[(Irish Modernism and the Global Primitive)] [Author: Claire by Claire A. Culleton, Maria McGarrity

By Claire A. Culleton, Maria McGarrity

This e-book scrutinizes the way in which sleek Irish writers exploited or surrendered to primitivism, and the way primitivism services as an idealized nostalgia for the earlier as a possible illustration of distinction and connection. 

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Extra info for [(Irish Modernism and the Global Primitive)] [Author: Claire A. Culleton] published on (January, 2009)

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That was your contribution to literature. 558–572) The use of stage Hiberno-English words and syntax along with the vision of Synge out “in pampooties” (which Gifford explains were undressed cowhide shoes worn by the Aran Islanders), renders the Anglo-Irish nativist and primitivist tendencies ridiculous and doomed to misunderstanding and subsequent misrepresentation. 1012– 1014) that is suggestive of the betrayal inherent in his enterprise. Later, in “Eumaeus,” the amateur primitivist, D. B. Murphy of Carrigaloe is exposed as a voyeur, a throwback to the nineteenthcentury traveller, laden with superficial, stereotypical views which show that even if he has traveled the world he has learnt little or nothing.

OCPW 125) To circumnavigate the decisive role exercised by the famine in breaking an already decimated Irish tradition, Yeats had turned to Samuel Ferguson and had praised him at Mangan’s expense. He burdened Ferguson with mythic qualities and a Celtic spirit that responded more to Yeats’s self-fashioning and his need for a figure to provide a connection with ancient Ireland than to the elder poet’s true status, terming him “the greatest poet Ireland ever produced . . the most Celtic . . ” His poetry he judged to be “truly bardic, appealing to all natures alike, to the great concourse of the people” (Yeats 101–103).

Was deeply connected to European traditions of thought—initially romantic traditions, later scientific traditions” (43–44)6 and was not anything like as cut-anddried homespun as Joyce might have us believe in his polemical acts of self-distancing. The Joyce of his late Dublin and early continental years took the trouble to not only cautiously engage with and partially endorse but also to openly polemicize and dismiss the standard Irish nationalist notions of the noble Irish primitive and of the Irish Golden Age that lay at the base of much secular romantic revivalism, driven as it was, by what Fred Davis has called “simple nostalgia .

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