Search results for "Irish poetry."
showing 10 items of 10 documents
Derek Mahon's Literal Littorals
2012
International audience; A transversal reading of Derek Mahon's poems reveals his predilection for coastal landscapes: vistas of sea and seashore, harbour towns or seaside resorts. Suffused as they are with elemental symbolism (waves, wind, rain and storm, rocks, cliffs and misty piers), those liminal spaces take on a metaphysical dimension. The landscapes that the poet invests are the objective correlatives of his sense of alienation and vulnerability; they are mindscapes (paesagio mentale or reflections of the inner self) as much as territories to be paced and explored. This paper thus examines how the natural and the urban, the visual and the acoustic, the a-temporal and the modern or pos…
'[I]t wasn’t in the picture and is not': Blind Spots and Vanishing Points in Irish Poetical Self-Portraits
2016
International audience; Pictoriality and a propensity for self-examination and self-representation are characteristic of the poetry of Louis MacNeice, Derek Mahon, Seamus Heaney and Paul Muldoon. In many a poem, these four contemporary Irish poets try to capture their own portraits in words and images, through highly visual poems often inspired by paintings. This paper first examines how these poets use images and invest paintings, how verbal and iconic texts interact in their creations and to what extent self-exegesis is made possible and more successful through ekphrasis. With reference to Jacques Derrida’s essay on self-portraiture—Memoirs of the Blind: Self-Portraits and Other Ruins—thi…
Thomas MacGreevy and Samuel Beckett. Affinity and Controversy
2012
Acquainted with Beckett in (1928) Parisian Ecole Normale, Thomas MacGreevy soon became his confidant and a literary mentor introducing him to James Joyce and Richard Aldington. Their artistic interests took form, among others, of the common declaration “Manifesto. Poetry is Vertical” (1932), signed by them and several other poets associated with Jolas’s transition. However, the intellectual attraction between the two was, at the same time, disturbed, or, so to say, spiced, by the tension between Beckett’s agnosticism and MacGreevy’s Catholicism. Sean Kennedy’s illuminating article (“Beckett Reviewing MacGreevy: A Reconsideration,” in; The Irish University Review, September 2005, pp. 273–288…
“I buoni”, trad. it. di ‘The Good’ di Brendan Kennelly.
2005
It is the translation of a poem by Irish writer Brendan Kennelly.
Actaeon Revisited: Seamus Heaney and Sinéad Morrissey Respond to Titian
2014
International audience
Harry Clifton’s On the Spine of Italy: A Year in the Abbruzzi: A Travel-Book or a Political Account?
2008
The article examines a text written by contemporary Irish writer Harry Clifton with a special focus on the peculiarities of its genre: is it a real travel account of his stay in Italy or some narrative written with the aim of reflecting upon Italy during the years of the fall of the Berlin wall, upon religion and Italian life?
Identité composite et métissage dans « Letter to Friends » de Leontia Flynn
2015
In “Letter to Friends” (Profit and Loss, 2011), a long epistolary poem inspired by Letters from Iceland (1937) by W. H. Auden and Louis MacNeice, Leontia Flynn paints an introspective and retrospective self-portrait in which she examines all the elements that have formed her existence until her recent maternity. The identity that emerges from this intimate inventory is plural, “mixed” or “multi-breed” (Édouard Glissant), the cultural mix resulting not only from history, globalization and travel but also from temporal, linguistic and psychological shifts or ruptures.Flynn’s lyrical and polyphonic (if not cacophonous) piece, bursting with asides, debating a multitude of subjects in an infinit…
Undercurrents and crosscurrents revealed: Sinéad Morrissey’s parallactic poetry
2015
International audience; In Parallax (2013), her most recent collection of poems, Sinéad Morrissey is attracted to affections “embedded in our cells”, to realities “on the periphery”, to “what happens outside”, to “the accidental”, to “world[s] that can’t be entered”, to “conversation[s] no one else can hear”. She also explores oblique, alternative perspectives that she describes in “The Mutoscope” as “what-the-butler-saw perspective[s]”. Parallax – the optical phenomenon used in astronomy to measure the distance of nearby stars and celestial bodies - serves as the prime metaphor for Morrissey’s poetical and metaphysical quest: the implications of the angle of vision and distance on percepti…
Contemporary Irish poets’ pictorial (self-)portraits
2012
International audience
Corpus Dolorosus: Bodies in Sinéad Morrissey's Poetry
2013
International audience