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This book argues that as nonwhite immigrants began to comprise a
significant portion of the Irish population during the Celtic Tiger
years, issues of race, nationality and citizenship became
increasingly being mediated through cultural representation of
racial relations in the United States.
Drawing on historical, literary and cultural studies perspectives,
this book examines the phenomenon of the "Returned Yank" in the
cultural imagination, taking as its point of departure the most
exhaustively discussed Returned Yank narrative, The Quiet Man (dir.
John Ford, 1952). Often dismissed as a figure that embodies the
sentimentality and nostalgia of Irish America writ large, this
study argues that the Returned Yank's role in the Irish cultural
imagination is much more varied and complex than this simplistic
construction allows. Throughout the twentieth century and into the
twenty-first, s/he has been widely discussed in broadcast and print
media, and depicted in plays, novels, short stories and films. The
imagined figure of the Returned Yank has been the driving impetus
behind some of Ireland's most well-known touristic endeavours and
festivals. In the form of U.S. Presidential visits, s/he has
repeatedly been the catalyst for questions surrounding Irish
identity. Most significantly, s/he has been mobilised as an arbiter
in one of the most important debates in post-Independence Ireland:
should Ireland remain a "traditional" society or should it seek to
modernise? His/her repeated appearances in Irish literature and
culture after 1952 - in remarkably heterogeneous, often very
sophisticated ways - refute claims of the "aesthetic caution" of
Irish writers, dramatists and filmmakers responding to the
tradition/modernity debate.
This book is the first full-length study of contemporary American
fiction of passing. Its takes as its point of departure the return
of racial and gender passing in the 1990s in order to make claims
about wider trends in contemporary American fiction. The book
accounts for the return of tropes of passing in fiction by Phillip
Roth, Percival Everett, Louise Erdrich, Danzy Senna, Jeffrey
Eugenides and Paul Beatty, by arguing meta-critical and
meta-fictional tool. These writers are attracted to the trope of
passing because passing narratives have always foregrounded the
notion of textuality in relation to the (il)legibility of "black"
subjects passing as white. The central argument of this book, then,
is that contemporary narratives of passing are concerned with
articulating and unpacking an analogy between passing and
authorship. The title promises to inaugurate dialogue on the
relationships between passing, postmodernism and authorship in
contemporary American fiction. -- .
This book is the first full-length study of contemporary American
fiction of passing. Its takes as its point of departure the return
of racial and gender passing in the 1990s in order to make claims
about wider trends in contemporary American fiction. The book
accounts for the return of tropes of passing in fiction by Phillip
Roth, Percival Everett, Louise Erdrich, Danzy Senna, Jeffrey
Eugenides and Paul Beatty, by arguing meta-critical and
meta-fictional tool. These writers are attracted to the trope of
passing because passing narratives have always foregrounded the
notion of textuality in relation to the (il)legibility of "black"
subjects passing as white. The central argument of this book, then,
is that contemporary narratives of passing are concerned with
articulating and unpacking an analogy between passing and
authorship. Aimed at students and researchers, it promises to
inaugurate dialogue on the relationships between passing,
postmodernism and authorship in contemporary American fiction. -- .
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Payback Season (Blu-ray disc)
Anna Popplewell, Nicola Posener, Adam Deacon, Leo Gregory, Nina Young, …
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R372
R50
Discovery Miles 500
Save R322 (87%)
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Out of stock
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British drama in which Jerome Davies (Adam Deacon) has beaten the
odds to escape the council estate where he grew up and carve out a
new life for himself as a professional footballer. However, a
series of encounters with family and friends from the estate sends
his privileged new life spinning off course. Footballing legend
Geoff Hurst makes a guest appearance.
Drawing on historical, literary and cultural studies perspectives,
this book examines the phenomenon of the "Returned Yank" in the
cultural imagination, taking as its point of departure the most
exhaustively discussed Returned Yank narrative, The Quiet Man (dir.
John Ford, 1952). Often dismissed as a figure that embodies the
sentimentality and nostalgia of Irish America writ large, this
study argues that the Returned Yank's role in the Irish cultural
imagination is much more varied and complex than this simplistic
construction allows. Throughout the twentieth century and into the
twenty-first, s/he has been widely discussed in broadcast and print
media, and depicted in plays, novels, short stories and films. The
imagined figure of the Returned Yank has been the driving impetus
behind some of Ireland's most well-known touristic endeavours and
festivals. In the form of U.S. Presidential visits, s/he has
repeatedly been the catalyst for questions surrounding Irish
identity. Most significantly, s/he has been mobilised as an arbiter
in one of the most important debates in post-Independence Ireland:
should Ireland remain a "traditional" society or should it seek to
modernise? His/her repeated appearances in Irish literature and
culture after 1952 - in remarkably heterogeneous, often very
sophisticated ways - refute claims of the "aesthetic caution" of
Irish writers, dramatists and filmmakers responding to the
tradition/modernity debate.
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