Irish fiction and autobiography since 1990
Liam Harte

9780719075636_4_011.qxd 16/2/09 9:28 AM Page 201 11 ‘Tomorrow we will change our names, invent ourselves again’: Irish fiction and autobiography since 1990 Liam Harte [B]oomtime Ireland has yet to find its Oscar Wilde or its Charles Dickens or even its Evelyn Waugh. The strange place we now inhabit does not seem to yield up its stories easily. . . . What has happened, essentially, is that the emergence of a frantic, globalised, dislocated Ireland has deprived fiction writers of some of their traditional tools. One is a distinctive sense of place. To write

in Irish literature since 1990
Open Access (free)
Pacifist feminism in the IAPA
Heloise Brown

membership was fairly active. In 1888, it held meetings that were addressed by Mrs Oscar Wilde, Mrs Stuart Downing and Florence Balgarnie, among others. Mrs Wilde focused upon the influence that women had over 139 ‘ the truest form of patriotism ’ men, as wives, sisters or friends, and the influence that mothers had over children. She concluded that the family was the ‘unit of the nation’, and much work could be done by ‘the preservation of peace in the family’. Florence Balgarnie, in contrast, spoke about the bodies that supported war, ‘monopolies, the military, and

in ‘The truest form of patriotism’
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The past in the present/the present in the past
Paul Newland

. There will be work and bread for all. This nation will prosper because it is a Godly nation and because we walk hand-in-hand with the Lord. Here, then, is a man who sees a nation in crisis and decline. He is offering ways to weather a socio-cultural and political storm. One wonders whether, in 1970, the incoming Conservative Prime Minister Edward Heath could ever have dreamed of such rhetoric. The director of Cromwell, Ken Hughes, had previously worked on films such as Chitty Chitty Bang Bang (1968), Casino Royale (1967), and The Trials of Oscar Wilde (1960) – another

in British films of the 1970s
A new church for the unhoused
Michael Cronin

updates on the state of fear. Each age, in addition, has its particular genre of fear. In Ireland, the religion of fear (1920s–​1960s) has given way to the economics of fear (1960s–​present), the fear of the priest superseded by the fear of the P45. One could argue that the changing genre of fear corresponds to a fundamental shift at another level, which is the shift from the figure of discipline to the figure of control.The figure of discipline is typically that of the worker as captured in Charlie Chaplin’s Modern Times or that of the prisoner as depicted in Oscar

in Tracing the cultural legacy of Irish Catholicism
Shivdeep Grewal

were frowned on by Machiavelli (1970: 77). Dandyism is often associated with decadent strains of Anglo-American and French literature. Though a detailed treatment is beyond the scope of the present study, the following writers – a far from comprehensive survey, to be sure – offer insights into the topic, whether as practitioners, theoreticians or observers: Lord Byron, Oscar Wilde, William Burroughs, J.G. Ballard, Chris Petit (specifically, the eponymous character from his novel Robinson , 1993), William Gibson (Peter

in Habermas and European integration
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Ainslie T. Embree

Imagining America , Peter Conrad describes how famous British travel writers – Mrs Trollope, Dickens, Oscar Wilde and the rest – knew what they were going to see in America because ‘America’ was a construct of the European imagination, and before coming they had, like Columbus, ‘imagined America’. India has had much the same experience of being ‘imagined’ by writers for whom it was a necessary creation, the

in Asia in Western fiction
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

Art’, The Times (11 February), 14. Brock, A. C. (1919b). ‘The New English Art Club’, The Times (5 June), 12. Brock, A. C. (1919c). ‘Modern War Pictures’, The Times (27 December), 13. Corbett, D. P. (1997). The Modernity of English Art: 1914–1930 (Manchester: Manchester University Press). Cork, R. (1976). Vorticism and Abstract Art in the First Machine Age. I, Origins and Development (London: Gordon Fraser). Edwards, P. and R. Humphreys (2008). Wyndham Lewis: Portraits (London: National Portrait Gallery). Ellmann, R. (1988). Oscar Wilde (London: Penguin). Ferguson, N

in Back to the Futurists
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Sara Lodge

his pale, solemn face.14 The fact that Hood remains one of ‘ourselves’, assimilated to the realm of friend and family, attests to his central place in Victorian popular literary culture. The rhythms of his verse influenced poems as Introduction disparate as Lewis Carroll’s ‘The Walrus and the Carpenter’ and Oscar Wilde’s ‘The Ballad of Reading Gaol’. In the twentieth century Hood’s select but stalwart band of supporters included the war poets Edward Blunden and Siegfried Sassoon, who was, as he recalls in his autobiography, inspired to become a poet by the

in Thomas Hood and nineteenth-century poetry
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Melodrama and Tory socialism
Deborah Mutch

wings, with ‘Master’ written on his ugly face! (Law, 1893–94: September 1893, p. 9) The migration of Russian Jewish émigrés between 1880 and 1914, after the Russian pogroms of 1881 and 1882, substantially increased the Jewish population in Britain, especially London, and generated much racial and xenophobic prejudice (Gray, 2010: 235). The consternation surrounding the Jewish immigrants seeped into contemporary literature and the Boss takes his place alongside other Jewish characters associated with the theatre, such as Oscar Wilde’s sexually predatory Isaacs in The

in Margaret Harkness
Tourism, cross-cultural space, and ethics in Irish poetry
Charles I. Armstrong

’ (Mahon, 1999: 230),2 but a more complex and productive parallel is established through repeated conjurings of the artistic milieu of the 1890s fin de siècle. Mahon’s approach to the movement is centred upon its Irish, English, and French representatives, as he focuses on its bases in London and Paris. The Decadents’ ambiguous position as both a symptom and a critique of modern society provides Mahon’s verse with some nuance and ambivalence. An 1890s journal provides him with the title of The Yellow Book. The period marking the heyday of Oscar Wilde and the

in Literary visions of multicultural Ireland