scholarly journals Gustave Courbet, Jo, the Irish Woman, ca. 1866–1868

2021 ◽  
Author(s):  
Glynnis Stevenson
Keyword(s):  
1995 ◽  
Vol 50 (1) ◽  
pp. 89-110 ◽  
Author(s):  
Hilary Robinson

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.


Ligeia ◽  
1996 ◽  
Vol N°19-20 (1) ◽  
pp. 14
Author(s):  
Frédérique Desbuissons
Keyword(s):  

2020 ◽  
Author(s):  
Rachida KADDOURI ◽  
Nadia LOUAHALA

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.


PEDIATRICS ◽  
1971 ◽  
Vol 48 (5) ◽  
pp. 781-781
Author(s):  
T. E. C.

The best known American pediatrician of his time with the single exception of Abraham Jacobi was Job Lewis Smith.1 In continuous practice of pediatrics in New York City for nearly 50 years, as well as the clinical professor of pediatrics at Bellevue Hospital Medical College for a large part of these years, Dr. Smith exerted an enormous influence on American pediatrics. His textbook of the diseases of children, based entirely on his own clinical experience, is still esteemed as a solid reliable work. In the second edition of this book, Smith wrote: It is the popular belief, and the belief of many physicians, that vivid mental impressions sometimes have a direct effect on the development of the foetus (sic). Many cases are on record in which infants were born with marks or deformities, corresponding in character with the objects which had been seen and had made a strong impression on the maternal mind at some period of gestation. . . . The multitude of facts which have accumulated justify the belief that deformity . . . is due to the emotions of the mother. . . . I have met the following cases. An Irish woman of strong emotions and superstitions was passing along a street in the first months of her gestation, when she was accosted by a beggar, who raised her hand, destitute of thumb and fingers, and in "God's name" asked for alms. The woman passed on: but reflecting in whose name money was asked, felt that she had committed a great sin in refusing assistance.


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