Austerity And Irish Women S Writing And Culture 1980 2020

Austerity and Irish Women’s Writing and Culture, 1980–2020 focuses on the under-represented relationship between austerity and Irish women’s writing across the last four decades. Taking a wide focus across cultural mediums, this collection of essays from leading scholars in Irish studies considers how economic policies impacted on and are represented in Irish women’s writing during critical junctures in recent Irish history. Through an investigation of cultural production north and south of the border, this collection analyses women’s writing using a multimedium approach through four distinct lenses: austerity, feminism, and conflict; arts and austerity; race and austerity; and spaces of austerity. This collection asks two questions: what sort of cultural output does austerity produce? And if the effects of austerity are gendered, then what are the gender-specific responses to financial insecurity, both national and domestic? By investigating how austerity is treated in women’s writing and culture from 1980 to 2020, this collection provides a much-needed analysis of the gendered experience of economic crisis and specifically of Ireland’s consistent relationship with cycles of boom and bust. Thirteen chapters, which focus on fiction, drama, poetry, women’s life writing, ​and women's cultural contributions, examine these questions. This volume takes the reader on a journey across decades and forms as a means of interrogating the growth of the economic divide between the rich and the poor since the 1980s through the voices of Irish women.

Cover -- Half Title -- Series Information -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- List of Figures -- List of Contributors -- Acknowledgements -- 1 Irish Women's Writing and Culture Under the Shadow of Austerity -- Cycles of Boom and Bust: Austerity as Violence -- Social Change -- Irish Women's Writing and Austerity -- Woman as Nation -- Pregnancy and Motherhood -- Waking the Feminists: A Women's Protest -- Chapter Outlines -- Austerity, Feminism, and Conflict -- Arts and Austerity -- Race and Austerity -- Spaces of Austerity -- Notes -- Works Cited -- Section 1 Austerity, Feminism, and Conflict -- 2 Two Opposing Narratives?: The Field Day and LIP Pamphlets -- Disparate Fields of Power: The Field Day (1983-1988) and LIP Pamphlets (1989-1992) -- Overcoming Austerity By Opening Up the Irish Cultural Sphere -- Upholding and Dismantling Austerity: The Habitus of the Field Day and LIP Pamphlets -- "Compositional Codes": The LIP and Field Day Pamphlets -- The Aftermath of the Field Day Anthology I-III -- Notes -- Works Cited -- 3 Austerity, Conflict, and Second-Wave Feminism in the North of Ireland -- Introduction -- Forming Charabanc Theatre Company -- Illuminating Shared Herstories -- Second-Wave Feminism On the Island of Ireland -- Feminist Politics and the Female Gaze -- Consciousness-Raising Through Performance -- Artistic and Commercial Success -- Conclusion -- Notes -- Works Cited -- 4 #WakeUpIrishPoetry: Austerity and Activism in Contemporary Irish Poetry - A Personal Reflection -- Introduction -- Interlude: Reflections From the Background(s), Or the Hall of Mirrors, Or How We See Ourselves Disappear -- Is This Where I Start? -- Is This Where I Start? -- Is This Where I Start? -- Is This Where I Start? -- Is This Where I Start? -- Is This Where I Start? -- Is This Where I Start? -- Is This Where I Start?.

Modernism in Irish Women's Contemporary Writing examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world. Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse.

This book examines the relationship between moments of significant social change on the island of Ireland and performance practice during the twentieth and twenty-first centuries. It examines how moments of significant change influence not only the content of performance practice but also the form and function of theatre production and reception. This book investigates how the Troubles and subsequent Peace Process, Second-Wave Feminism, the Celtic Tiger and neoliberalism, social revolution, and the COVID-19 pandemic impacts the form and function of performance practice across the island of Ireland. Although these forms of theatre and performance making refer to varied and distinct lineages of practice internationally, there are key parallels that compel a study of their inter-relationality in a specific Irish context. This book explores how the performance of Ireland illuminates histories and stories that are on the margins, illuminating the lived realities of everyday life through the presentation of moments of violence, oppression, and trauma as something that is as important as the larger narratives often ascribed to nationhood. This book asks how performance practice engages with and informs moments of major social change on the island of Ireland through the distinct yet intersecting lenses of place, performance form, and social context over the course of almost a century of Irish theatre and performance practice.

This book engages with ageing masculinities in Irish literature and visual culture, including fiction, drama, poetry, painting, and documentary. Exploring the shifting representations of older men from the early twentieth century to the present, the contributors analyse how a broad range of literary and visual texts construct, reinscribe, or challenge perceptions of older age. In doing so, they trace a shift from depictions of authority figures - often symbolising patriarchal dominance and oppression - to more nuanced, complex, and heterogeneous explorations of older men’s embodied subjectivities and vulnerabilities. Exploring artists and writers such as Seán Keating, J.M. Synge, Teresa Deevy, Marina Carr, Seamus Heaney, Paul Muldoon, Derek Mahon, Kate O’Brien, John Banville, Colm Tóibín, Bernard MacLaverty, Mike McCormack, Anne Griffin, and Claire Keegan, the chapters in this book attend to the symbolic as well as social significance of older men in Irish cultural expression.

This volume studies the manifestations of female trauma through the exploration of multiple wounds, inflicted on both body and mind (Caruth 1996, 3) and the soul of Irish women from Northern Ireland and the Republic within a contemporary context, and in literary works written at the turn of the twenty-first century and beyond. These artistic manifestations connect tradition and modernity, debunk myths, break the silence with the exposure of uncomfortable realities, dismantle stereotypes and reflect reality with precision. Women’s issues and female experiences depicted in contemporary fiction may provide an explanation for past and present gender dynamics, revealing a pathway for further renegotiation of gender roles and the achievement of equilibrium and equality between sexes. These works might help to seal and heal wounds both old and new and offer solutions to the quandaries of tomorrow.

This edited collection provides an invaluable resource of seventeen chapters from a wide range of academic disciplines. These chapters place sex and sexualities in Ireland in historical context and take the reader through the structural changes that have transformed the expression of sexuality in Ireland from one of self-denial to self-expression. The collection does not however unquestionably assume a linear narrative of progress: new issues and challenges are also addressed throughout. This book will be of interest to students and scholars from a range of disciplines including sociology, social policy, history, media, gender studies and psychology. The collection is divided into six separate but interlinked thematic sections: Sexualities in Historical Irish Contexts, Young Adults, Sexual Health, and Education, Sexual Practices and Health, Minority Sexualities and Genders, Sex Work in Ireland and Activism and Contestation.

Feminist Discourse in Irish Literature addresses the role of young adult (YA) Irish literature in responding and contributing to some of the most controversial and contemporary issues in today’s modern society: gender, and conflicting views of power, sexism and consent. This volume provides an original, innovative and necessary examination of how “rape culture” and the intersections between feminism and power have become increasingly relevant to Irish society in the years since Irish author Louise O’Neill’s novels for young adults Only Ever Yours and Asking For It were published. In consideration of the socio-political context in Ireland and broader Western culture from which O’Neill’s works were written, and taking into account a selection of Irish, American, Australian and British YA texts that address similar issues in different contexts, this book highlights the contradictions in O’Neill’s works and illuminates their potential to function as a form of literary/social fundamentalism which often undermines, rather than promotes, equality.