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Introduction: Shakespeare, Ireland and the Contemporary

Nicholas Taylor-Collins Orcid Logo, Stanley van der Ziel

Pages: 1 - 25

Swansea University Author: Nicholas Taylor-Collins Orcid Logo

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DOI (Published version): 10.1007/978-3-319-95924-5_1

Abstract

The Introduction first establishes the prior work to connect Shakespeare with Irish literature, before outlining the scope and importance of the contributions to the book and the book as a whole. James Joyce is the first port of call, in whose Ulysses there were twin versions of Irish Shakespeare: t...

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ISBN: 978-3-319-95924-5 978-3-319-95924-5
Published: Basingstoke Palgrave Macmillan 2018
URI: https://cronfa.swan.ac.uk/Record/cronfa40902
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spelling 2018-10-04T15:10:29.6801528 v2 40902 2018-07-02 Introduction: Shakespeare, Ireland and the Contemporary f29eb447b011401e41c6bfa9f544cf89 0000-0002-8031-6640 Nicholas Taylor-Collins Nicholas Taylor-Collins true false 2018-07-02 The Introduction first establishes the prior work to connect Shakespeare with Irish literature, before outlining the scope and importance of the contributions to the book and the book as a whole. James Joyce is the first port of call, in whose Ulysses there were twin versions of Irish Shakespeare: the one who was co-opted on behalf of unionists such as Edward Dowden to exemplify English greatness, and the one who could be adopted as a Celtic forebear to further the Irish Revivalist cause instead. Most criticism interested in the connections between Shakespeare and Irish literature has hitherto focused on these poles, and included other canonical writers such as Yeats, Synge, O'Casey, Wilde and Shaw. We propose to go beyond these engagements, and instead update the critical intervention to consider contemporary Irish writers. In thinking through the contemporary, we take account of Jan Kott's Shakespeare Our Contemporary, in which Kott explains that Shakespeare can paradoxically be made contemporary by virtue of his non-contemporary nature with current politics, and therefore his atemporality which recommends him to more recent writers. We outline how the volume as a whole addresses the contemporaneity through distinctions between the North and South of Ireland when thinking through Seamus Heaney's, Paul Muldoon's and Brian Friel's writing. For other writers, Shakespeare's work offers a formal or stylistic template, such as in Derek Mahon's concern with lateness, while the artificiality of Shakespeare's dramatic world is examined in John Banville's novels. Shakespeare's familial politics is examined through John McGahern's family dramas and Eavan Boland's matrilineal poetry, while Marina Carr's unsettled relation with Shakespeare as a quasi-father figure is also explored. For Frank McGuinness, it is a question of recognising in Shakespeare a coeval author, alongside and in response to whom McGuinness can construct his own dramatic oeuvre. We acknowledge the gender imbalance of the contributions to the volume, and explain our attempts to recalibrate the imbalance. Nevertheless, in the final analysis we assert that with a focus on contemporaneity comes a concession that time is contingent and this moment is fleeting: the contributions in this volume can only come now, before the new contemporary moment takes hold. Book chapter 1 25 Palgrave Macmillan Basingstoke 978-3-319-95924-5 978-3-319-95924-5 31 10 2018 2018-10-31 10.1007/978-3-319-95924-5_1 COLLEGE NANME COLLEGE CODE Swansea University 2018-10-04T15:10:29.6801528 2018-07-02T14:31:54.1408823 Faculty of Humanities and Social Sciences School of Culture and Communication - English Literature, Creative Writing Nicholas Taylor-Collins 0000-0002-8031-6640 1 Stanley van der Ziel 2
title Introduction: Shakespeare, Ireland and the Contemporary
spellingShingle Introduction: Shakespeare, Ireland and the Contemporary
Nicholas Taylor-Collins
title_short Introduction: Shakespeare, Ireland and the Contemporary
title_full Introduction: Shakespeare, Ireland and the Contemporary
title_fullStr Introduction: Shakespeare, Ireland and the Contemporary
title_full_unstemmed Introduction: Shakespeare, Ireland and the Contemporary
title_sort Introduction: Shakespeare, Ireland and the Contemporary
author_id_str_mv f29eb447b011401e41c6bfa9f544cf89
author_id_fullname_str_mv f29eb447b011401e41c6bfa9f544cf89_***_Nicholas Taylor-Collins
author Nicholas Taylor-Collins
author2 Nicholas Taylor-Collins
Stanley van der Ziel
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publishDate 2018
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doi_str_mv 10.1007/978-3-319-95924-5_1
publisher Palgrave Macmillan
college_str Faculty of Humanities and Social Sciences
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hierarchy_top_title Faculty of Humanities and Social Sciences
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department_str School of Culture and Communication - English Literature, Creative Writing{{{_:::_}}}Faculty of Humanities and Social Sciences{{{_:::_}}}School of Culture and Communication - English Literature, Creative Writing
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description The Introduction first establishes the prior work to connect Shakespeare with Irish literature, before outlining the scope and importance of the contributions to the book and the book as a whole. James Joyce is the first port of call, in whose Ulysses there were twin versions of Irish Shakespeare: the one who was co-opted on behalf of unionists such as Edward Dowden to exemplify English greatness, and the one who could be adopted as a Celtic forebear to further the Irish Revivalist cause instead. Most criticism interested in the connections between Shakespeare and Irish literature has hitherto focused on these poles, and included other canonical writers such as Yeats, Synge, O'Casey, Wilde and Shaw. We propose to go beyond these engagements, and instead update the critical intervention to consider contemporary Irish writers. In thinking through the contemporary, we take account of Jan Kott's Shakespeare Our Contemporary, in which Kott explains that Shakespeare can paradoxically be made contemporary by virtue of his non-contemporary nature with current politics, and therefore his atemporality which recommends him to more recent writers. We outline how the volume as a whole addresses the contemporaneity through distinctions between the North and South of Ireland when thinking through Seamus Heaney's, Paul Muldoon's and Brian Friel's writing. For other writers, Shakespeare's work offers a formal or stylistic template, such as in Derek Mahon's concern with lateness, while the artificiality of Shakespeare's dramatic world is examined in John Banville's novels. Shakespeare's familial politics is examined through John McGahern's family dramas and Eavan Boland's matrilineal poetry, while Marina Carr's unsettled relation with Shakespeare as a quasi-father figure is also explored. For Frank McGuinness, it is a question of recognising in Shakespeare a coeval author, alongside and in response to whom McGuinness can construct his own dramatic oeuvre. We acknowledge the gender imbalance of the contributions to the volume, and explain our attempts to recalibrate the imbalance. Nevertheless, in the final analysis we assert that with a focus on contemporaneity comes a concession that time is contingent and this moment is fleeting: the contributions in this volume can only come now, before the new contemporary moment takes hold.
published_date 2018-10-31T03:52:06Z
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score 11.036531

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