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Essays on gender identity
Gender in literature
Essay on gender identity
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Gendered identity in Seamus Heaney’s ‘Act of Union’ In 1801, the political Act of Union created a legislative bond between Great Britain and Ireland, bringing Ireland under British control as part of the “United Kingdom”. Within the poem ‘Act of Union’ Heaney draws upon the double meaning of this titular phrase to compare the long lasting effect of this lawful union with an act of sexual domination. Within the work, Heaney anthropomorphizes both countries. He compares the geological features of Ireland to the ‘tracked and stretchmarked body’ of a woman, whose most intimate identity - here symbolised by the ‘ferny bed’ and ‘bogland’ is invaded by the phallic ‘battering ram’ of an ‘imperially Male’ invader. The imposition of the British aggressor is even made apparent through the structure of the work, the two sonnet form stanzas not only highlight the inadequacy of the loveless union, but with their Shakespearean rhyme scheme also imply the cultural dominance of English tradition. The use of half rhymes, such as ‘pulse’ and ‘burst’ or ‘pain’ and ‘within’ leaves the stanzas feel...
Included within the anthology The Penguin Book of Irish Fiction,1[1] are the works of great Irish authors written from around three hundred years ago, until as recently as the last decade. Since one might expect to find in an anthology such as this only expressions and interpretations of Irish or European places, events or peoples, some included material could be quite surprising in its contrasting content. One such inclusion comes from the novel Black Robe,2[2] by Irish-born author Brian Moore. Leaving Ireland as a young man afforded Moore a chance to see a great deal of the world and in reflection afforded him a great diversity of setting and theme in his writings. And while his Black Robe may express little of Ireland itself, it expresses much of Moore in his exploration into evolving concepts of morality, faith, righteousness and the ever-changing human heart.
Johansen, Ib. ‘Shadows in a Black Mirror: Reflections on the Irish Fantastic from Sheridan Le Fanu to John Banville’. Nordic Irish Studies , Vol. 1, (2002).
The Act of Union in 1800 was a significant factor to the nature of Irish nationalism in 1800. Prior to the Act, the society of the united Irishmen, a republican society who wanted parliamentary reform and Catholic Emancipation, fought, under the leadership of Robert Emmet, with physical force for their complete independence. Because of their military strand they differed from their predecessors the ‘Protestant Patriots’, this is because the society was heavily influenced by revolutionary events in France and New America in the late 18th century. The rebellion, although unsuccessful, with its leader imprisoned, had major consequential effects; which was the passing of the Act of Union in 1800. The Act set the tone for the rest of Irish history; once emancipation failed to materialize directly after the union, the Catholic issue began to dominate both Irish and English politics.
Hyde delivered a speech before the Irish National Literary Society on the 25th of November, 1892 entitled “The Necessity for De-Anglicizing Ireland.” W.B. Yeats responded to this speech la...
Dunne’s work, Tom Dunne, `The Gaelic Response to Conquest and Colonisation: the Evidence of the Poetry’ in Studia Hibernica 1980, does a good job of explaining the inherent problems in attempting to ascribe cause to the Gaelic reaction. As he aptly points out, the conquered rarely write their own history. The Gaelic, as victims of colonization had very little voice. Dunne attempts to give the Gaelic a voice by analyzing poetry from the later decadedsof the seventeenth century, through to 1729. He attempts to discuss the effects of conquest and colonization on the Gaelic population. I response to Branden Bradshaw’s argument that the Leabhar Branuch shows the development of Irish Nationalism, Dunne, rebuts this stating “ Neither the evidence of the Leabhar Branuch itself, or of gaelic poetry as a whole, in this time or later periods, allows this interpretation”.
The structure of Bright Star is unique in that it breaks free of the limitations of the sonnet form, a form that is notorious for its strict and constrained nature. The rhyme scheme falls very close to the Shakespearean rhyme scheme of ABABCDCDEFEFGG, in which the last two lines represent the final heroic couplet. However, the rhyme of the ninth nine (‘unchangeable’) is never continued, as the eleventh line (‘swell’), which the Shakespearean form dictates should rhyme with the ninth line, doesn’t rhyme fully. These create a sort of volta effect, emphasized by the strong determined word ‘No’, and followed by a caesura to create a pause, emphasizing the new change. This creates a lean towards the Petrarchan sonnet form, in which the volta lies at the beginning of the sestet, rather at the heroic couplet of the Shakespearean sonnet. This is made clearer as the first two quatrains deal with the subject of immortality by examining the star and how it watches down on Earth, while the final quatrain and couplet, or the sestet, which now has the rhyme scheme of EFGFHH, deal with how Keats instead wishes to be with his lover instead. The effect of the merged sonnet forms creates a free and lively mood which feels unconstrained and more natural. It also makes the sestet livelier, not only due to extra rhyme whic...
Sonnet 130 is Shakespeare’s harsh yet realistic tribute to his quite ordinary mistress. Conventional love poetry of his time would employ Petrarchan imagery and entertain notions of courtly love. Francis Petrarch, often noted for his perfection of the sonnet form, developed a number of techniques for describing love’s pleasures and torments as well as the beauty of the beloved. While Shakespeare adheres to this form, he undermines it as well. Through the use of deliberately subversive wordplay and exaggerated similes, ambiguous concepts, and adherence to the sonnet form, Shakespeare creates a parody of the traditional love sonnet. Although, in the end, Shakespeare embraces the overall Petrarchan theme of total and consuming love.
In The Irish Women’s Movement: From Revolution to Devolution, Connolly described three distinct waves of feminism in Ireland. The novel takes place in the first phase, the “suffragette ...
Willen, Gerald and Victor B. Reed, eds. A Casebook on Shakespeare’s Sonnets. New York: Crowell, 1964.
Known as the leader in classical poetry and drama, English writer William Shakespeare, captures the passion and emotions that the romance and depths of the human heart experiences in life. This is especially shown in his vast collection of sonnets which exemplified the “carpe diem” ideology of the period, and the love that one can have for another. Two of the most famous of Shakespeare’s works, Sonnet 55 [Not Marble, nor the gilded monuments] and sonnet 116 [Let me not to the marriage of true minds], are no exception to this theme in poetry. Both of these sonnets exemplify the love that the narrator has for a mistress in his life, and how he defines his love for them. Throughout both poems, Shakespeare conveys his purpose through the content, the overall theme of love and its permanence, and the form and structure in which the sonnets are written that can sometimes break the traditional rules.
In 1928 at the unbelievably young age of 23 years old Evans after having studied geography in Aberystwyth under the tutorship of H. J Fleure he was appointed the first lecturer in geography at the Queens University Belfast (QUB). It is from here that Evans laid the foundations for his studies in the Irish landscape and its people. Evans started his research of the Irish landscape with a hands on approach as he set out immediately at fieldwork and excavation. In order for Evans to gain a better understanding and clearer picture of the prehistoric Ireland a topic which interested him greatly because he believed we needed to understand this before we could evaluate the Ireland of that time. Fieldwork was to become one of Evans primary sources (Hamlin, A, 1989).
For the poetry unit, I decided to study the works of the renowned Irish poet, critic, and recipient of the Nobel Prize for Literature in 1995, Seamus Heaney. I choose Heaney because he is rather contemporary author, most of his works published in the mid to late twentieth century, and his poems were simple yet beautiful. The voice that he uses to spin his tales is fundamentally human. In my opinion, Heaney does not put on fronts of human perfection, but chooses to focus on the simple joys that life provides. This can be seen in many of his poems such as “Lover of Aran”, in which he gives human characteristics to the beach and the sea to exemplify human love and compassion, as well as in “Personal Helicon”, where he harps on the beauty and simplicity of his childhood. He also wrote darker pieces such as “Act of Union” and “Docker”. “Act of Union” is appropriately named after the document that brought all of England’s conquests under the crown of Great Britain. The poem focuses on the political turmoil, between England and Ireland as it depicts an invasion of Irish soil. “Docker” speak...
In conclusion, Shakespeare is more effective with using figurative language and imagery in his sonnet. This is mainly because he personifies the sun in a way that acknowledges how essential the sun is to a summer’s day. Both poems by Shakespeare and Browning are virtually about the same topic. In addition, both of these poems also address the unknown person as “thee”. Moreover, a question of uncertainty is at the beginning of each poem as well. The theme of the two poems are pertaining to eternal love, exceeding death and only becoming stronger.
McCann et al. Belfast: Institute of Irish Studies, 1994, 95-109).
Sonnet XX, by William Shakespeare, is fraught with wordplay and ambiguity. Shakespeare misleads the audience with variety of puns and double entendres. Due to the large amount of criticism this poem produces, it is necessary to analyze this piece twice: once from the perspective of a female attraction, and once from the perspective of a male attraction. Only when both sides of this equilibrium are examined can true insight be achieved. It is my goal to present the same mystifying experiences as Shakespeare: the initial debate as to whether this fair youth is male or female, and the ultimate debate as to whether our narrator’s intense fondness for this youth is the result of platonic love or carnal lust. After all, Shakespeare obviously created this uncertainty for a reason. The question that remains is “Why?”