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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)
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)
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)
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
Open Access (free)

-into-space, and the dead end [which] haunts every demand for change and which engenders a deep conservatism, and a demand for sameness, stability and support’ (Bick, 1986: 299). The anxiety about change, this love of sameness, is a familiar one in Beckett. However, the deadened ‘dead end’ is one the narrative-self refuses to accept, as it continues to create, to start again, hoping for a change that will bring primal contact. A lorn land The central thesis of this study is that Samuel Beckett’s fictional/ dramatic universe is organized by an emerging-self attempting to maintain

in Samuel Beckett and the primacy of love
Bringing the Shows to life

escaped many people. ‘To humour the throng’: ‘popular’ elements of the Shows If the content of the mayoral Shows reflected popular London taste, at least to an extent, then they might be considered analogous to the popular taste in printed texts of ‘the general [non-elite] reading public’, where, as Watt argues, ‘conservatism’ and a ‘persistence of old-fashioned beliefs’ can be detected.219 Accordingly, there were other elements to the entertainment that, perhaps because they were so taken for granted, or because the poets had little to do with them, were never mentioned

in Pageantry and power
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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