the forms and arrangements of social
life: nationality, the state and the law, commerce, medicine and education, as well as in
the conventions and affects of narrativity, romance and other protected spaces of culture.
(Berlant and Warner 1998, 548)
This important theoretical orientation presents us with the opportunity to think
about singlehood in broader social and political terms, and prompts the consideration
of issues related to social membership, identities, and normativity. Beyond this, it
creates a new agenda for singlehood studies, one which highlights
attempt to arrive at a sense of himself as poet through
Distributing: Ezra Pound
the adoption of others’ style and modes. Or as he put it in his 1929 postscript
to the preface on the republication of The Spirit of Romance:
The detached critic may, I hope, find ... some signs of coherence, some
proof that I started with a definite intention, and that what has up to now
appeared an aimless picking up of tidbits has been governed by a plan
which became clearer and more definite as I proceeded.5
What this retrospective theorizing should not be taken to imply is that
Ramachandran argues that “By associating the Elizabethan court with the
romance garden rather than the epic battlefield, Spenser reveals and redefines the power relations that are at stake: romance is the world of Circe’s
bed, of Acrasia’s garden and Aragnoll’s web, a world where the artfulness
of women, the duplicity and dissimulation associated with female power,
prevails over single-minded epic might” (Ramachandran, “Clarion,” 81).
With one exception, even the Old Historicists, however, generally hesitated to identify Venus allegorically, despite their often
sexual openness and sexual suppressions that are built generally into
the structure of the book’. 121
After she rejects her sexless, icy cousin it is to
Rochester and his fiery nature that Jane runs and she is rewarded for
her rejection of endogamic celibacy with a virile and masculine lover.
DeLamotte argues that ‘the ideology of Gothic romance idealises
female passivity and dependence. At the crucial
John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
include Barbara A. Hanawalt and Michal
Kilbialka, eds, Medieval practices of space (Minneapolis: University of
Minnesota Press, 2000); Mayke de Jong, Frans Theuws, and Carine
van Rhijn, eds, Topographies of power in the Middle Ages (Leiden: Brill,
2001); Virginia Chieffo Raguin and Sarah Stanbury, eds, Women’s
space: patronage, place, and gender in the medieval church (Albany,
NY: State University of New York Press, 2005), and Geraldine Heng,
Empire of magic: medieval romance and the politics of cultural fantasy
(New York: Columbia University Press, 2003).
’s challenge of essential Irishness, or EC’s
romance. And in a sense we have moved here beyond Michelet’s trauma
of the loss of ‘the people’ as subject. As Levinas suggests: ‘It is as if the
other established a relationship or a relationship were established whose
whole intensity consists in not presupposing the idea of community’
(Hand 1996: 83–4). Stephen and Bloom have, in other words, fleetingly
surpassed that sometimes stifling foundational need to speak to the
future nation, seeing in the difference of each other a ‘deeper’ version of
ethical responsibility than even
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr
exaggerate, and destabilize the distinctions and boundaries that mark
and maintain high culture and organized society’.35 The Catwoman is
‘lapping wine from a saucer’ (p. 43) while the priest who is flirting with
her wears his trousers and shirt but as a loose mask over his pyjamas
and substitutes the text of saying grace with fragments of his one-time
romance, incarnating and voicing the duality of social gloss and private
reality. But most importantly for the present investigation, there is a
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
. Both plays deal with
their subject through an almost exclusive emphasis on the family
romance. Breen in opting for a more broadly social and satirical perspective would appear to have sidestepped some of the complications
they encounter; but the more direct representation in Charlie of scenes
from Irish political life has to contend with the wide range of archive
material available to the documentary makers. All three plays depend
on a degree of knowledge of events from the last forty years of Irish
Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)
and redefine oneself in the
emptiness that is left behind. Walsh’s memoir is subtitled ‘An Irish
Romance’, but that love of romantic Ireland is severely undercut by
the narrator’s persistent sense of displacement. In many ways, Walsh’s
writing exhibits those distinguishing characteristics identified by Deane
in his account of Irish memoir and autobiography in the Field Day
anthology. If at one level, there is an urge towards consolidation of a
secure identity, there is at another level a counter-urge towards complete abandonment of any such notion. The Falling
(London: Barker, 1973).
Bloodstock breeders’ review (1928), p. 167.
‘The Scout’, The Scout’s guide to racing, 1937.
S. Theodore Felstead, Racing romance (London: Werner Laurie, 1949), p. 130;
George Hamlyn, My sixty years in the ring: a racing and gambling autobiography
(Hungerford: Sporting Garland, 1994), p. 82.
F. M. L. Thompson, Gentrification and the enterprise culture: Britain 1780–1980
(Oxford: Oxford University Press, 2001), p. 112.
Acton, Silk and spur, p. 259.
Marsh, Racing with the gods, p. 41.
Seth-Smith, History of steeplechasing, p. 107.