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The article offers information on the evolving discourse around Irish Gothic literature, building upon W. J. McCormack's exploration in the early 1990s. Topics include the expanded understanding of Irish Gothic as a distinct aesthetic that reflects and resists nation-bound constructs, moving beyond its association with the Anglo-Irish Ascendancy in the nineteenth century.

Irish history and literature are plagued with silenced discourses and untold stories. The discourse of dominance, which maintained the Anglo-Irish élite in their ruling position for centuries, was built on the silencing of the repression exerted on the Catholic population. Fin-de-siècle Irish literature encapsulates, and portrays, such silencing, which the Anglo-Irish exerted through their dominance and abuse of the judiciary, the religious and the political statements. Postcolonial reinterpretations of these writings have helped unveil the perceptions of Irish society at the time, and how different Irish writers attempted to criticise this corruption. Bram Stoker's Gothic story "The Judge's House" (1891) explores how the past, albeit silenced, always returns to haunt the present, exposing Anglo-Irish anxieties over the return of the repressed native Catholic population, simultaneously denouncing the one-sided abuse conducted by an élite. This paper explores how narrative technique is used to convey the idea of the perennial return of the unsolved, guilty past. Silence over historical past continuously actualises the unresolved conflicts of the Anglo-Irish, generating the ghosts that haunt them. [ABSTRACT FROM AUTHOR]

‘The Battle of Aughrim’ is a major achievement of modern Irish poetry but remains misrepresented in critical discourse. Written by Richard Murphy, the last poet of Ireland’s Protestant aristocracy, it has been respected as an ideologically balanced, historically objective treatment of the decisive battle of the Williamite War in Ireland that secured Protestant political dominance on the island for more than two centuries. In the manner of a historian, the poet took pains to carefully research the event, and the finished work has long been considered a model of accuracy and impartiality. This article argues that common critical perceptions of the poem are mistaken, that in fact, ‘The Battle of Aughrim’ does not equitably deal with the Anglo and Irish traditions of Murphy’s cultural identity but instead makes gestures of conciliation and sympathy towards the latter. This article conducts a parallel re-examination of the poem and historical record and calls for a greater consideration of the cultural climate in Ireland at the time of the poem’s composition. Doing so will validate the further contention that ‘The Battle of Aughrim’ actually caters to nationalist conceptions of Irishness and serves to palliate the poet’s insecurities regarding the notion of authentic Irish identity [ABSTRACT FROM AUTHOR]

How can an economic model designed to eliminate waste produce nothing but? The answer, according to Samuel Beckett's Watt, can be found in the system of economic relations presupposed by the Anglo-Irish Big House novels that emerged after the 1800 Acts of Union. These novels, which contrasted the profligacy and neglect of absentee English landlords with the idealized social harmony and economic self-sufficiency of the homegrown Protestant Ascendency, allowed an Anglo-Irish readership to imagine a self-sustaining body politic, invulnerable to an unevenly developed empire's devastating cycles of scarcity and waste. The Big House in Watt is the estate of Mr. Knott, to which apparently "nothing could be added... and from it nothing taken away." As his servant Watt discovers, however, the high quality of life inside the home is ensured by the continual production and export of detritus: human waste, leftover food, and pointless activity. The even-keeled manor house, moreover, lays waste to an ever-expanding network of territory and labor to feed itself. Drawing attention to the novelist's engagement with contemporary Irish economic policy, this essay shows how Beckett exploits the weaknesses of this model of national political economy to dismantle the form of the novel itself: Watt produces its own unassimilable waste in the form of aimless digressions and addenda. Rather than discard the exhausted form, as critical tradition would have it, Beckett releases his Big House novel to explore the exogenous play of wasteful contradictions and to overturn the genre's ideal equilibrium. [ABSTRACT FROM AUTHOR]

This essay analyses Samuel Beckett’s Trilogy and Waiting for Godot through the enabling theoretical lens of Martin Heidegger’s Being and Time. Special attention shall be paid to key Heideggerian concepts: idle talk, authenticity, and inauthenticity. A Heideggerian reading of Beckett’s influential middle period allows for a rich exploration of how his works provide a vision of the psychological state of the formerly powerful Anglo-Irish in post-independence Ireland. A Beckettian reading of Heidegger demonstrates how Heideggerian thought has been at the forefront of elucidating key challenges posed in the Twentieth Century concerning ways of being-in-the-world and being-with-others that allows for the authenticity of individual subjectivities.

The article focuses on Anglo-Irish representations and postcolonial discourse in J. S. Le Fanu's "The familiar" and antagonism is reflected in how the dichotomy self versus other is portrayed in Gothic literature. It mentions Gothic literature would constitute an examination of how identities, both individual and shared, are formed. It also mentions state of the Anglo-Irish class as colonizers but not quite fostering a cultural blending between the Catholic and the Protestant communities.

A personal narrative is presented which explores the authors experience of writing some really great novels about Anglo-Irish life at the turn of the century.

This article argues that, faced with the disintegration of their patriarchal Ascendancy culture, Elizabeth Bowen’s young Anglo-Irish female protagonists in The Last September (1929) and A World of Love (1954) revert to the primordial mother-daughter relationship as an attempt to foster some sense of identity and stability. In The Last September, the flux and tumult of the War for Independence prompts Lois’s pursuit of maternal unity with her absent mother, Laura. This endeavour is ultimately frustrated, leaving Lois with an unstable sense of self facing an even less stable future as the Ascendancy and her projected lifestyle crumbles. For Jane in A World of Love, the posthumous affair with her mother’s dead lover, Guy, is a misdirected attempt to gain closeness with her mother. Before, the mother-daughter relationship had been tethered to an unproductive past by Guy’s memory, and only with the destruction of his memory can the future be secured.

An introduction is presented in which the editor discusses about the articles in the issue including funerary rites in "We get all sealed up": An Essay in Five Deaths, "Bowen's Court" and "The Last September"

In January 1941 Elizabeth Bowen, struggling to complete Bowen's Court, wrote to Virginia Woolf: 'the last chapter seems to, or ought to re-write retrospectively all the rest of the book', and also that she felt 'despair about my own generation ... we don't really suffer much but we get all sealed up'. I approach these two remarks as structuring ideas and as connected. Drawing on recent research on the affective dimensions of history, I examine the management of emotion in Bowen's elite class and period, entailing the systematic blockage of conscious suffering and outward displays of feeling. In this frozen war midwinter, she saw that the conclusion of her family history must decisively reject the trajectory of what had gone before. Would this painfully break the 'seal' of this last Bowen's tacit acceptance of settler values? The essay is in five episodes, four about a death in or near Bowen's experience, one in her fiction. Each adds a layer to my analysis of these associated questions and their significance. [ABSTRACT FROM AUTHOR]

This essay analyses Samuel Beckett's Trilogy and Waiting for Godot through the enabling theoretical lens of Martin Heidegger's Being and Time. Special attention shall be paid to key Heideggerian concepts: idle talk, authenticity, and inauthenticity. A Heideggerian reading of Beckett's influential middle period allows for a rich exploration of how his works provide a vision of the psychological state of the formerly powerful Anglo-Irish in postindependence Ireland. A Beckettian reading of Heidegger demonstrates how Heideggerian thought has been at the forefront of elucidating key challenges posed in the Twentieth Century concerning ways of being-in-the-world and being-with-others that allows for the authenticity of individual subjectivities. [ABSTRACT FROM AUTHOR]

Republicanism has been one of the most influential political ideologies in modern Irish history; however, it remains conspicuously undertheorized by historians of the revolutionary period. While recent historiography has challenged representations of anti-Treaty Sinn Féin as a mindlessly destructive, anti-democratic force, the extent of ideological and rhetorical continuity linking the Provisional Government formed to assume control of the Free State on 7 January 1922 with the pre-Treaty republican tradition has not been understood. This article rejects the historiographical thesis that the Provisional Government abandoned republican ideas. Drawing from the Cambridge School's contextualist account of republicanism as a polysemic and contingent political language, it highlights the vigorously contested nature of republican thought in the intellectual firmament of revolutionary Sinn Féin and argues that the Free State leadership articulated its vision of politics and society through classical republican concepts of 'civic virtue' and the 'common good'. It is suggested additionally that the colonial dynamics of the Anglo-Irish relationship helped to shape the vision of republican citizenship promoted by an administration possessed of a deep-seated determination to refute historical perceptions of the Irish people as congenitally 'unfit' for sovereignty. [ABSTRACT FROM AUTHOR]

The Irish question and women's suffrage were two noteworthy topics of debate in Britain and Ireland in the period surrounding the Great War. Both questions challenged British constitutional politics, split opinion, and prompted newspaper coverage. This article is interested in the debates as they occurred in Britain. Through a case study of two British suffrage newspapers, The Suffragette/Britannia (1912–18) and The Woman's Dreadnought/The Workers' Dreadnought (1914–24), edited respectively by Christabel and Sylvia Pankhurst, this article investigates how British suffrage press reported on Ireland. It asks: how did British suffrage press coverage of the Irish question develop throughout 1912–18? It argues The Suffragette/Britannia and The Woman's Dreadnought/The Workers' Dreadnought are useful representations of the Pankhurst sisters' diverging political opinion, which also evoked wider women's suffrage themes, and how the Great War and immediate post-war period shaped and interacted with the competing political priorities of women's suffrage and the Irish question. [ABSTRACT FROM AUTHOR]

In this article, the author presents her views on the writings of Canadian literary critic Northrop Frye. It mentions that Frye can chart all of literature from the Bible through the Renaissance like author Joseph Campbell. It also mentions that Victorian Ireland, Anglo-Irish relations, Irish America specialties pursued by members of erudite and devoted editorial board.

Music-making in the internment camp at Ballykinlar in Ireland during the ' Anglo–Irish' conflict, 1919–21, was one of several purposeful recreational activities that the British military permitted for prisoners. Apparently cherished by its participants (including the celebrated republican Peadar Kearney) were elementary group lessons in the classical violin and Irish fiddle, which were taught by fellow inmates Martin Walton and Frank O'Higgins, using inexpensive, imported instruments funded by the Irish White Cross. Scrutinizing a range of primary sources, this essay explores how the class functioned in the harsh situation of detention, and attributes its tolerance, even encouragement, by the British to a neo-Victorian paternalistic value-system. It further considers the appeal and meaning that the violin held for students, highlighting its possible value and function as a psychological coping mechanism in the face of 'barbed-wire disease', a motivating connection to Irish heritage, home life, and contemporary culture, and even a means of enacting covert resistance to British oppression. [ABSTRACT FROM AUTHOR]

The article offers the information on the During the years 1910 to 1921 Ireland experienced a marked rise in political activism and violence, culminating in the signing of the Anglo-Irish Treaty that created the Irish Free State in December. The article mentions about the fledging Irish nation an unprecedented level of autonomy from the United Kingdom of Great Britain.

As the formal Anglo-Irish union ended, Tim Healy, Irish nationalist politician turned Free State Governor-General, and Lord Beaverbrook, politician and press baron, entered their second decade of friendship. Whereas existing scholarship privileges the place of this Beaverbrook-Healy nexus in pre-independence high politics, this article uses correspondence preserved in the Beaverbrook papers to rectify neglect of the post-1922 era and reintegrate the relationship into Anglo-Irish and British media history. The article demonstrates how this enduring informal connection functioned as a vital forum for the exchange of material relating to British and Irish affairs and examines its influence on news content. Tracing the construction of individual stories and overall editorial lines, this case study also facilitates a broader re-evaluation of the process of content production and, by analysing feedback relayed in the letters, provides fresh insight into the place of the British press in the new Irish Free State. [ABSTRACT FROM AUTHOR]

This article examines Arthur O'Shaughnessy's identity as an Anglo- Irish author and his place in the Irish literary canon. It aims to show that he has been the subject of critical neglect, despite the fact that in his life, as in his works, O'Shaughnessy engaged with issues which had particular import to notions of Irish identity politics in the mid-nineteenth century. With this in mind, I address who and what the Anglo-Irish are and suggest this term is fluid and its relevance changes according to different circumstances. Additionally, outlining O'Shaughnessy's family heritage and his relationships with members of the Anglo-Irish elite, this piece illustrates that O'Shaughnessy's life was not devoid of Irish connections. Discussing O'Shaughnessy's inclusion and exclusion in anthologies and critical debates surrounding the nature of Irish writing, this article will show that because he did not place Ireland at the centre of his works, O'Shaughnessy has been overshadowed by more established figures in Irish literary history. Finally, examining a small selection of O'Shaughnessy's poetry, namely 'The Neglected Harp' (1870) from The Epic of Women and Other Poems (1870) and 'Ode' (1873) from Music and Moonlight: Poems and Songs (1874), I demonstrate that because he employed Irish Romanticist tropes and symbolism, O'Shaughnessy's neglect in the arena of Irish Studies and his place in the Irish canon requires a reappraisal. [ABSTRACT FROM AUTHOR]

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The article is devoted to the insufficiently studied episode of the “Glorious revolution” of 1688-1689, the political fight on Green Island. On the basis of historical sources, the author shows the main directions of Irish policy of last catholic king James II, who tried to fight for his lost British throne, because the majority of population of this catholic country remained loyal to his patron. The author pays special attention to investigating the policy of different ethnic groups represented in Patriot Parliament by their elites. There were two elite groups who supported king James II and tried to influence him: “Old English” aristocracy and “Old Irish” nobility. King’s own elite group also consisted of “New English” and “New Scots”, but during the “Glorious revolution” the majority of them supported the counterpart of king James II – William Orange. Basing the study on historical sources the author proves that eventually king James II had two groups of supporters: “Old English” and “native Irish”. The article is concerned with non-investigated problem of negotiations between king James II and Irish elites and analyses the demands of the last. The author proves that acts and decisions of patriot parliament were the Irish population’s answers to the program and suggestions of king James II and that the main concessions were given to “Old English” aristocracy. The demands of “Old Irish” in agrarian issue were mainly ignored. The Patriot Parliament based the foundations of Jacobite political regime in Ireland during the restoration rebellion of 1689-1691.

The article offers information on the panel discussion during the Psychoanalytic Psychotherapy Association of Australasia (PPAA) conference. Topics discussed include the psychoanalytic exploration of a work of literature; discussion on the Anglo-Irish conflict; and information on Easter rising of 1916.

Jennifer Johnston's novel The Invisible Worm (1991) is an exemplary trauma narrative, both stylistically and thematically. It centres on the consciousness of its protagonist--Laura-- and narrates her painful and protracted psychological process of coming to terms with a past marked by repeated sexual abuse by her father, which culminates in rape, and her mother's consequent suicide. Yet The Invisible Worm is also a contemporary example of the Irish Big House novel, a genre that articulates the identitarian, historical and social plights of the Anglo-Irish. My intention in this article is to consider how the narrative's evident interest in the personal dimension of Laura's traumas works to obviate the socio-historical and political elements that have also contributed to the protagonist's predicament. I will also analyse the different treatment afforded to the individual and the collective past: while the novel is explicit and optimistic in the case of Laura's personal story, it remains reluctant to speak out about historical evils, with the result that, at the end of the novel, although freed from her personal traumas, Laura remains the prisoner of her historical legacy. [ABSTRACT FROM AUTHOR]

This essay explores Anglo–Irish relations in the early modern period as dramatised in Christopher Marlowe’s 1592 play,Edward II. Specifically, the argument emphasises the role Gaveston played as King Edward II’s Governor of Ireland, highlighting Marlowe’s interest in dramatising this history in sexual terms. Marlowe integrates two moments in the history of Anglo–Irish relations, one is the fourteenth-century history of the reign of Edward II and his political aspirations in Ireland; the other is Marlowe’s perspective of the history of Anglo–Irish contacts in the 1590s. Marlowe presents these personal and political themes through the affective and sexual ambiguities that characterise the relationship between Edward and Gaveston. [ABSTRACT FROM PUBLISHER]

The gramophone in The Last Septemberseems innocuous for most of the novel, until it crashes to the floor, asserting its unexpected complexity. The gramophone's prominent destruction prompts the reading of gramophonic imagery as signals of traumatic moments in Lois's proximity to war. The gramophone reveals the violence necessary for creating a physical or metaphysical record (represented by the Anglo-Irish War), the anxiety over the fidelity of that record in the wake of said violence (an attribute of trauma narratives), and the transformative 'thingness' of the accounts that complicates attempts to reconcile trauma within the historic or novelistic narrative. [ABSTRACT FROM AUTHOR]

This essay discusses the importance ascribed to the work of Samuel Beckett and James Joyce by two major French feminists: the philosopher and psychoanalyst Julia Kristeva and the creative writer and philosopher Hélène Cixous. An introductory section gives a short account of die controversy in English feminist academia over the importance attributed to the founding fathers of modernism, which does not appear to have arisen in the French feminist tradition. In Joyce and Bcckett, Cixous and Kristeva have acknowledged imaginative models that developed their understanding of the socio-political structures that operate through the family and through language, through deep processes of repression, to construct individual subjects, male or female. These writers helped shape their perception of the extent to which the Law of the Father is the organising structure of society and its language. And most of all, they have stimulated reflection on the possibility of a language in which to think and talk differently about such things, with the intention of changing them: a language that might subvert patriarchal discourse. [ABSTRACT FROM AUTHOR]

This article explores the violence surrounding the collapse of the Munster plantation in 1598. It situates this event in the wider context of violence in early modern Ireland, and highlights both similarities and differences in the behaviour seen there, and in other, better-explored Irish episodes of violence. It also argues that while the memory of those earlier settlers was apparently forgotten or silenced, violence in 1598 played a significant part in how later violent incidents in Ireland were narrated, particularly the 1641 rebellion, and that consequently Munster played an important role in New English identity-building in the early modern period. [ABSTRACT FROM AUTHOR]

A literary analysis of the novel "Finnegans Wake" by James Joyce is presented. It examines references which the author suggest indicate Joyce's associate of English poet Edmund Spenser with Anglo-Irish colonizers during Great Britain's Elizabethan period. Particular attention is given to allusions to Spenser's poem "The Faerie Queene."

Evidence for the existence of book clubs in nineteenth-century Ireland (other than in Ulster) is rare, and even rarer is documentation of their members and the titles of the books they read. The discovery (made by Peter Hoare in the library of Hatfield House) of the rules and circulation list of the Fethard Book Society in County Tipperary is notable because it provides details of a religious book club run for Anglo-Irish Protestants who lived in what emerges as a dangerous area of a countryside dominated by Roman Catholic adversaries. [ABSTRACT FROM AUTHOR]

To commemorate the fourth centenary of the publication of the first part of the Spanish masterpiece of all times Don Quixote by Miguel de Cervantes, this article approaches in an introductory manner some of the literary productions which sprang from Cervantes’s original within the Irish context. In the case of Ireland the Cervantine inspiration, albeit minor and neglected, has also been present; and, it is most probably the nineteenth century which provides the most ample and varied response to Cervantes’s masterpiece in many a different way. Our aim is to see briefly how the legacy of Don Quixote found distinct expression on the Emerald Isle. Indeed, all these Cervantine contributions from Ireland during the nineteenth century were also deeply imbued with the politics of literature and society in a country which experienced historical, social and cultural turmoil. The reference to Cervantes as a key writer in Spanish letters will not only be reduced to his masterpiece of all times; but, will also be tackled in critical pieces of importance in Ireland.

The article offers literary criticism of the novel "Castle Rackrent," by Maria Edgeworth, noting its use of Irish vernacular. Topics include the ascendancy of a Protestant Anglo-Irish elite in Ireland, the political significance of the novel in light of Edgeworth's family's role among the Anglo-Irish elite landlord class, and the use of the voice of character Thady Quirk in the novel.

The article discussed Anglo-Irish families, poetry and prose for these Anglo-Irish patrons and difference between the Gaelicised Anglo-Irish and the Irish.