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The essays collected in this volume draw unprecedented critical
attention to the centrality of politics in Flann O'Brien's art. The
organising theme of Gallows Humour These innovative analyses
explore the place of biopolitics in O'Brien's modernist
experimentation and popular writing through reflections on his
handling of the thematics of violence, justice, capital punishment,
eugenics, prosthetics, skin, prostitution, syphilis, rape,
reproduction, illness, auto-immune deficiency, abjection, drinking,
Gaelic games and masculinist nationalism across a diverse range of
genres, intertexts, contexts.
Flann O'Brien: Acting out is the first full-length study to
comprehensively address the themes of performance, masking and
illusion in the author's fiction, columns, correspondence and
scripts. These essays reveal, for the first time, the fullness of
O'Brien's literary engagements with diverse theatrical movements
(melodrama, revivalism, tableaux vivant, Grand Guignol, modernist
anti-theatre) and playwrights (Shakespeare, Goethe, Boucicault,
Synge, Yeats, Gregory, Pirandello, Brecht, Beckett, Čapek). Often
considered a lonely pioneer of the Irish novel, the author is here
resituated both among a troupe of mid-century playwrights,
producers and performers (mac Liammoír, Edwards, Saroyan,
Montgomery, Sheridan, MacNamara, O'Dea) and in front of discrete
local audiences (at The Irish Times, the Abbey, the Gate, Radio
Éireann, Telefís Éireann). A new picture of O'Brien emerges as a
performative and collaborative writer, firmly imbedded in the
cultural networks and institutions of his time and place. Flann
O'Brien: Acting out draws unprecedented attention to the author's
critically neglected writing for stage and screen (Thirst, Faustus
Kelly, Rhapsody in Stephen's Green, An Sgian, The Handsome Carvers,
Mairéad Gillan, The Dead Spit of Kelly). These scripts are here
reevaluated against their historical contexts and through their
thematics of war, nationalism, gender, nonhuman bodies and
posthuman identity. At the same time, innovative readings of the
role of masking and mimicry in the fiction and columns (At
Swim-Two-Birds, The Third Policeman, 'John Duffy's Brother', 'The
Martyr's Crown', Cruiskeen Lawn) shed new critical light on
O'Brien's pseudonyms, his theories of literary performance, his
modulation of comic and tragic tone, and his shifting place in
Irish modernism.
This book focuses on previously unexplored gaps, limitations and
avenues of inquiry within the canon and scholarship of Irish
modernism to develop a more attentive and fluid theoretical account
of this conceptual field. Foregrounding interfaces between
literary, visual, musical, dramatic, cinematic, epistolary and
journalistic media, these essays introduce previously peripheral
writers, artists and cultural figures to debates about Irish
modernism: Hannah Berman, Ethel Colburn Mayne, Mary Devenport
O’Neill, Sheila Wingfield, Freda Laughton, Rhoda Coghill,
Elizabeth Bowen, Máirtín Ó Cadhain, Joseph Plunkett, Liam
O’Flaherty, Edward Martyn, Jane Barlow, Seosamh Ó Torna, Jack B.
Yeats and Brian O’Nolan all feature here to interrogate the
term’s implications. Probing Irish modernism’s responsiveness
to contemporary theory beyond postcolonial and Irish studies, Irish
Modernisms: Gaps, Conjectures, Possibilities uses diverse
paradigms, including weak theory, biopolitics, posthumanism and the
nonhuman turn, to rethink Irish modernism’s organising themes:
the material body, language, mediality, canonicity, war, state
violence, prostitution, temporality, death, mourning. Across the
volume, cutting-edge work from queer theory and gender studies
draws urgent attention to the too-often marginalized importance of
women’s writing and queer expression to the Irish avant-garde,
while critical reappraisals of the coordinates of race and national
history compel us to ask not only where and when Irish modernism
occurred, but also whose modernism it was?
Consciousness is a hugely important brain phenomenon, but until now
it has been a very poorly understood one in conceptual terms.
However, a major breakthrough in our conceptual understanding has
been made, and a radical new school of philosophical thought on the
subject has arisen; and what we are now discovering consciousness
to be, is truly mind-blowing! WHEN NIGHT FALLS explains this new
school of philosophical thought on what conscious-mind is, how it
relates to the brain, to our memory, and to the external world; and
also discusses its existential implications, especially concerning
the issue of conscious Life-After-Death.
Employing a wide range of critical perspectives and new comparative
contexts, Flann O'Brien: Contesting Legacies breaks new ground in
O'Brien scholarship by testing a number of popular commonplaces
about this Irish (post-) Modernist author. Challenging the
narrative that Flann O'Brien wrote two good novels and then retired
to the inferior medium of journalism (as Myles na gCopaleen), the
collection engages with overlooked shorter, theatrical, and
non-fiction works and columns ('John Duffy's Brother', 'The
Martyr's Crown', 'Two in One') alongside At Swim-Two-Birds, The
Third Policeman, and An Beal Bocht. The depth and consistency of
O'Nolan's comic inspiration that emerges from this scholarly
engagement with his broader body of work underlines both the
imperative and opportunity of reassessing O'Brien's literary
legacy. Challenging the critical standard of O'Brien as a
provincial writer, these essays reveal his writing as a space that
uniquely complicates the old lines between stay-at-home
conservatism and international experimentalism. Renegotiating
O'Brien's place in the European Avant-Garde alongside tensions
closer to home - Republicanism, the Gaelic tradition, the Dublin
literary scene - the collection reveals as outdated prejudice the
dismissal of his talent as a matter of localised interest. Finally,
the contributors excavate O'Nolan's oeuvre as fertile territory for
a broad range of critical perspectives by confronting some of the
more complex ideological positions tested in his writing. Employing
perspectives from genetic criticism and cultural materialism to
post-modernism and deconstruction, the essays gathered in this
volume address with new critical rigour the author's gender
politics, his language politics, his parodies of nationalism, his
ideology of science, and his treatment of the theme of justice.
This book focuses on previously unexplored gaps, limitations and
avenues of inquiry within the canon and scholarship of Irish
modernism to develop a more attentive and fluid theoretical account
of this conceptual field. Foregrounding interfaces between
literary, visual, musical, dramatic, cinematic, epistolary and
journalistic media, these essays introduce previously peripheral
writers, artists and cultural figures to debates about Irish
modernism: Hannah Berman, Ethel Colburn Mayne, Mary Devenport
O'Neill, Sheila Wingfield, Freda Laughton, Rhoda Coghill, Elizabeth
Bowen, Mairtin O Cadhain, Joseph Plunkett, Liam O'Flaherty, Edward
Martyn, Jane Barlow, Seosamh O Torna, Jack B. Yeats and Brian
O'Nolan all feature here to interrogate the term's implications.
Probing Irish modernism's responsiveness to contemporary theory
beyond postcolonial and Irish studies, Irish Modernisms: Gaps,
Conjectures, Possibilities uses diverse paradigms, including weak
theory, biopolitics, posthumanism and the nonhuman turn, to rethink
Irish modernism's organising themes: the material body, language,
mediality, canonicity, war, state violence, prostitution,
temporality, death, mourning. Across the volume, cutting-edge work
from queer theory and gender studies draws urgent attention to the
too-often marginalized importance of women's writing and queer
expression to the Irish avant-garde, while critical reappraisals of
the coordinates of race and national history compel us to ask not
only where and when Irish modernism occurred, but also whose
modernism it was?
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