Please view our accessibility page for more details. This course provides an introduction to twentieth-century Irish writing and considers how writers in Irish and English have participated in the negotiation of modern and contemporary Irish identities. Beginning with the literary and cultural revival of the late nineteenth and early twentieth centuries, the course will investigate the ways in which writers were actively involved in the formation and reformation of identities in terms of nation-building, language and gender.
The politics and practice of translation will be a key issue throughout the course. Further information from Samantha at samantha. Week 1: The Irish Revival: literary production and cultural nationalism. Week 2: Whose Identities?see url
Project MUSE - Contributors
I promise to help ensure that Irish women poets and their poetry are no longer forgotten. Laura Loftus. The absence of so many great poets undermines the Cambridge Companion. How can someone of the stature of Paula Meehan be overlooked? Annette Skade. The situation regarding recognition of the contribution women have made in all spheres of life, not just literature, is ridiculous. Why are we not recognised? Why do men continually overestimate their own abilities and fail to recognise us? Congratulations on starting this pledge. Doreen McBride.
Gendered Spaces in Contemporary Irish Poetry
This is not a frustrated plea to accept mediocre work simply in order to redress the notion of equality. This kind of publication does not reflect the talent, the passion and the sheer number of accomplished women poets in Ireland today. Anne McMaster. Like Like. I agree wholeheartedly with the general principles outlined in the manifesto, and echo in particular your dismay at the absence of poets such as Rita Ann Higgins and Paula Meehan from the Cambridge Companion to Irish Poets. Along with the, surely now inexplicable and inexcusable, indifference to women poets, we must also note that the problem is also a consequence of the rigid structure: fetishizing the individual poets not poetry when a more thematic approach would have been more illuminating.
I have one serious reservation about the manifesto. As is now customary, the first three volumes of the Field Day Anthology are referred to, but not volumes 4 and 5. This is an extraordinary omission though by no means unusual — Anne Enright also did this in her Laureate lecture. And how can one discuss Irish feminist literary criticism and ignore the extraordinary labour of the editors and contributors involved — an entire generation of Irish feminist critics?
Why make no reference to this? Irish Poets. You are commenting using your WordPress. You are commenting using your Google account.
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Notify me of new comments via email. Notify me of new posts via email. Skip to content This is the preamble to a pledge aimed at redressing the gender imbalance in Irish poetry. The pledge, which we invite scholars and writers of all genders to sign, commits signatories to asking questions about gender representation. Since the penning of this pledge was prompted by the announcement of The Cambridge Companion to Irish Poets , ed. We see the Cambridge Companion as a single stark iteration of a much wider problem.
We suggest some of the ways in which this volume might have acknowledged the contribution of women to Irish poetry. The implication is that women are a minority in Irish poetry and literary criticism. They are not. We find it difficult to comprehend that the gender imbalance of this volume was not questioned at any stage of the peer review process. The Companion is part of a larger process by which the significance of works by women is attenuated as they become inaccessible or obscured, simply by virtue of their absence from canonical text books.
No women poets from the 18th, 19th and earlier 20th century are included in the Cambridge Companion.
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