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James Baldwin Review
The representation of violence in Northern Irish art

” provides an affinity with “the murderers” and presents the viewer with a view of the Troubles as “monstrous” ’.25 That which is ‘monstrous’ is beyond comprehension: it is alien, barbaric and cannot be expressed in language. As such, McIlroy’s conclusion typifies the reaction to a Northern Irish atrocity and highlights the inability of language to either faithfully re-present the killing or encapsulate the resulting grief. In a paper entitled ‘The Spectacle of Terrorism in Northern Irish Culture’, Richard Kirkland argues that ‘it has been the traditional role of language

in Irish literature since 1990

the broad contemporary Western concerns about the fate of humankind in the midst of economic polarisation and insecurity, global terrorism, the rise of right-​ wing nationalism, fast technological development, artificial intelligence, the mass extinction of species, climate change, and the Anthropocene (Haraway, 2016). This general sense of being/​becoming vulnerable is amplified by social media, for instance by the Facebook safety check on occasion of various attacks, emergencies, and disasters, which is critiqued for its Western bias (McHugh, 2015). Such broad

in The power of vulnerability
Open Access (free)

, 1989), pp. 35–67, and 109, respectively. On Fanon and gender, see the finely nuanced reading given by Madhu Dubey, ‘The “true lie” of the nation: Fanon and feminism’, differences, 10:2 (1998). See also McClintock, Imperial Leather, pp. 360–8; Bart Moore-Gilbert, ‘Frantz Fanon: en-gendering nationalist discourse’, Women: A Cultural Review, 7:2 (1996), 125–35; Kalpana Seshadri-Crooks, ‘I am a master: terrorism, masculinity and political violence in Frantz Fanon’, Parallax, 8:2 (2002), 84–98; Heather Zwicker, ‘The nervous conditions of nation and gender’, in Anne E

in Stories of women

military highways, built first by General Wade and then by William Caulfield, which opened up certain parts of the Highlands (but by no means all) to influences from further south, the Lowlands and England.2 As far as the Highlands were concerned, the most obvious changes were social and cultural. As Allan MacInnes has put it, ‘The immediate aftermath of the Forty-Five was marked by systematic state terrorism, characterised by a genocidal intent that verged on ethnic cleansing . . . chiefs and leading gentry abandoned their traditional obligations as protectors and

in Beyond the witch trials