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De-scribing Imperial identity from alien to migrant

Culture and Imperialism (1993) that the imposition of national identity is implicit in the domestic novel in its boundaries, exclusions, and silences – the Imperial interstices of English society that Said’s contrapuntal reading can reveal by turning the narrative inside out, temporarily centralising its margins. Such emphases on borders, heterogeneity, and reading against the grain require analyses of national identity which move away from binaries of domestic and foreign, native and immigrant, belonging and alienation, and instead consider the people, cultures and

in Across the margins
Open Access (free)

Rohinton Mistry is the only author whose every novel has been shortlisted for the Man Booker Prize. Such a Long Journey (1991), A Fine Balance (1995) and Family Matters (2002) are all set in India's Parsee community. Recognised as one of the most important contemporary writers of postcolonial literature, Mistry's subtle yet powerful narratives engross general readers, excite critical acclaim and form staple elements of literature courses across the world. This study provides an insight into the key features of Mistry's work. It suggests how the author's writing can be read in terms of recent Indian political history, his native Zoroastrian culture and ethos, and the experience of migration, which now sees him living in Canada. The texts are viewed through the lens of diaspora and minority discourse theories to show how Mistry's writing is illustrative of marginal positions in relation to sanctioned national identities. In addition, Mistry utilises and blends the conventions of oral storytelling common to the Persian and South Asian traditions, with nods in the direction of the canonical figures of modern European literature, sometimes reworking and reinflecting their registers and preoccupations to create a distinctive voice redolent of the hybrid inheritance of Parsee culture and of the postcolonial predicament more generally.

Essays in popular romance
Editor: Nicola McDonald

This collection and the romances it investigates are crucial to our understanding of the aesthetics of medieval narrative and to the ideologies of gender and sexuality, race, religion, political formations, social class, ethics, morality and national identity with which those narratives emerge.

Contemporary Irish and Scottish fiction

consequences, than the falsification of Scotland’s history initiated by Walter Scott’ (1999: 116). Scott, it is argued, was not alone in deploying the Jacobite cause and Highland culture to offer a distorting and empty symbolism of national identity, in a ‘project of sealing off the Scottish past as a source of contemporary political inspiration’ (Beveridge and Turnbull 1997: 95) and the continuing critical negotiations of his influence reinforce his key role in cultural representation (Kidd 1993; Nairn 1981; Pittock 1999). While Edgeworth and Scott therefore offer an

in Across the margins

preoccupation with issues of national identity and the state of Irish society that informs so much of current criticism, which means that literature that ostensibly avoids these themes or addresses them only obliquely easily gets overlooked. Another explanation may be Enright’s fragmented storytelling, which means that themes are not always easily detected or obvious. It seems difficult to find a place for Enright in contemporary Irish criticism, though the primary reason for this appears to be the rather narrow concerns of the critics, not any reservations about the quality

in Irish literature since 1990
Open Access (free)
British masculinities, pomophobia, and the post-nation

masculinist notions of man, self and nation. Although I develop no direct correspondence here, given the role that the ideology of ‘Englishness’ has historically played throughout these islands, I suggest that this critique of gender and national identity could be usefully adapted all across the Atlantic archipelago. The Union and Jack In striking contrast to Virginia Woolf’s cosmopolitan assertion in Three Guineas that ‘as a woman I have no country … As a woman my country is the whole world’ (1993 [1938]: 234), Antony Easthope writes in What a Man’s Gotta Do that ‘if I am

in Across the margins
Open Access (free)
Irish poetry since 1990

the death toll to thirty-one. The implied irony of the death of two unborn children by those claiming to uphold the ideals of a republic that constitutionally acknowledges the right to life of the unborn gives this poem its particular power. Another important, often overlooked poet producing major work during this period is Brendan Kennelly, whose great epics The Book of Judas (1991) and Poetry My Arse (1995) addressed in a most mischievous way the twin pillars of history and religion in the construction of Irish national identity. His development as a poet could be

in Irish literature since 1990
Open Access (free)
Crossing the margins

important respects by the French Annales and by the rise during the 1960s of ‘history from below’, and motivated in part by the crisis attending established political structures, historians (especially of the medieval and early modern periods) became concerned to trace the evolution of a disparate set of cultural and political factors which has impacted upon island life, factors which are not apprehensible, or alone apprehensible, in terms of the established national identities. As John Morrill writes: ‘Englishness is self-evidently the product of the complex interactions

in Across the margins
Crossing the (English) language barrier

_Ch1 14 22/3/02, 9:43 am 15 Crossing the language barrier and Catholicism that effectively dramatises Stephen Greenblatt’s essay on ‘Shakespeare and the exorcists’ (1985); and, finally, Liz Lochhead’s Mary Queen of Scots Got Her Head Chopped Off (1989), whose nursery rhyme title is undercut by its adult theme. All three plays were set in the 1580s or 1590s, and all addressed gender, history and national identity, focusing on a loser of one kind or another: the embattled and ultimately exiled Hugh O’Neill; the English poet burned out of his adopted home; and the

in Across the margins
Open Access (free)
Irish drama since 1990

attitudes in this debate reveal how globalisation has involved more than an accelerated process of commodification in the cultural sphere. As a result of the development of mass media, telecommunications, computer technology and the upsurge in migration, traditional senses of national identity based on race and place have been 9780719075636_4_003.qxd 16/2/09 9:24 AM Page 45 Home places 45 rendered problematic.7 What then does this mean for Irish drama? In an article in an Irish Theatre Magazine series assessing the state of Irish theatre in 2003, Scottish theatre

in Irish literature since 1990