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The rhetoric of ideology in postcolonial Irish fiction

The rhetoric of ideology haunts Irish fiction. In this book, I map these rhetorical hauntings across a wide range of postcolonial Irish novels, and define the specter as a non-present presence that simultaneously symbolizes and analyzes an overlapping of Irish myth and Irish history. By exploring this exchange between literary discourse and historical events, Haunted Historiographies provides literary historians and cultural critics a theory of the specter that exposes the various complex ways in which novelists remember, represent, and reinvent historical narrative. Haunted Historiographies juxtaposes canonical and non-canonical novels that complicate long-held assumptions about four definitive events in modern Irish history—the Great Famine, the Irish Revolution, the Second World War, and the Northern Irish Troubles—to demonstrate how historiographical Irish fiction from James Joyce and Samuel Beckett to Roddy Doyle and Sebastian Barry is both a product of Ireland’s colonial history, and also the rhetorical means by which a post-colonial culture has emerged.

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Famine and the Western Front in Samuel Beckett’s Waiting for Godot

. Spectrality, as a theoretical lens, can also heighten our awareness of reemergent cultural factors (colonial trauma, gender and sexual discrimination, political insularity) that originally led to the Irish artist’s dual esthetic and political identity during the late nineteenth and early twentieth centuries, and give us a glimpse into how contemporary Irish writers use fiction to respond to the longstanding identification of the Irish artist as politically vested. The novelists discussed in Haunted historiographies all imbue their works with layers of social, political, and

in Haunted historiographies
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Textual spectrality and Finnegans Wake

this ‘return’ in what Meredith McGill and Andrew Parker call ‘the future of the literary past,’2 Haunted historiographies entertains Richard Klein’s suggestion from the above-mentioned issue of PMLA that literary critics (re)turn to Derridean textual analysis, and explore Gayatri Spivak’s assertion that a deliberate ‘loss of control’ is central to learning in the contemporary world of globalization.3 Further, I extend Shelly Rambo’s observation that the ghostly ‘may point to something missing,’4 while developing Werner Hamacher’s understanding that ‘Repetition … not

in Haunted historiographies

nature of representation in historiography.’32 Her observations lead her to suggest that readers be suspicious of the pose of broad historical accuracy and the assumed authenticity of fact.33 As the following close readings will illustrate, My Dream of You and Star of the Sea unveil the process of producing a historical study and thereby undermine the pose of implied historical accuracy, while retaining history’s worth as a fictional narrative that can shape individual and national identities. Nuala O’Faolain (1940–2008) spent much of her literary career  – as a

in Haunted historiographies
Easter 1916 and the advent of post-Catholic Ireland

’s founding mythology following the fall of conservative Catholicism in Ireland, highlighting the homosexual subtext in the Spartan legend. As Dowling points out, this subtext was made clear by ‘a [nineteenth century] Germaninspired revolution in historiography … [that] had made the crucial discovery that paiderastia or Greek love was itself martial in origin.’52 O’Neill draws upon this reading of the Spartan legend in order to call attention to a similar subtext in Ireland’s Rising narrative. MacMurrough explains to Doyler that he has excavated these subtexts so that

in Haunted historiographies

1 Historiography and context Background and historiography In historical and contemporary terms, Ireland and Scotland have extensive pedigrees in relation to migration. The major outflows, however, occurred from the nineteenth century onwards. Between 1801 and 1921 8 million Irish sought new lives on distant shores, while the remainder of the twentieth century saw approximately 2 million people depart the island of Ireland, with 1 at least one quarter of those leaving Northern Ireland. Such was the insatiable impetus of the outflow in the later nineteenth century

in Personal narratives of Irish and Scottish migration, 1921–65

• 1 • History and historiography The writing of history in the Middle Ages cannot be reduced to one single formula or definition. Instead, it straddled a huge variety of genres, covering – and often combining – world chronicles, annals, histories of communities, deeds of individuals, hagiographies, biographies, autobiographies and epic poems.1 Medieval historiography therefore does not correspond to any fixed genre, in terms of either its form or its style – it could be written in prose, in verse or sometimes as both; it could be sung as a chanson de geste

in Rhetoric and the writing of history, 400 –1500

viewing it through various theoretical lenses. Historiographical context This book speaks to a number of interlocking historiographies. Obviously, it speaks to the historiography of British Cyprus during the Great War, on which there is no study. More importantly, it speaks to the historiography of British non-settler colonial enlistment and experiences, for which there is a

in Serving the empire in the Great War

chapter on Tavernier’s use and philosophy of history, his historiography. Tavernier’s predilection for historical drama might seem to align him with the heritage film, ascendant in France since the early 1980s and popular throughout the 1990s. Beginning in 1981, the genre received encouragement and financial support from Jack Lang’s Culture Ministry, as a policy aimed at stemming the tide of Hollywood imports. Heritage films such as Jean de Florette and Manon des Sources (both Claude Berri, 1986), La Reine Margot (Patrice

in Bertrand Tavernier

This article seeks to provide an account of the political biases at stake in the conceptualisation of medieval English history in Ethelwina, Or The House of Fitz-Auburne (1799), the first fiction of the prolific Gothic romancer-turned-Royal Body Guard T. J. Horsley, Curties. Having considered Curties‘s portrayal of the reign of King Edward III in the narrative in relation to formal historiographies of the period, the article turns to address the politics of Curties‘s appropriation of Shakespeare‘s Hamlet.

Gothic Studies