Irish/woman/artwork: Selective Readings

1995 ◽  
Vol 50 (1) ◽  
pp. 89-110 ◽  
Author(s):  
Hilary Robinson
Keyword(s):  
Lived Experience ◽  
Women Artists ◽  
Irish Woman ◽  
Irish Women

This paper concentrates upon particular artworks from Irish women artists. It demonstrates that there are certain themes which recur in their artwork. These include dislocation, particularities about place and contestation around language, all of which are rooted in the lived experience of being Irish, being female and being an artist. At the same time the paper provides readings of this artwork which demonstrate that these experiences are diverse, and that the areas of representation within which the artists are working are socially produced constructs. There is therefore no romantic essentialist category of ‘Irish woman artist’, but rather the richly interplaying histories, readings and contexts of Irish/woman/artwork.

scholarly journals Edna O’Brien The Country Girls (1960): Deconstructing the Irish Women’s Myth

2020 ◽  
Author(s):  
Rachida KADDOURI ◽  
Nadia LOUAHALA
Keyword(s):  
Irish Literature ◽  
Political Environment ◽  
Irish Woman ◽  
Cultural Transformations ◽  
Edna O'brien ◽  
Irish Women ◽  
Open Discussion ◽  
Independence Era ◽  
Set Up

The rigid cultural and political environment of the 1940s post-independence era in Ireland placed a significant limitation on women by socially constructing and consistently implementing a strictly-defined Irish Catholic female identity. Over time, women could no longer stand this situation, and movements for women’s rights were set up. Political, social as well as cultural transformations in the country were accompanied by a necessarily urgent literary reaction, especially by female writers. Edna O’Brien, one of the most loved, and influential Irish women writers, published her first novel, The Country Girls (1960). She helped open discussion of the role of women and sex in Irish society and of Roman Catholicism’s persecution upon women. The present paper intends to focus on Irish women through The Country Girls. It explores the conflicts and compromises of Irish woman identity as this has been represented in the 20th-century Irish literature; concerning the more generalized categories of society, nation, and religion.

Irish Women Artists: From the 18th Century to the Present Day

1990 ◽  
Vol 11 (1) ◽  
pp. 45
Author(s):  
Hilary Pyle ◽  
Martha B. Caldwell ◽  
Wanda Ryan-Smolin ◽  
Elizabeth Mayes ◽  
Jeni Rogers
Keyword(s):  
Women Artists ◽  
18Th Century ◽  
Irish Women

Territories of difference: Irish women artists in Britain

Third Text ◽  
1994 ◽  
Vol 8 (27) ◽  
pp. 65-75 ◽  
Author(s):  
Fionna Barber
Keyword(s):  
Women Artists ◽  
Irish Women

Jellett, Mainie (Mary Harriet) (1897–1944)

2018 ◽  
Author(s):  
Fionna Barber
Keyword(s):  
World War I ◽  
Women Artists ◽  
World War ◽  
Irish Women

Mainie Jellett was the most important of a remarkable generation of Anglo-Irish women artists studying in Paris after World War I. She is credited with the introduction of modernist painting to Ireland.

Squares of Colour

2020 ◽  
pp. 87-100
Author(s):  
Isabelle De Le Court
Keyword(s):  
Social Context ◽  
Middle East ◽  
Lived Experience ◽  
20Th Century ◽  
Women Artists ◽  
Female Subjectivity ◽  
Physical Relationship ◽  
Etel Adnan ◽  
Anti Form

This chapter explores the cultural position of two women artists, Saloua Raouda Choucair (1916–2017) and Etel Adnan (b.1925) in the second half of the 20th century in Lebanon. The strong presence of abstraction in their work calls for a reflection on materiality and abstraction, and on form and anti–form. Choucair and Adnan pioneered new ways of seeing, of thinking about art and its physical relationship to it through abstract aesthetics. Born in Lebanon, they have become significant artists who trained and lived abroad, while always keeping strong links to Lebanon. Their oeuvres present a reflection on the conflicted Western and Islamic heritage in Lebanon and in the Middle East at large. Although abstraction is no clear representation of female subjectivity, the use of abstraction as lived experience in Choucair’s and Adnan’s works serve to explore gender in Lebanon as a subjective and social context.

‘I Won't Go Back to It’: Irish Women Poets and the Iconic Feminine

1995 ◽  
Vol 50 (1) ◽  
pp. 69-88 ◽  
Author(s):  
Lia Mills
Keyword(s):  
Lived Experience ◽  
Dynamic Interaction ◽  
Women Poets ◽  
Social Effect ◽  
Active Voice ◽  
The Real ◽  
Irish Poetry ◽  
Eavan Boland ◽  
The Feminine ◽  
Irish Women

This paper explores the dynamic interaction between contemporary Irish women poets and the notion of tradition in Irish poetry. Looking at the work of Eavan Boland, Susan Connolly, Paula Donlon, Mary Dorcey, Paula Meehan and Nuala Ní Dhomhnaill, the paper suggests that women poets today are subverting tradition and destabilizing a conventionally accepted fusion of the feminine with the national. This is achieved through direct challenge, through dislocation and through establishing a dialogue between the mythical and the real in the context of the lived experience of women in Ireland. Finally, the paper suggests the potential for civil and social effect of the work of women who engage consciously in the process of giving women an active voice.

Irish Girls in Liverpool (1)

2018 ◽  
pp. 145-161
Author(s):  
Samantha Caslin
Keyword(s):  
Young Women ◽  
Irish Woman ◽  
Large Numbers ◽  
Irish Women

This chapter examines how broad national concerns about prostitution and promiscuity could be moulded in response to localised issues. During the interwar years, large numbers of Irish young women came to Liverpool in search of work and new opportunities. Consequently, social purists in Liverpool gave the young Irish woman a starring role in their rhetoric about urban moral danger. Moral patrollers used Irish young women to magnify their broader concerns about young women who worked away from home, moved through cities and engaged in consumer pursuits. This resulted in Irish women in Liverpool being subjected to a network of moral surveillance that was managed via a range of local philanthropic organisations.

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