Notes taken from Reading
Notes taken from Reading HUM 382
Popular in Living with the Irish Troubles
Popular in Department
This 4 page Class Notes was uploaded by Haley Morse on Monday September 12, 2016. The Class Notes belongs to HUM 382 at Northern Arizona University taught by Dr. John Doherty in Fall 2016. Since its upload, it has received 24 views.
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Date Created: 09/12/16
Citation: Kennedy-Andrews, Elmer. "The Novel and the Northern Troubles." The Cambridge Companion to the Irish Novel. Ed. John Wilson Foster. Cambridge, England: Cambridge UP, 2006. 238-258. Political Views Before 1969: Irish novels Mainly had to do with English issues Personal Morality Relationships NOT Race, religion or nationality Written by Maria Edgeworth, Sydney Owenson (lady Morgan) Edgeworth: attempted reconciliation between Ireland’s 2 nations using social reform and political Unionism Owenson: Ascendancy commitment to a romantic nationalist movement in literature culminated in W.B. Yeats works “Jennifer Johnston’s The Captains and the Kings (1972), The Gates (1973), How Many Miles to Babylon? (1974) and The Old Jest (1979) would indicate. These novels, written at the height of the Northern Troubles, offer an oblique perspective on the conflict, and the setting of the novels in the past, in the south, suggests flight from the intractable reality of contemporary Northern Protestant unionism/loyalism in 1970s Ulster. “Complementing the big house tradition was the native tradition of ‘Catholic’ novelists such as the Banim brothers, Gerald Griffin and William Carleton, writers who sought to bring to light the traditions and customs of the ‘hidden Ireland’, often pleading for their people’s plight before the bar of English public opinion, and determined to advance the idea of a distinctive Irish national character. (See chapter 5 above.) The themes of their fiction - eviction, terrorism and emigration - reflect engagement with the great social and political events of the nineteenth century: the penal laws, Catholic Emancipation, Repeal of the Union, Gaelic Revival, revolution, famine. The novelists, conservatives for the most part, took a reformist rather than revolutionary stance Charles Stewart Parnell’s 1891 death led to constitutional nationalism to be weakened and republican military strengthened AngloIrish War: 19191921 Civil War: 19221923 Both wars described as a rite of passage by Frank O’Connor Brought teenagers from a romanticism stage to mature adults Romance of War and domestic fiction were a common novel topic during The Troubles Thrillers: also a popular Troubles genre Examples: The Informer: Liam O’Flaherty, Odd Man Out: F.L. Green Odd Man Out: Dark, expressionistic, doomladen story about committing to violence is destructive of romantic love and domestic family life ARP: Air Raid Precaution Popular Fiction The Troubles brought in Lots of English Thriller Writers Max Franklin Hennessy Jon Clearey Peter’s Pence Gerald Seymour Harry’s Game Jack Higgins The Savage Day Popular Fiction typically acknowledged Catholic issues and not Protestant North the issues are presented as colonial struggle between IRA and the British Government and the representation in Ireland Common moral was that terrorism doesn’t pay Francis Stuart and Benedict Kiely Serious Troubles novels sometimes adopted the thriller form Mostly written by Northerners from deep down in their environment Francis Stuart was a South writer Wrote A Hole in the Head Novel about the search for radical and personal truth Proxopera, also written by a southern writer: Benedict Kiely Conventional views of terrorists and a realistic world Jennifer Johnston Typically female authors during the Troubles used ideas of Separation between political worlds, threats, masculine domains, and feminine world (Personal feelings) Defined men as they were in public and how they were in private Brouhgt in female self-assertion, self-definition The want to regain freedom and reject conventional female roles/expectations Mauric Leitch and Bernard MacLavetry 1980s Maurica Leitch: Silver’s City Cal: Bernard MacLaverty Both represent hard-bitten romantic-realist approach to the Troubles Concentrate on individuals who attempt, tragically, to free himself from earlier association with terrorism and embrace superior values of personal life “Silver's City thus marks a shift away from earlier realist portrayals of urban alienation in Michael McLaverty or Brian Moore and prefigures more recent representations of the city as an unstable fictional terrain. “Cal reflects the contradictions in Northern nationalism: the novel acknowledges the oppressiveness of the Northern Protestant state and Catholic indignation against it, while at the same time recoiling from the violence that sets out to overthrow the oppressor. Post-Modern Trouble Younger generation (Born in the 60s) Spught to explore new literary ground Represent a strand of self-reflexive writing Critical of realist premises and deconstructs usual relationships exsisting between tween text and reader, language, reality, fiction , and history Represent stronger urban consciousness than before Lay claim to a wider range of cultural influences-not just Ireland and Britain “As much of this fiction demonstrates, realism is still very much alive, but it is inevitably in all kinds of post-modernist trouble, having to mediate a sense of multiplicity and fragmentation. The incorporation of post-modern strategies of disruption and distancing do not proclaim the end of human ism or produce an anarchic dispersal: rather, they are the strategies for re formulating identity, history and agency. These novelists experiment with the possibilities of remapping identity, rewriting history and reinventing the language and form of the Troubles, in some cases suggesting positive new ways of living amid breakdown and dissensus.” The Novel/Film interface Thriller elements of The Troubles fiction appeals to many film-makers Debunks idea that heroic violence which is usually used to glamorize sentimental nationalism Helps us understand violence in the North Addressed more issues: sexuality, masculinity, imperialist conflict, mythology, etc. “The inevitable conclusion is that the Troubles film, in contrast to the Troubles novel, has made little contribution to the cultural project of envisioning new ‘Northern’ identities construed in terms of hybridity and transformation.”
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