Paul Fagan – författare

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?

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?

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?

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?

Finnegans Wake Human and Nonhuman Histories opens new ground by exploring the productive tension between anthropocentric and non-anthropocentric readings of James Joyce's final modernist masterpiece. Drawing on the most up-to-date theories and methodologies (the Anthropocene, new materialism, petroculture studies, the blue humanities, animal studies, ecofeminism, ecomedia), twelve leading Joyce scholars offer valuable new insights into the interwoven historical and planetary dimensions of Finnegans Wake. The volume's focus allows the contributors to read the Wake's nonhuman imaginary in original, often surprising comparative contexts (colonialism, the Irish Revival, the Free State's energy policies, the invention of television) and to spotlight enlightening nonhuman themes in Joyce's circular history (bogs, storms, rivers, bodily fluids, skin, wolves, mourning, DNA, atoms, labour, music). As these chapters show, a century later, Finnegans Wake remains a vibrant and vital text in which to interrogate the limits, exploitations and common plight of human and nonhuman life in the 21st-century.

Finnegans Wake – Human and Nonhuman Histories opens new ground by exploring the productive tension between anthropocentric and non-anthropocentric readings of James Joyce’s final modernist masterpiece. Drawing on the most up-to-date theories and methodologies (the Anthropocene, new materialism, petroculture studies, the blue humanities, animal studies, ecofeminism, ecomedia), twelve leading Joyce scholars offer valuable new insights into the interwoven historical and planetary dimensions of Finnegans Wake. The volume’s focus allows the contributors to read the Wake’s nonhuman imaginary in original, often surprising comparative contexts (colonialism, the Irish Revival, the Free State’s energy policies, the invention of television) and to spotlight enlightening nonhuman themes in Joyce’s circular history (bogs, storms, rivers, bodily fluids, skin, wolves, mourning, DNA, atoms, labour, music). As these chapters show, a century later, Finnegans Wake remains a vibrant and vital text in which to interrogate the limits, exploitations and common plight of human and nonhuman life in the 21st-century.

Flann O'Brien and the Nonhuman is the first book to explore in detail the author's interest in the agency, materiality, and potential sentience of environments, animals and machines. At every turn, O'Brien's writing challenges anthropocentric values and troubles conventional notions of the human. We think of the cast of At Swim-Two-Birds (which features the bird-man Sweeney, a Pooka, and a cow who is called as a star witness in the author's trial) and The Third Policeman's uncanny topographies and atomic hybridisation of people and bicycles, as well as the rain-soaked landscapes, Irish-speaking pigs, and human-seals of An B al Bocht. Yet, O'Brien's deconstruction of conventional narratives of the human-nonhuman binary extends across genres, from the protagonist's strange metamorphosis into a train in the short story 'John Duffy's Brother' to Cruiskeen Lawn's steam men; from O'Brien's stage adaptation of the Capeks' Insect Play to the donkey's tragedy in his late-career teleplay The Man with Four Legs. Drawing on a wide range of methodologies (ecocriticism, the blue humanities, animal studies, cyborg theory, disability studies, posthumanism), paradigms (the Anthropocene, climate change) and theorists (Derrida, Serres, Ngai, Deleuze, Guattari, Braidotti, Saltes, Morton), the contributors unearth new historical contexts for the study of O'Brien, including the long-term impact of the Great Famine, the use of coercive emergency powers during the 1930s and the biopolitical role of air during the Second World War. These interventions not only bring new dimensions of O'Brien's work to the surface, but reveal him as a key but overlooked figure for understanding the role of the nonhuman in Irish modernist cultural production.

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.