The Suburban Night: On Eavan Boland, Paul Durcan and Thomas McCarthy

1992 ◽  
pp. 168-193
Author(s):  
Gerald Dawe
Keyword(s):  
2021 ◽  
pp. 002198942199605
Author(s):  
Matthew Whittle

Decolonization is presented in dominant accounts as an orderly transition and not the culmination of anticolonial resistance movements. This in turn contributes to what Paul Gilroy terms an endemic “post-imperial melancholia” across contemporary European nations and the removal of empire and its demise from understandings of European history. Drawing on Bill Schwarz’s reconceptualization of a Fanonian commitment to disorder, this article focuses on Britain’s history of colonialism and post-imperial immigration and argues for the mapping of a disorderly aesthetics in works by V. S. Naipaul, Bernardine Evaristo, and Eavan Boland. The three formal features of non-linearity, polyvocality, and environmental imagery enable these writers to bear witness to the complex histories of empire, transatlantic slavery, decolonization, and immigration from the colonial “margins”. These “aesthetics of disorder” counter a dominant narrative of decolonial order and challenge conceptions of British exceptionalism that were reinforced at the moment of imperial decline.


Author(s):  
Justin Quinn
Keyword(s):  

1999 ◽  
Vol 62 (1) ◽  
pp. 58-66
Author(s):  
Sarah Maguire
Keyword(s):  

2002 ◽  
Vol 6 (4) ◽  
pp. 136-149 ◽  
Author(s):  
Riona Ni Fhrighil
Keyword(s):  

2006 ◽  
Vol 10 (2) ◽  
pp. 52-67 ◽  
Author(s):  
Pilar Villar ◽  
Eavan Boland
Keyword(s):  

2017 ◽  
Vol 93 (2) ◽  
pp. 3-22
Author(s):  
Clare A. Lees

This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together.


2019 ◽  
Vol 27 (4) ◽  
pp. 604-605
Author(s):  
Antonio Delgado
Keyword(s):  

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