Introduction

Border Blurs ◽  
2019 ◽  
pp. 1-18
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Subject Matter ◽  
Women Poets ◽  
Concrete Poetry ◽  
Early Twentieth Century ◽  
Current Thinking ◽  
Critical Attention ◽  
The Subject ◽  
The 1950S

This chapter presents the critical context and overarching narrative of the text. Concrete poetry has not been subject to extensive literary-critical attention, particularly in a British context, partly because of the very diversity of thematic associations it is able to support, which makes it difficult to process conceptually in retrospect. To bring some clarity to current thinking around concrete poetry, and in response to some recent critical revaluations of the style, this text posits that the style represented an ongoing exploration of the legacy and relevance of early-twentieth-century vanguard activity during the 1950s-70s, especially the interplay between broadly constructivist and neo-dada tendencies in international literary and artistic culture during those decades. In England and Scotland, where the style emerged simultaneously during the early 1960s, the development of concrete poetry – and criticism around it – reflected these competing positions but also became bound up with questions of nationalism and national identity, particularly in Scotland. This chapter deals with those themes while also contextualising some gaps in the remit of the text, including the geographical restrictions placed around the subject-matter, and the relative absence of women poets from the scenes surveyed.

‘The well-known, old, but still unbeaten track’: Women Poets and Irish Periodical Culture in the Mid-Twentieth Century

2012 ◽  
Vol 42 (1) ◽  
pp. 32-52 ◽  
Author(s):  
Anne Mulhall
Keyword(s):  
Twentieth Century ◽  
Literary Culture ◽  
Woman Writer ◽  
Double Bind ◽  
Women Poets ◽  
Substantial Body ◽  
Growing Body ◽  
Critical Attention ◽  
Irish Women ◽  
Under Construction

While neglected Irish male poets of the mid century have seen some recuperation in recent decades, the work of Irish women poets still languishes in obscurity. A growing body of scholarship has identified the need to bring critical attention to bear on this substantial body of work. In this essay I explore the positioning of Irish women poets in mid-century periodical culture, to flesh out the ways in which the terms of this ‘forgetting’ are already established within the overwhelmingly masculinist homosocial suppositions and idioms that characterized contemporary debates about the proper lineage and aesthetic norms for the national literary culture that was then under construction. Within the terms set by those debates, the woman writer was caught in the double bind that afflicted any woman wishing to engage in a public, politicized forum in post-revolutionary Ireland. While women poets engage in sporadic or oblique terms with such literary and cultural debates, more often their voices are absent from these dominant discourses – the logic of this absence has continued in the occlusion of these women poets from the national poetic canon.

Faeries, Aliens, and Leviathans: Science and Fantasy in Ian McDonald's King of Morning, Queen of Day

2019 ◽  
Vol 49 (2) ◽  
pp. 290-303
Author(s):  
Richard Howard
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Science Fiction ◽  
Science Studies ◽  
Irish Studies ◽  
Early Twentieth Century ◽  
Politics And Religion ◽  
Unexplored Area ◽  
Late Nineteenth ◽  
Cultural Movement

Irish science fiction is a relatively unexplored area for Irish Studies, a situation partially rectified by the publication of Jack Fennell's Irish Science Fiction in 2014. This article aims to continue the conversation begun by Fennell's intervention by analysing the work of Belfast science fiction author Ian McDonald, in particular King of Morning, Queen of Day (1991), the first novel in what McDonald calls his Irish trilogy. The article explores how McDonald's text interrogates the intersection between science, politics, and religion, as well as the cultural movement that was informing a growing sense of a continuous Irish national identity. It draws from the discipline of Science Studies, in particular the work of Nicholas Whyte, who writes of the ways in which science and colonialism interacted in late nineteenth and early twentieth-century Ireland.

Vinayak Damodar Savarkar’s Essentials of Hindutva: A Study of Its Philosophical Elements to Hindu Nationalism

2021 ◽  
Vol 7 (2) ◽  
pp. 151-160
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Hindu Nationalism ◽  
British Imperialism ◽  
Cultural Traditions ◽  
Rhetorical Style ◽  
Early Twentieth Century ◽  
Jawaharlal Nehru ◽  
Extended Essay

In the early twentieth-century, the concepts of Hindutva, Samyavada or Nationalism and national identity, reconstructed amid currents of globalization and neo-colonialism. During this period, the calls for an independent India reached its height. While, Mohandas Gandhi and Jawaharlal Nehru believed modern India’s strength depended on incorporating the solidarities of all Indians as they stood on the precipice of the postcolonial age, Veer Vinayak Damodar Savarkar (1883-1966), an ethnocentric nationalist, held that a strong Hindu nation was the only way to guarantee India’s security against the Muslim other and the British imperialism. Being the philosopher of Hindutva, Savarkar represented the ethno-nationalistic component to Hindu nationalism and looked to cultural motifs in order to unify the “true” people of India. He, therefore, wrote glorified histories of India and its millennia-old cultural traditions in his essays. This article analyzes and historically contextualizes the timing and the rhetorical style of V. D. Savarkar’s infamous extended essay “Essentials of Hindutva”. Received 9th December 2020; Revised 2nd March 2021; Accepted 20th March 2021

Before Midnight

2010 ◽  
Author(s):  
Rahul Sagar
Keyword(s):  
Twentieth Century ◽  
Foreign Policy ◽  
International Relations ◽  
Foreign Relations ◽  
Prime Minister ◽  
Early Twentieth Century ◽  
The Subject ◽  
Jawaharlal Nehru

This chapter examines ideas about war, peace, and international relations over the century preceding independence, of which there were many more and in greater depth than widely supposed. It outlines how and why Indians first began to articulate views on the subject, and subsequently analyses these ideas. It proposes that, contrary to the opinion of some scholars, Indians thought carefully about the nature of international relations. Most importantly, it emphasizes the plurality of views on the subject, and explains how and why proponents of pragmatism in foreign relations came to be sidelined in the period immediately preceding independence. Several of the personalities developing notions of what a foreign policy for India should involve as of the early twentieth century, including India’s first Prime Minister, Jawaharlal Nehru, became important actors in formulating and implementing foreign policy post-independence.

scholarly journals Ezra Pound's Poetry between Victorianism and Modernism: A Historical-Biographical Analysis

2021 ◽  
Vol 21 ◽  
pp. 826-832
Author(s):  
Kizhan Salar Abdulqadr ◽  
Roz Jamal Omer ◽  
Ranjdar Hama Sharif
Keyword(s):  
Twentieth Century ◽  
Ezra Pound ◽  
Literary Analysis ◽  
English Verse ◽  
Early Twentieth Century ◽  
Critical Approaches ◽  
The Subject ◽  
Academic Discussion ◽  
Biographical Analysis

This paper examines the short poems of Ezra Pound, a group of works that have long been the subject of academic discussion in the field of literary analysis. Although Ezra Pound is typically considered a Modernist poet, some clear elements of Victorianism can be discerned within his revolutionary forms of poetry. The paper will offer a historical and biographical background to Pound's work before moving on to an analysis and discussion of the poet's short poems. While previous studies of Ezra Pound's poetry have adopted various critical approaches, we believe that this is the first study that compares the influence of Modernism and Victorianism on the work of this important figure in English verse of the early twentieth century.

scholarly journals Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

2019 ◽  
pp. 83-94
Author(s):  
Jarosław Ławski
Keyword(s):  
National Identity ◽  
Present Article ◽  
Short Story ◽  
Subject Matter ◽  
Russian Literature ◽  
Absolute Power ◽  
Polish Literature ◽  
The World ◽  
History Of ◽  
The Subject

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

Border Blurs

2019 ◽  
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
Social Reconstruction ◽  
Scottish Literature ◽  
Concrete Poetry ◽  
Artistic Style ◽  
Early Twentieth Century ◽  
Counter Culture ◽  
The Sixties ◽  
The 1960S ◽  
The Relationship

This book presents the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-70s. Concrete poetry was a literary and artistic style which reactivated early-twentieth-century modernist impulses towards the merging of artistic media while simultaneously speaking to a gamut of contemporary contexts, from post-1945 social reconstruction to cybernetics, mass media, and the sixties counter-culture. The terms of its development in England and Scotland also suggest new ways of mapping ongoing complexities in the relationship between those two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s-70s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard, and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research. It fills a gap in contemporary understandings of a significant literary and artistic genre which has been largely overlooked by literary critics. It also sheds new light on the development of British and Scottish literature during the late twentieth century, on the emergence of intermedia art, and on the development of modernism beyond its early-twentieth-century, urban Western networks.

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