their proud home. ‘As citizens of this country, you are cominghome”’, he said. ‘Today you begin to write your own chapters of Ireland’s history. Your story will become Ireland’s story. Since you arrived on these shores, you have enriched your communities, enhanced your workplaces, bringing new light, new depth, a new sense of imagining, to what it means to be a citizen of Ireland in the 21st century.’48 A

in Irish adventures in nation-building
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Caitriona Clear

with Shakespeare’s scholar, ‘creeping like snail’: I used often, as I drove along the country roads, to meet in rain and sunshine, parties of children, bareheaded often, always barefooted, sometimes racing at full speed, whom I have stopped and asked where they were going, and the answer was always either going to school or coming home from school.31 A long walk (or run!) in rain and frost to sit all day in a damp, badly heated room cannot have been pleasant, although if they were not at school many children would have been out working in such weather anyway, and at

in Social change and everyday life in Ireland 1850–1922
Romain Fathi, Margaret Hutchison, Andrekos Varnava, and Michael J. K. Walsh

-Rouzeau and Christophe Prochasson, Sortir de la Grande Guerre. Le monde et l’apres 1918 (Paris: Tallandier, 2008). For a historiographical review of sorties de guerre , see Cosima Flateau, ‘Les sorties de guerre. Une introduction’, Les Cahiers Sirice , 17:3 (2016), 5–14. 11 Romain Fathi and Bart Ziino, ‘Coming home: Australians’ sorties de guerre after the First World War’, History Australia , 16:1 (2019), 5

in Exiting war
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

story Helen feels that she is coming home – significantly at a moment when ‘death had brought the estate to life’ (Barker, 1985 : 29). The Candyman’s lair in the film is an equally maze-like – and thus Gothic – space. It transgresses the boundaries of the individual apartments (even – in a clear use of the doppelgänger trope – becoming one with Helen’s mirror-image condo) and

in Monstrous adaptations
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Marjory Harper

themselves return migrants, virtually all the recruits were women, many of whom welcomed the opportunity to travel, at the same time as pursuing a career in teaching, medicine or church work. 30 They were generally open-minded about their future intentions. Some reflected Wyman’s template of return migration by coming home to fulfil family responsibilities, while others, in a manner reminiscent of Robert McLeese from north Antrim, came home only briefly as part of the rite of passage that led to permanent emigration. The

in Emigrant homecomings
Kate McLuskie and Kate Rumbold

by the Globe’s own ensemble of actors, to the declaration in the festival’s marketing that ‘Shakespeare’s coming home’, 83 an echo of the musical refrain ‘football’s coming home’, that wistful declaration of supremacy repeated every time the England team engages in international competition. Though the connection between the national sport and the national author

in Cultural value in twenty-first-century England
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Rachael Gilmour

, whereby the shift to another language has also led to an untying of the tongue. … It is language, after all, that creates the subject, not vice versa, and to write in Gaelic or Scots (given that the medium is also the message) is to commit to a vision of self and the world that is simultaneously assertive and provisional, even perhaps embattled, and always already under threat of neglect, erasure or even extinction. And for some writers this has been like coming home.96 For Mundair, the estranging move into Shetland Scots has a precedent in the estranging move into

in Bad English