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Identity in english literature
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J. M. Synge is one of the most prominent Irish writers of the twentieth century; his writing characterizes a broad, multifaceted range of political, social and religious anxieties shaping Ireland for the duration of its most remarkable period of change, which transformed the place from a relatively peaceful country to a more political and aggressive location. The picture Synge creates shows us that the question of identity relating to Ireland is problematic; however it has produced and provoked some of the greatest literature of the century. As G. J. Watson has asserted: "However painful the question of identity may be for the Irish in real life, it has functioned, deeply embedded as it is in the Irish political and literary situation, as a superb catalyst to the production of some of the great art of the century, reaching out of Ireland to the world." Synge's upbringing was a catalyst for him to explore various tensions in Ireland through his writing. He was born into a family which was firmly grounded in the middle class, was landed and had: ."..produced five bishops since their arrival in Ireland in the seventeenth century." Synge was a secluded man who rooted his plays in community life; paradoxically his plays also explore the notion of isolation: ."..torn between the desire to identify and merge with a community and the desire to assert the distinguishing and defining values of the individual self." His life and work may consequently be seen as definitive of the circumstances and struggle of the Ascendancy writer in Ireland. Playboy of the Western World deals with the notion of cultural nationalism; this in itself brings out stereotypes and archetypes - the Irish view of themselves. The Irish a... ... middle of paper ... ...ropensity to be the trademark of personal attributes. Synge shows us the worry between the attraction towards society and towards individuality. Synge may have wanted to be a part of society; however he was never fully integrated; and this is an aspect of his writing we see in Playboy of the Western World through the character of Christy. Synge's use of the language clearly demonstrates his love for it. He shows us how it is in Ireland without mocking it. Bibliography Primary Text Synge, J. M. Playboy of the Western World. Irish Writing in The Twentieth Century. A Reader. Ed D. Pierce. Cork County Press. 2000. Secondary Text Watson, G. J. Irish Identity and the Literary Revival. Harper and Row 1979 Innes, C. L Woman and Nation In Irish Literature and Society. Harvester-Wheatsheaf 1993 McDonald, R. Tragedy and Irish Literature. Palgrave 2002
[1] Toibin, Colm, ed. The Penguin Book of Irish Fiction. New York: Penguin Books, 2001.
Meagher, Timothy. “The Columbia Guide to Irish American History.” Columbia University Press- New York, 2005
There is particular consideration given to the political climate in this story. It is incorporated with social and ethnic concerns that are prevalent. The story also addresses prejudice and the theme of ethnic stereotyping through his character development. O'Connor does not present a work that is riddled with Irish slurs or ethnic approximations. Instead, he attempts to provide an account that is both informative and accurate.
Irish American Magazine, Aug.-Sept. 2009. Web. The Web. The Web. 06 May 2014.
In James Joyce’s Dubliners, the theme of escape tends to be a trend when characters are faced with critical decisions. Joyce’s novel presents a bleak and dark view of Ireland; his intentions by writing this novel are to illustrate people’s reasons to flee Ireland. In the stories “Eveline, “Counterparts”, and the “Dead”, characters are faced with autonomous decisions that shape their lives. This forlorn world casts a gloomy shadow over the characters of these stories. These stories are connected by their similar portrayal of Ireland. They clearly represent Joyce’s views on people’s discontent with Ireland.
A collection of short stories published in 1907, Dubliners, by James Joyce, revolves around the everyday lives of ordinary citizens in Dublin, Ireland (Freidrich 166). According to Joyce himself, his intention was to "write a chapter of the moral history of [his] country and [he] chose Dublin for the scene because the city seemed to [b]e the centre of paralysis" (Friedrich 166). True to his goal, each of the fifteen stories are tales of disappointment, darkness, captivity, frustration, and flaw. The book is divided into four sections: childhood, adolescence, maturity, and public life (Levin 159). The structure of the book shows that gradually, citizens become trapped in Dublin society (Stone 140). The stories portray Joyce's feeling that Dublin is the epitome of paralysis and all of the citizens are victims (Levin 159). Although each story from Dubliners is a unique and separate depiction, they all have similarities with each other. In addition, because the first three stories -- The Sisters, An Encounter, and Araby parallel each other in many ways, they can be seen as a set in and of themselves. The purpose of this essay is to explore one particular similarity in order to prove that the childhood stories can be seen as specific section of Dubliners. By examining the characters of Father Flynn in The Sisters, Father Butler in An Encounter, and Mangan's sister in Araby, I will demonstrate that the idea of being held captive by religion is felt by the protagonist of each story. In this paper, I argue that because religion played such a significant role in the lives of the middle class, it was something that many citizens felt was suffocating and from which it was impossible to get away. Each of the three childhood stories uses religion to keep the protagonist captive. In The Sisters, Father Flynn plays an important role in making the narrator feel like a prisoner. Mr. Cotter's comment that "… a young lad [should] run about and play with young lads of his own age…" suggests that the narrator has spent a great deal of time with the priest. Even in death, the boy can not free himself from the presence of Father Flynn (Stone 169) as is illustrated in the following passage: "But the grey face still followed me. It murmured; and I understood that it desired to confess something.
Kiberd, Declan, Inventing Ireland: the Literature of the Modern Nation, Harvard University Press, Cambridge, 1996.
“In place of the real mother, Enright had observed that Irish Writing traditionally either appointed ‘the iconised mother figure’, or posited an absence” (Mulhall, 2011, p. 69). Secondly, Enright uses the Irish motherhood as a very significant role in the story and the readers could relate to...
Thomas, Steve. "Dubliners by James Joyce." ebooks@Adelaide. The University of Adelaide, 23 Aug 2010. Web. 20 Jan 2011
Justin Levenstein. ‘Ulysses, Dubliners, and the Nature of Relationships in the Modern World’. Emergence: A Journal of Undergraduate Literary Criticism and Creative Research. Available from(WWW) http://journals.english.ucsb.edu/index.php/Emergence/article/view/21/100 Date Accessed: 11/12/13
Ronsley, Joseph, ed., Myth and Reality in Irish Literature, Wilfrid Laurier University Press, Canada, 1977
James Joyce began his writing career in 1914 with a series of realistic stories published in a collection called The Dubliners. These short literary pieces are a glimpse into the ‘paralysis’ that those who lived in the turn of the century Ireland and its capital experienced at various points in life (Greenblatt, 2277). Two of the selections, “Araby” and “The Dead” are examples of Joyce’s ability to tell a story with precise details while remaining a detached third person narrator. “Araby” is centered on the main character experiencing an epiphany while “The Dead” is Joyce’s experiment with trying to remain objective. One might assume Joyce had trouble with objectivity when it concerned the setting of Ireland because Dublin would prove to be his only topic. According the editors of the Norton Anthology of Literature, “No writer has ever been more soaked in Dublin, its atmosphere, its history, its topography. He devised ways of expanding his account of the Irish capital, however, so that they became microcosms of human history, geography, and experience.” (Greenblatt, 2277) In both “Araby” and “The Dead” the climax reveals an epiphany of sorts that the main characters experience and each realize his actual position in life and its ultimate permanency.
Religion in James Joyce's Dubliners Religion was an integral part of Ireland during the modernist period, tightly woven into the social fabric of its citizens. The Catholic Church was a longstanding tradition of Ireland. In the modernist spirit of breaking away from forces that inhibited growth, the church stood as one of the principal barriers. This is because the Catholic faith acted as the governing force of its people, as portrayed in James Joyce’s Dubliners. In a period when Ireland was trying to legitimize their political system, religious affiliations further disillusioned the political process. The governing body of a people needs to provide a behavioral framework, through its constitution, and a legal process to make delegations on issues of equity and fairness. When religion dominates the government that is in tact, it subjects its citizens to their religious doctrines. In terms of Catholicism in Ireland, this meant that social progress and cultural revolutions were in terms of what the church would allow. The modernist realized that this is what paralyzed the Irish society of the times. In the stories of Dubliners the legal system is replaced by the institute of religion, and it is the presence and social context of the Catholic Church which prevents the Irish community from advancement. ...
McCann et al. Belfast: Institute of Irish Studies, 1994, 95-109).
Tovey, H and Share, P. (2002). Sociology of Ireland. 2nd ed. Dublin: Gill & Macmillen.