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Speaking of Ireland
Colin Graham

discussion of the strategies of writing about Ireland in relation to the critical ‘self’ which becomes implicated in that ‘Ireland’. I examine the role which the ‘warmer memory’ of ‘the people’ crucially undertakes in the processes of a criticism which takes to itself or asserts identity politics, and discuss the ‘organic’ necessities of Norquay_03_Ch2 32 22/3/02, 9:46 am 33 Speaking of Ireland the intellectual as they are reacted against and reconstructed in Joyce’s Stephen Dedalus. Barthes’ Michelet, my argument goes, exemplifies the fact that ‘crossing marginality

in Across the margins
Gendering the foreigner in Emer Martin’s Baby Zero
Wanda Balzano

wish to adhere to, and it simply doesn’t apply in the case of subjects who have no money and no access to wealthy lawyers’ (2000: 42). 236 Gendering the foreigner in Emer Martin’s Baby Zero Identity politics: limits of sisterhood and internal minorities For certain aspects, the emerging struggle of minority groups for equal rights and protection against discrimination in Ireland has its parallels in the feminist movement. In Repulsing Racism, which was published in the ground-breaking series of Lip pamphlets issued by the feminist Attic Press in the early 1990s

in Literary visions of multicultural Ireland
Anu Koivunen
,
Katariina Kyrölä
, and
Ingrid Ryberg

, this approach simultaneously resists equating the power of vulnerability with identity politics or reducing it to a ‘politics of pain’. The pull of the neoliberal, individualistic narrative of ‘from vulnerability to resilience’ is forceful both in feminist academic discussions and contemporary public discussions and media cultures. However, in this book we want to follow up on Butler’s call for understanding vulnerability as restraint as well as responsiveness, a concept rife with paradoxes, but also potential. Furthermore, we want to stress vulnerability

in The power of vulnerability
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Cultural credibility in America's Ireland - and Ireland's America
Tara Stubbs

/06/2013 17:11 Cultural credibility in America’s Ireland – and Ireland’s America 217  7 Diane Negra, ‘Irishness, innocence, and American identity politics before and after September 11’, in The Irish in Us: Irishness, Performativity, and Popular Culture, ed. Negra. Durham and London: Duke University Press, 2006, pp. 354–71 (354).   8 Negra, introduction, The Irish in Us, pp. 1–19 (3).   9 Mary McGlynn, ‘New Irish New York: contemporary Irish constructions of New York City’, in Ireland and Transatlantic Poetics, ed. Brian Caraher and Robert Mahony. New Jersey: Rosemont

in American literature and Irish culture, 1910–55
Open Access (free)
Don’t Ever Wipe Tears Without Gloves as a reparative fantasy
Anu Koivunen

), Helgeson (2012), Liljestrand (2012), Svensson (2012), and Wilson (2012). For editorial page commentary on the relevance of the series, see Franchell (2012), Ludvigsson (2012), and Kjöller (2012). For a cultural pages debate about identity politics see Edenheim (2012a; 2012b; 2013), Gardell (2012b), Hilton (2013a; 2013b), Nordenhök (2012), and Wiman (2012b), and a friendly exchange between Gardell and a critic (Gardell and Hilton, 2013). For tabloid publicity see Fårsjö (2012), Fjellborg (2012), Lindberg (2012), Lundberg (2012a), Schulman (2012), and Virtanen (2012). 2

in The power of vulnerability
Abstract only
David Brauner

academy with identity politics than it does about Roth, Bellow or Malamud. With the advent of multiculturalism, Jewish-American writing, so fashionable in the academy during the 1950s and 1960s, found itself marginalised once again, all but eclipsed by the enthusiasm for AfricanAmerican, native American, Hispanic American, and Asian American Introduction 13 writing.7 Although Irving Howe had predicted in 1977 that the genre of Jewish-American fiction was in its death throes, the subsequent three decades have in fact seen the emergence of a third generation of Jewish

in Philip Roth
Siobhán McIlvanney

’s writing, this chapter does not wish to play down the variety and hybridity of beur narratives in a quasi-colonialist drive for uniformity and categorisation. Indeed, the very recentness of the emergence of this writing makes any Beur female identity  endeavour to characterise its expression of identity politics tentative. Given the diversity of the writers who are conventionally grouped under the umbrella term beur – some writers classed as beur were born in North Africa then came to France, others were born in France of, say, a French mother and Algerian father

in Women’s writing in contemporary France
Open Access (free)
Crossing the margins
Glenda Norquay
and
Gerry Smyth

obviously in the Runnymede Trust report. We also want, therefore, to examine the possible intersections between geopolitical markers of supposed ‘marginality’ and other boundaries and hierarchies operating in identity politics – gender, ethnicity, class and sexuality in particular. In this arena we believe that insufficient attention had been placed to the relationship between ‘Celtic spaces’ and other areas of ‘difference’, even within the context of emerging concerns around a ‘New Britishness’: As Robert Crawford notes in the afterword to his influential Devolving

in Across the margins
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Tradition, translation,and the global market for Native American literatures
David Stirrup

ventriloquism. This kind of reclamation is central to current trends in tribal literary nationalism, which complicate the earlier authenticity/identity politics through rigorous engagement with a set of aesthetics that foregrounds the political in relation – indeed in opposition – to colonialism and racism. While it is difficult (though not impossible) to align Erdrich with such moves for many of the reasons already stated, nevertheless many of the key concerns of the latest ‘ethical turn’ in Native Literary Studies speak loudly to Erdrich’s work

in Louise Erdrich
Open Access (free)
Gill Rye
and
Michael Worton

/or feminine) writing subjects in the s as they continue to operate in the tension between the postmodern deconstruc- Introduction  tion of the subject and a feminist, queer or post-colonial interest in identity politics? On both counts – the postmodern fragmentation of the subject and the demise of authorial power – female/feminine subjects were threatened even as they at last began to come to the fore in French culture. Kristeva’s term, le sujet en procès (subject in process and on trial), is rarely used to describe the late twentieth-century subject of women

in Women’s writing in contemporary France