A Nation, not A Parish

The purpose of the book is to rebuild the milieu of the 1930s by observing the dialogues between the homewhere-s and elsewhere-s where Ireland's cultural legacy and cultural products have been shaped.

As recent studies on the «London Irish» and on the work of almost forgotten artists have revealed, there existed in the 1930s a vibrant appreciation and response to international politics and artistic innovations. Many Irish writers such as Kate O'Brien, Elizabeth Bowen, Sean O'Faolain, Liam O'Flaherty, to name but a few, felt at ease in this climate. Reconsidering Irish culture in the 1930s in light of recent critical work will further enhance an understanding of a decade of cultural production which, until the turn of the 21st century, was subjected to comparatively narrow interpretations. At a time when a fledgling democracy was being created in Ireland, the influence of these and other connections in the realm of culture cannot be underestimated. It is the major purpose of this book to rely on all these premises and rebuild the milieu of the 1930s by observing the dialogues between the homewhere-s and elsewhere-s where Ireland's cultural legacy and cultural products have been shaped.

Autorentext

Germán Asensio Peral is Lecturer at the University of Almería (Department of Philology). Madalina Armie is a Lecturer at the University of Almeria (Department of Philology). Verónica Membrive is currently teaching English at the University of Almería.

Klappentext

As recent studies on the 'London Irish' and on the work of almost forgotten artists have revealed, there existed in the 1930s a vibrant appreciation and response to international politics and artistic innovations. Many Irish writers such as Kate O'Brien, Elizabeth Bowen, Sean O'Faolain, Liam O'Flaherty, to name but a few, felt at ease in this climate. Reconsidering Irish culture in the 1930s in light of recent critical work will further enhance an understanding of a decade of cultural production which, until the turn of the 21st century, was subjected to comparatively narrow interpretations. At a time when a fledgling democracy was being created in Ireland, the influence of these and other connections in the realm of culture cannot be underestimated. It is the major purpose of this book to rely on all these premises and rebuild the milieu of the 1930s by observing the dialogues between the homewhere-s and elsewhere-s where Ireland's cultural legacy and cultural products have been shaped.

Inhalt

Contents: Ruth Barton: A group of persons who regard themselves as 'intellectuals': Cinema-Going and Film Culture in Dublin of the 1930s - Deirdre F. Brady: 'Wild FIeld to a Later Generation': Irish Women Writers and the Global Literary Marketplace - Fiona Fearon: Anti-fascism and the Gothic in the Work of Dorothy Macardle (1935-53) - Grainne Condon: Blanaid Salkeld's Poetry of the 1930s: 'peculiarly in and out of her time' - Gearoid O hAllmhurain: The Sensual Moan of the Saxophone: The Soundscape of Irish Cosmopolitanism in the 1930s - Katrina Goldstone: Circles of Solidarity: Irish Writers in Transnational Radical Networks in the 1930s - Martin Tyrrell: The Rediscovery of Mairin Mitchell - Alberto Lazaro: The Representation of Ireland in Peadar O'Donnell's Salud! An Irishman in Spain - Mairtin Coilfeir: Irish-Language Translation as Internationalism? Gilbert Parker's The Right of Wayand Seamus O Grianna's An Bealach Achtuighthe - Monica Paulis: 'Tell me something about Ireland and the Irish': James Joyce and Italo and Livia Svevo, An International Friendship.