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Clear All
Open Access (free)
Irish drama since 1990

responsible for various experimental pieces such as Here Lies (Antonin Artaud) (2005), Passades (2004) or Angel/Babel (1999). Fouéré’s commitment to powerful physical performance provocatively marks out a new territory on the contemporary Irish scene. 9780719075636_4_003.qxd 52 16/2/09 9:24 AM Page 52 Drama Finally, although it has oft been the target of criticism for its conservatism, Ireland’s National Theatre has been home to much dynamic new theatre since 1990. While fostering new writers like Marina Carr and Mark O’Rowe, the Abbey has also continued to celebrate

in Irish literature since 1990
Open Access (free)
Notes on the art of the contemporary

in which realism equals political conservatism warrants a detailed analysis.5 The position contains a fundamental flaw. While it may be the case that direct causality no longer pertains such that it is not possible to argue that a series of political actions or even artistic actions will have necessary effects, it does not follow that arguments for a politicisation of art are themselves no longer possible. (Politicisation, in 210 Reflections this context, involves the affirmed retention of transformation thought in terms of an interruption of the repetition of

in The new aestheticism
Open Access (free)
Reading Half-Life

overarching plot, both Tomb Raider and Half-Life are essentially heroic adventures apparently inviting the most basic form of identification (‘and with one mighty bound I was free’) that are as notable for their political naivete and ideological conservatism as they are for their technological achievement in presenting detailed worlds on screen. It is possible, for example, to see many of the individual episodes in Tomb Raider as providing a remarkably consistent metaphor for a kind of (British) imperialism that is, understandably, only rarely celebrated in contemporary

in More than a game
Open Access (free)
Defining the nation differently

reserve or relative conservatism is corroborated: there is no significant disruption of conventional heterosexual identity-formation. Pipee insists all too soon on becoming the dominant partner, so repeating the power differential between Astha and her husband and precipitating the breakdown in their affair (MW 233, 234). Astha never uses the words lesbian or woman-loving of herself. She is not given to looking into her sexuality to that extent. She also avoids any allusion to adultery and finds the prospect of leaving her family to set up with Pipee unthinkable (MW 232

in Stories of women
Crossing the (English) language barrier

dressed up as ‘poet’s talking’. A third was market conservatism. I found his answer – that he had seen unsuccessful efforts to render that speech into print – somewhat evasive. If you look at the couple of instances where Derry speech is invoked in Reading in the Dark it is in the kind of comiccut way that Scottish writers like James Kelman have argued against, wearing the clothes-pegs of dialogue rather than being integrated into the narrative. Accent is almost always apostrophised in contemporary Irish poetry, trapped in a speech bubble, denied the oxygen of publicity

in Across the margins
Open Access (free)
What lovers want

practice married among themselves.8 However, such flexibility was never without its tensions, as the rise of the ambitious encountered the inherent conservatism of a class where rank and wealth were based on birth. Degrevant reveals the potential for conflict in a shifting social landscape. Underlying the reconciliation with which the romance ends is a deployment of the trappings of chivalry to endorse aggression and violence as the normative way to achieve a social harmony identified with the privileges and property rights of great householders, both male and female. In

in Pulp fictions of medieval England
Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley

revolution leads only to anarchy and military rule).28 While some of his nineteenth-century readers might be drawn to what they thought of as Scott’s via media, finding its combination of progress and conservatism appealing, Jewett’s novel insists on the issue of ‘rights’ (paradoxically rights learnt, across the Atlantic, from Britain) and hence the unavoidable break with established authority to secure these. The novel 148 Alison Easton plays self-consciously several times with the image of the conflict simply as a family quarrel, and each time the metaphor is rethought

in Special relationships
Open Access (free)
Corruption, community and duty in Family Matters

it occur to Yezad that his Parsi purism is of a piece with the exclusionary compartmentalising of those Hindu nationalist forces he has previously despised. Mistry understands the psychological and nostalgic impulses behind social and cultural conservatism as well as any other contemporary writer. But his sympathies for the consoling qualities of religion and tradition evaporate when, as so often, they become a stick with which to beat others. For him ritual and dogma is of less consequence than social morality. In a comment that sums up the choices confronting so

in Rohinton Mistry
Open Access (free)
Different voices, voicing difference

’. (Higgins, 2015: 9, citing Reith, 1924) This was also an essentially conservative project, and to pick up Alison Light’s argument, radio was part of a ‘contradictory process of a modernizing conservatism […] central to the period [the interwar years] and to its formation, or reformation, of Englishness’ (Light, 1991: 215). Reith’s democratising vision for the BBC might also be critiqued for its patriarchal assumptions about class and gender difference, an instance of the careless masculinity that has made and continues to make histories that marginalise or simply forget

in Stage women, 1900–50
Open Access (free)
Culture, criticism, theory since 1990

the native Irish, that ‘we have arrived’. As Joe Cleary has observed, what marks this tendency is its obsessive return to the grim period of ‘autarkic development’ associated with De Valera.25 The implication is that the apparent triumph of modernisation has brought about economic, cultural and psychological transformation, illuminating the ‘dark age’ of insularity, conservatism and underdevelopment that marked the early years of the Republic. The worlds evoked by these narratives now appear temporally far distant to a contemporary audience, and the rapid

in Irish literature since 1990