Camargo Guarnieri Auditorium

17:00 Registration

17:30 Opening Ceremony

Authorities from Universidade de São Paulo, IASIL President, Professor Christopher Murray, and Irish Ambassador Martin Greene welcome delegates of IASIL 2002.

18:00 USP’s Sinfonieta: Brazilian classic music.

19:00 Reception hosted by The Irish Embassy

MONDAY, JULY 29

	ACTIVITIES	ROOM
8:30 – 9:00	Last-minute registration and Opening of the Academic Activities	Entrance Hall
9:00 – 10:30	TERENCE BROWN. “The Irish Literary Revival: historical Perspectives”	Auditorium Sala da Congregação
10:30 – 11:00	Coffee-break
11:00 – 12:00	Seminar 1 – Contemporary Irish Drama Seminar 2 – Contemporary Irish Poetry Seminar 3 – Contemporary Irish Fiction	G 2 G 4 G 6
12:00 -13:30	Lunch
13:30 – 15:00	Panels
15:00 – 15:30	Coffee- break
15:30 – 16:30	Seminar 4 – Feminist Criticism Seminar 5 – Beckett Seminar 6 – Cultural Translation	G 2 G 4 G 6
16:30 – 17:30	Panels
18:00	Reception at the Institute of Brazilian Studies (IEB): exhibition and popular Brazilian music.
19:30	Bus to hotel

MONDAY, JULY 29

PANELS

13:30 - 15:00

PANELS		ROOM
Translation Topics 1	Chair: - ANA HELENA BARBOSA B. DE SOUZA (Federal University of Minas Gerais, Brazil), Translating How It Is into Portuguese: Reflections upon the status of the “original” in Samuel Beckett’s work. - FLAVIA MARIA SAMUDA (Brazil), Translating Oscar Wilde and Liam O’Flaherty. - GIULIANA BENDELLI (University of Pavia, Italy), Translating Brendan Kennelly’s prose: The Crooked Cross or the claustrophobic representation of a Classic-Irish Odyssey.	G 5
Reading Flann O’Brien	Chair: - HELENO GODÓI DE SOUZA (Federal University of Goiás, Brazil), The Poor Mouth – In search of the Father, the Scene of the Language. - NIGEL ALAN HUNTER (Federal University of Feira de Santana, Brazil), Infinite Regress and the Darkness of Reason – Flann O’Brien’s The Third Policeman in the Context of Greek Cosmology. - PAWEL HEYMANOWSKI (University of Brasília), The Trouble with being Borrowed: Flann O’Brien’s Characters in Gilbert Sorrentino’s Mulligan Stew.	G 6
The Irish Short Story	Chair: - CLÉLIA REIS GEHA (Catholic University of Pernambuco, Brazil), O’Connor’s My Oedipus Complex: A Literary and Psychological Approach. - GRACIA REGINA GONÇALVES (Federal University of Viçosa, Brazil), Indexes of Deconstruction of Gender in Irish Short Fiction: Edna O’Brien and John Montague. - MARIE ARNDT (Sweden), Internal Exiles in the Works of Sean O’Faolain and Mary Lavin.	G 7
Women Writers 1	Chair: - ANA ADELAIDE PEIXOTO TAVARES (Federal University of Paraíba, Brazil), “Deep down the Salt Water”: Landscape, Sounds and Colours in the Short Story by Angela Bourke. - MARIA ENRICA CERQUONI (University College Dublin), Beyond Words: Marina Carr’s “Theatre of Evocation”. - NOÉLIA BORGES (Federal University of Salvador, Brazil), Kate O’Brien’s Novels: The Spectrum of Passion Between Women.	G 8
Irish Drama 1	Chair: - HYANGSOON YI (University of Georgia, USA), Can Itinerants Settle in the Cottage Play? Traveler Drama as a Subgenre in Irish Literature. - MARGARIDA RAUEN (UNICENTRO/FAP, Brazil), From Stayley’s The rival Theatres to Metatheatre in Dublin and London. - REIKO TANIUE (Kansai Gaidai University), The Footfalls of Shadows in Macbeth and Footfalls: No Past, No Present, No Future.	G 9
Irish Drama 2	Chair: - BEATRIZ KOPSCHITZ BASTOS (USP, Brazil), Denis Johnston’s Revisionist Theatre. - DOMINGOS PEREIRA NUNES (USP, Brazil), Parodic Elements in Three Plays for Ireland by Steward Parker. - PATRICK BURKE (College of Dublin City University, Ireland), McAlpine’s Fusiliers,, Then and Now.	G 10

MONDAY, JULY 29

PANELS

16:30 – 17:30

PANELS		ROOM
Irish Writings	Chair: - DEREK HAND (Dun Laoghaire Institute of Art, Design and Technology, Ireland), Ontological Imperative in Irish Writing. - MATTHEW RYAN (Monash University, Australia), Questioning the Ontology of Placelessness through Contemporary Irish Novels.	G 4
Reading John Banville	Chair: - CIELO G. FESTINO (UNIP, Brazil), The Construction of Identity in John Banville’s The Book of Evidence. - MARYNA ROMANETS (University of Lethbridge, Canada), Literature of Replineshment: Intertextuality and The Book of Evidence and Woyzeck	G 5
Translation Topics 2	Chair: - TERENCE DOLAN (University College Dublin), Translating Hiberno-English. - DIRCE WALTRICK DO AMARANTE (Federal University of Santa Catarina, Brazil), Language and Translation of Finnegans Wake.	G 6
Immigration	Chair: - MIGUEL DE ALEXANDRE ARAÚJO NETO (Brazil), The Imagery and Arguments Pertaining to the Issue of Free Immigration in the Anglo-Irish Press in Rio de Janeiro. - MITSUKO OHNO (Aichi Shukutoku University, Japan), Picture Bride: Fact or Image? – Immigration from Ireland and Japan.	G 7
Reading Violence	Chair: - JAMES E. DOAN (Nova Southern University, USA), ‘All Politics Is Local’: Catholic/Protestant Conflicts and the Boer War in Séamus Ó Grianna’s Nuair a Bhí Mé Óg (When I was Young). - THOMAS BURNS (Federal University of Minas Gerais, Brazil), Literature and Violence: Breaking the Irish Connection.	G 8
Representa-tions of Ireland	Chair: - EAMONN HUGHES (Queen’s University of Belfast), Between the mountain and the gantries: Representations of Belfast in poetry. - TEREZA MARQUES DE OLIVEIRA LIMA (Fluminense Federal University, Brazil), Eudora Welty’s Ireland	G 9
The Past	Chair: - LUCIANA DE CAMPOS (UNESP-S.José do Rio Preto, Brazil) Cultural Meetings: Irish Legend of Tristam and Ysolt and its repercusion in the twelfth century. - RAMÓN SAINERO (UNED, Spain), The Greek Influence in Primitive Irish Literature.	G 10

TUESDAY, JULY 30

	ACTIVITIES	ROOM
9:00 – 10:30	EDNA LONGLEY. “Northern Irish Writing and Post-Ukanian Readings”.	Auditorium Sala da Congregação
10:30 – 11:00	Coffee-break
11:00 – 12:00	Seminar 1 – Contemporary Irish Drama Seminar 2 – Contemporary Irish Poetry Seminar 3 – Contemporary Irish Fiction	G 2 G 4 G 6
12:00 -13:30	Lunch
13:30 – 15:00	Panels
15:00 – 15:30	Coffee- break
15:30 – 16:30	Seminar 4 – Feminist Criticism Seminar 5 – Beckett Seminar 6 – Cultural Translation	G 2 G 4 G 6
16:30 – 17:30	Round Tables
18:00	Cultural and social event at “Clube dos Professores”: BILLY ROCHE talks about his work and reads from his plays. The Brazilian poet HAROLDO DE CAMPOS reads excerpts from his translation of Finnegans Wake.
19:30	Bus to hotel

TUESDAY, JULY 30

PANELS

13:30 - 15:00

PANELS		ROOM
Displacements	Chair: - FRANK MOLLOY (Charles Sturt University, Australia), Romantic Ireland’s Dead and Gone: Peter Carey’s True History of the Kelly Gang. - JERRY NOLAN (British Association of Irish Studies), Travelling with Desmond Hogan. - MAURA XAVIER GARCIA (UNIFMU, Brazil), Displacements and Cultural Values.	G 4
Reading Oscar Wilde	Chair: - CHIAKI KOJIMA (University of Tokyo, Japan), Portrait in the Middle of Beauty and Sublime: Analysis on The Picture of Dorian Gray and The Oval Portrait. - JEOVÁ R. DE MENDONÇA (Federal University of Paraíba, Brazil), Literary Modeling of Music and Dance in Wilde’s Salome. - JULIE-ANN ROBSON (University of Sydney, Australia), Origins, Stories, Myths: The ‘Tradition’ of Oscar Wilde.	G 5
Identity	Chair: - BILLY GRAY (Lulea University, Sweden), “The Ravages of Second-Hand Experience”: Huber Butler’s Perception of Universalism and Distance - MAURICE ELLIOTT (University Professor, Past President CAIS), A Brief Introduction to the Work of the Irish Sage, John Moriarty. - PATRICIA LYNCH (University of Limerick), Literary Stylistics: the combination of Literary Studies and Linguistics in analysis.	G 6
Irish Drama 3	Chair: - GIOVANNA TALLONE (Università Cattolica, Italy), Paper Knowledge. Books, Maps, Letters: the Written Word in Brian Friel’s Plays. - HEDWIG SCHWALL (Catholic University Leuven), Fatal Fathers and Sons in 20^th Century Irish Drama. - JOHN MCDONAUGH (Mary Immaculate College, University of Limerick), “It’s surprised I am How Sane I’ve Turned Out!” – Martin McDonaugh and the Construction of Connemara.	G 7
Women Writers 2	Chair: - ANITA LORENTZEN WELLS (University of NE at Kearney, USA), Margaret Atwood and Eaven Boland: Poetic Power Politics/Feminine Nationalist Cartographies. - NAOKO TORAIWA (Meiji University, Japan), Uncanny Strangeness of the Body, the Text: Medbh McGuckian’s Marconi’s Cottage. - NADILZA MARTINS DE BARROS MOREIRA (Federal University of Paraíba, Brazil), Nuala Ní Dhomhnaill’s Poetry as a Challenge to Patriarchy in the Irish Literary Tradition.	G 8
Family Relations	Chair: - GIULIA LORENZONI (Irish Research Council), Constitutional Mothers? Mother and Family in the Writings of Kate O’Brien and Mary Lavin. - JENNIFER MOLIDOR (University of Notre Dame, USA ), “Knowing She was There” – Rethinking the Relation Between Mothers and Daughters in Dorothy Macardle’s The Uninvited. - NORIKO ITO (Tezukayama University, Japan), Silence in Colm Tóibín’s Writing..		G 9
Yeats Revisited	Chair: - EAMONN R. CANTWELL (Trinity College Dublin, Ireland), Another Perspective on Yeats and Easter 1916. - GENILDA AZERÊDO (Federal University of Paraíba, Brazil) , An Old Song Resung and Revisited: A Reading of Yeats. - MATTHEW GIBSON (De Montfort University, U.K.), “All Lives that Has Lived”: Yeats and John Ellis McTaggart. -	G 10

TUESDAY, JULY 30

Round Tables

16:30 – 17:30


Literature and Art 1	Chair: - RAJEEV S. PATKE (National University of Singapore), Painting into Poetry: The Case of Derek Mahon. - RUI CARVALHO HOMEM (University of Porto, Portugal), ‘The Thing and the Thing Made’: Derek Mahon, Identity, and the Elusive Pictorial Referent.	G 4
Translation Topics 3	Chair: - AURORA BERNARDINI (University of São Paulo), Attempts on Creative Translations of Seamus Heaney’s “The Riddle”. - BERNARDINA DA SILVEIRA PINHEIRO (Federal University of Rio de Janeiro, Brazil), Translating Joyce.	G 5
Literature, Cinema and the Visual Arts	Chair: - SOLANGE RIBEIRO DE OLIVEIRA (Federal University of Minas Gerais, Brazil), Abgar Renault and Pedro Nava Recreate W.B. Yeats and A.V. Beardsley. - THAÎS FLORES NOGUEIRA DINIZ (Federal University of Minas Gerais), Neil Jordan Translates Angela Carter. - WERNER HUBER (Padderbon University), (De)Mythologising Ireland on the Screen	G 6
19^th Century Irish Literature 1	Chair: - DOUGLAS SIMES (University of Waikato, New Zealand), Tories and Raparees: William Carleton and the Outlaw Tradition in Irish History. - MARIA CONCEIÇÃO MONTEIRO (Fluminense Federal University, Brazil), Le Fanu’s Uncle Silas: Forms of Desire in the Gothic House.	G 8
The West	Chair: - DAVID PIERCE (College York St. John, U.K. ), Man of Aran and the 1930s Wild West Show. - MAGDA VELLOSO TOLENTINO (Federal University of Ouro Preto, Brazil), The West in Irish Literature.	G 10

WEDNESDAY, JULY 31

	ACTIVITIES	ROOM
9:00 – 10:30	ANN SADDLEMEYER, “Mothering Genius”	Auditorium E-
10:30 – 11:00	Coffee-break
11:00 – 12:00	Seminar 1 – Contemporary Irish Drama Seminar 2 – Contemporary Irish Poetry Seminar 3 – Contemporary Irish Fiction	G 2 G 4 G 6
12:00 -13:30	Panels
13:30 – 14:30	Lunch
14:30	City Tour
16:00 – 17:30	Visit to the Latin American Memorial
18:00 – 19:00	JOHN BANVILLE is interviewed, talks and reads from his works.	Library of the Latin American Memorial.
19:00	Reception
20:00	Bus to hotel

WEDNESDAY, JULY 31

PANELS

12:00 - 13:30

PANELS		ROOM
The Irish Playwright Abroad	Chair: - DAWN DUNCAN (Concordia College, USA), Brian Friel - JOAN DEAN (University of Missouri, USA), It’s Surprised I am How Sane I’ve Turned Out – Martin McDonaugh and the Construction of Connemara. - JOHN P. HARRINGTON (The Cooper Union, USA), Conor McPherson. - JOSÉ LANTERS (University of Wisconsin, USA), The International Reception of Tom Murphy.	G 4
Cultural Encounters	Chair: - JEAN ANTOINE DUNNE (Trinity College Dublin), Inter-connecting Cultures. - LINDA PUI-LING WONG (Hong Kong Baptist University, China), Oscar Wilde’s Impact on Modern Chinese Society. - MARY MASSOUD (Ain Shams University, Cairo, Egypt), Cultural Encounters: Egypt in Poems of Ireland.	G 5
Literature and Art 2	Chair: - BARBARA FREITAG (Dublin City University, Ireland), Sheela-na-gigs – The Celtic Connection. - FIONNA BARBER (Manchester Metropolitan University, U.K.), Becoming Mainie Jellet: Narrativity, Modernism and Painting in the Irish Free State. - NOREEN DOODY (Trinity College Dublin, Ireland), Yeats: Poet of Dance.	G 6
Irish Poetry	Chair: - GRACE BAILEY HECK (Augusta State University, USA), Eiléan Ní Chuilleanáin, Seamus Heaney, and W.B. Yeats: Knowledge and Beauty. - JOAN COLDWELL (McMaster University, Canada), Glanmore Cottage: Seamus Heaney’s “Place of Writing”. - RACHEL BILLIGHEIMER (York University, Ontario, Canada), Interrelations: Blake and Yeats.	G 7
Irish Drama 4	Chair: - JERRY GRISWOLD-PHELAN (San Diego State University, USA), Social Coersion: The Field Meets Waking Ned Divine. - MARIA FILOMENA LOURO (Minho University, Portugal), From Music to Words: The Progress of J.M. Synge. - RODELLE WEINTRAUB (State College, USA), What Makes Johnnie Run: Man and Superman as a Pre-Freudian Dream Play.	G 8
The Irish Abroad	Chair: - ANDRIES WESSELS (University of Pretoria, South Africa), An Irish Gentleman in Africa: the Ambiguous Political and Cultural Identity of Sir Percy Fitzpatrick. - CONOR JOHNSTON (Massasoit Community College, Massachusetts, USA), The Poetry of John Boyle O’Reilly (1844-1890): A (Much-Needed) Re-examination. - TADHG FOLEY (National University of Ireland), Ireland and Empire: Conversion/Perversion and Max Arthur Macauliffe.	G 9
19^th Century Irish Literature 2	Chair: - MARGARET MCPEAKE (New College of California, USA), Threats and challenges to Colonials: Maria Edgeworth’s Irish Landlords and West Indian Planters. - MARLUCE OLIVEIRA RAPOSO DANTAS (Federal University of Pernambuco, Brazil), Grania: Transgression and Desire. - RIANA O’DWYER (National University of Ireland), Adventures in Elizabethan Ireland: Sir Guy d’Esterre (1858) and Maelcho (1894).	G 10

THURSDAY, AUGUST 1

	ACTIVITIES	ROOM
9:00 – 10:30	NICHOLAS GRENE. “The Spaces of Irish Theatre”.	Auditorium Sala da Congregação
10:30 – 11:00	Coffee-break
11:00 – 12:00	Seminar 4 – Feminist Criticism Seminar 5 – Beckett Seminar 6 – Cultural Translation	G 2 G 4 G 6
12:00 -13:00	Lunch
13:00 – 14:00	Round Tables
14:00 – 15:30	FINTAN O’TOOLE. “Island of Viagra and Silicon: Irish Culture in a Global Age.”	Auditorium Sala da Congregação
15:30 – 17:30	AGM
17:30	Bus to hotel
20:00	Bus to “Casa da Fazenda” – Farewell Party
23:30	Bus to hotel

THURSDAY, AUGUST 1

Round Tables

13:00 – 14:00

		ROOM
The Voice Away	Chair: - PATRICIA NOLAN (Irish poet & Institut National d’Agronomique, Paris), The Voice Away. - JUAN JOSÉ DELANEY (Irish-Argentine writer & Universidade del Salvador, Argentina).		G 4
Fiction and Biography	Chair: - ADRIANA BEBIANO (Coimbra University, Portugal), In the Ekfrastic Tradition: John Banville’s Life and Art. - STANLEY WEINTRAUB (State College, USA), Bernard Shaw’s Sculptress: Kathleen Scott.		G 5
Critical Approaches	Chair: - PETER JAMES HARRIS (UNESP/ S.José do Rio Preto, Brazil), Statistics and the Canon: Irish Theatre Historiography Beyond the Diaspora. - PETER KUCH (University of New South Wales, Australia), Textual Anthropology – New Theory? New Insights?		G 6
Translation Topics 4	Chair: - WELDON THORNTON (University of North Carolina at chapel hill, USA), Joyce’s “Own Style” in the Opening Episodes of Ulysses. - MARIA TYMOCZKO (Massachussetts University, USA), Joyce’s Postpositivist Prose.		G 8
Translation Topics 5	Chair: - DONALDO SCHÜLER (Federal University of Rio Grande do Sul, Brazil), The First Enigma of the Universe. - SÉRGIO MEDEIROS (Federal University of Santa Catarina, Brazil), Cage and Joyce		G 10

LECTURES

Abstracts

SEMINARS

Abstracts

SEMINAR 1

Contemporary Irish Drama: Theatre and Metatheatre

Professor Nicholas Grene

Trinity College Dublin

The mainstream tradition of Irish drama from the beginning of the national theatre movement tended to be representational, if not naturalistic, in its dramaturgy. Certain represented spaces, the country cottages of Synge, the tenements of O'Casey, figured the community or the nation. The influence of such a representational drama with its loading of national significance has remained a powerful inheritance in Irish theatre down to the contemporary period. In the past twenty years, however, there have been a series of experiments with a more self-conscious theatrical practice designed to complicate the forms of dramatic representation. It is some of these experiments with the metatheatrical in recent Irish drama that I would like to explore in this 'mini-course'. I will be assuming that those taking part will be familiar with some or most of the texts considered, but I will bring slides and tapes to illustrate productions that participants may not have the opportunity to see.

1. Telling stories in an empty space.

Texts: Brian Friel, Faith Healer (1979), Conor McPherson, Port Authority (2001).

Story-telling has always been a key part of Irish theatre, and continues to be prominent in the work of contemporary playwrights, Friel, Murphy, McPherson and others. The distinctive challenge of Faith Healer is the minimalism of its setting - a bare stage and some chairs - and the fact that the characters tell their stories separately with no interaction. This, as it were, takes literally Peter Brook's famous proposition that all you need for an act of theatre is an'empty space'. In Port Authority McPherson goes still further in removing the vestiges of a setting and gives to his three characters completely discrete stories. Such plays, emphasising as they do the physical presence of the actors, involve them with the audience in the dislocated space of theatre itself.

2. Playing with history.

Texts: Stewart Parker, Northern Star (1984), Donal O'Kelly, Catalpa (1995).

Northern Star is a brilliant tour de force in which Parker dramatises the stages in the United Irishman Henry Joy McCracken's involvement in the 1798 Rebellion in the styles of successive Irish playwrights from Farquhar to Beckett. The awareness of Irish history is thus matched with an awareness of Irish theatrical history, and irony plays between those two perspectives. Donal O'Kelly in his brilliant one-man show Catalpa draws instead on the clichés of epic movie-making for his rendering of the rescue of Fenian prisoners from Australia in the 1870s. Both these plays, in their metatheatrical forms, expose dramatically the controversial issues of the making and telling of Irish history.

3. Masks and puppets.

Texts: Vincent Woods, At the Black Pig's Dyke (1992), Thomas Kilroy, The Secret Fall of Constance Wilde (1997).

The tradition of the folk mummer's play, so widespread in England, was practiced in Ireland, too, but had apparently never been used in Irish drama before At the Black Pig's Dyke. In Woods' play the sectarian violence of a Border community erupts from behind the masks of the mummers. The effect is comparable to the 'murderous masque' of Elizabethan drama in the interaction between the play and the ritualised play-within-a-play. Kilroy went to a very different tradition, the Japanese puppet genre of bunraku, for the theatrical idiom used in The Secret Fall of Constance Wilde. The figures of Wilde and his wife Constance are organised, directed, manipulated by faceless onstage puppet-masters that represent the social and psychological forces that overdetermine their drama.

Bibliography.

Primary texts.

Brian Friel, Faith Healer in Plays (London: Faber, 1984).

Thomas Kilroy, The Secret Fall of Constance Wilde (Oldcastle, County Meath: Gallery Books, 1997).
Conor McPherson, Port Authority (London: Nick Hern Books, 2001)

Donal O'Kelly, Catalpa (Dublin: New Island Books; London: Nick Hern Books, 1997)

Stewart Parker, Northern Star in Plays: Two (London: Methuen, 2000)

Vincent Woods, At the Black Pig's Dyke in John Fairleigh (ed), Far from the Land: Contemporary Irish Plays (London: Methuen, 1998)

Secondary reading.

Nicholas Grene, The Politics of Irish Drama: Plays in Context from Boucicault to Friel (Cambridge University Press, 1999).

Eamonn Jordan (ed.), Theatre Stuff: Critical Essays on Contemporary Irish Theatre (Dublin: Carysfort Press, 2000).

Christopher Murray, Twentieth-century Irish Drama: Mirror up to Nation (Manchester University Press, 1997).

Lionel Pilkington, Theatre and State in Modern Ireland: Cultivating the People (London: Routledge, 2001).
Anthony Roche, Contemporary Irish Drama: from Beckett to McGuinness (Dublin: Gill and Macmillan, 1994).

Robert Welch, The Abbey Theatre 1899-1999: Form and Pressure (Oxford University Press, 1999)

SEMINAR 2

Irish Poetry Today: Fresh Perspectives, Different Voices

Professor Maurice Harmon

University College Dublin

The course will examine nine modern poets in order to illustrate directions in Irish poetry since the death of W.B.Yeats. It will deal with issues of heritage and personal freedom, narrowness and universality, urban and rural differences, but will focus primarily on a few selected poems in order to reveal aesthetic values.

Session 1: Types of Order: Seamus Heaney, Richard Murphy, John Montague
Considers the colonial heritage as reflected in the work of these three poets, one of whom, Richard Murphy, shares that heritage, while the others reflect upon its effects on culture and literature. There is also the consideration that while Richard Murphy seeks to find na imaginative space between aristocracy and the country people, combined the rationality of his education with the freedom of those who lived beyond the walls of the colonial estate, the others not only measure the effects of dispossession but compensate for that loss through the use of mythology and a wider culture.

Session 2: The Plenitude of the World: Patrick Kavanagh, Louis MacNeice, Dennis O'Driscoll
Considers the response of a rural poet, Patrick Kavanagh, to the natural world and the response of two urban poets to the complexity of modern living. Kavanagh celebrates the remembered place of his early years, MacNeice the variety of experience. Both voice a sense of loss and displacement. Dennis O'Driscoll brings us inside the complex life of the civil servant, making work into poetry, making poetry work.

Session 3: The Local and the Universal. Eavan Boland, Paula Meehan, Maurice Harmon
Irish poets face in two directions - inwards towards Irish life and their own experience, outward to other cultures. Paula Meehan's view of urban life is intensely, narrowly focussed, Eavan Boland examines the familial heritage and is aware of a wider context in continental Europe and elsewhere. Maurice Harmon combines historical re-creation with an awareness of native American and Japanese experience.

SEMINAR 3

Contemporary Irish Fiction

Dr John Brannigan

University College Dublin

This course of three seminars will consider some recent trends and themes in Irish fiction. In particular, it will explore how contemporary Irish novelists treat themes of memory, history, and imagination, and it will situate recent Irish fiction in relation to wider trends in international literature, especially texts broadly considered to be postcolonial and/or postmodern. Each seminar will focus on two novels, which participants may wish to read in advance.

Session 1: ‘Memory Ireland’

Texts: John McGahern, Amongst Women (Faber) and Seamus Deane, Reading in the Dark (Vintage)

This session will explore the significance of themes of memory and history in contemporary Irish fiction, drawing in particular upon McGahern’s Amongst Women and Deane’s Reading in the Dark. Both of these novels tell stories about the effects of the political turmoil of the 1920s on the lives of later generations, especially through tropes of remembrance, silence, shame and betrayal. We will consider the extent to which these novels remain haunted by the past, and to what extent they signal a shift in Irish culture away from the ‘nightmare of history’.

Session 2: ‘The Battle for the GPO’

Texts: Roddy Doyle, A Star Called Henry (Jonathan Cape) and Jamie O’Neill, At Swim Two Boys (Scribner)

The GPO (General Post Office in Dublin) was the scene of the dramatic, disastrous attempt at revolution in 1916. The events of 1916 continue to generate critical debate as to whether the failed revolution was an example of a long tradition of atavistic nationalism, or the cataclysmic emergence of Irish modernity. The cultural meanings of the events of 1916 are the subject of two recent Irish novels, by Jamie O’Neill and Roddy Doyle, which form the basis for the seminar’s consideration of fictional representations of history.

Session 3: ‘Unknown arts’

Texts: Anne Enright, The Wig My Father Wore (Minerva) and Ciaran Carson, Shamrock Tea (Granta)

This final session explores recent Irish fiction at its most inventive and lyrical. The novels by Enright and Carson, which will form the focus for this session, illustrate a departure from the realist and historical fictions which have tended to dominate Irish literature for the past few decades, and, at the same time, a return to the themes of exile, flight, imagination, circularity, and reinvention familiar from the work of James Joyce.

SEMINAR 4

Feminist Criticism and Irish Literature

Dr Margaret Kelleher

National University of Ireland, Maynooth.

This series of three seminars will be organised around the three major developments in feminist criticism, internationally: firstly, the study of images of woman, or woman as sign; secondly, the retrieval of women's writings; and thirdly, feminist theory or gynocritics. The seminars will examine the applicability of these models to recent developments in Irish literary culture, and will identify the distinctiveness of feminist issues as they have developed in the Irish social, political and cultural context.

A selection of readings, drawn from the bibliographies listed below, will be made available in advance of the seminars. These readings have been carefully chosen to facilitate both a historical perspective of feminist criticism in Ireland together with an analysis of current and future trends. The critical and theoretical models to be examined in these seminars will be of interest to a wide range of scholars and postgraduate students. In addition, members of the seminar will be introduced to some of the most recent publications in Irish studies, including the forthcoming Field Day Anthology of Irish Writing vols 4 and 5.

Session 1:

A comparative study of gender representations in Irish writing, employing models from 'the 'images of woman' or 'woman as sign' school (from the early work of Mary Ellmann to the recent theoretical work of Judith Butler and Julia Kristeva).

Bibliography to include:

Toni O'Brien Johnson and David Cairns, Gender in Irish Writing (1991)
Lynn Innes, Woman and Nation in Irish Literature and Society, 1880-1935 (1993)
Carol Coulter, The Hidden Tradition: Feminism, Women and Nationalism in Ireland (1993)
Lia Mills, "'I won't go back to it': Irish Women Poets and the Iconic Feminine", Feminist Review 50 (1995).
Ailbhe Smyth (ed), A Dozen Lips (1995) [including articles by Gerardine Meaney, Eavan Boland, Edna Longley]

Marjorie Howes, Yeats's Nations: Gender, Class and Irishness (1996)

Margaret Kelleher, The Feminization of Famine (1997)

Maryann Valiulis and Anthony Bradley (eds), Gender and Sexuality in Modern Ireland (1997)

Session 2:

A discussion of the nature and significance of recent retrievals of women authors, focusing on issues of literary production, reception-history and canon formation in Irish writing, generally, and in relation to the Field Day Anthology of Irish Writing, more specifically.

Bibliography to include:

Reviews of Field Day Anthology of Irish Writing 1991

Nuala Ní Dhomhnaill, "What Foremothers?", Poetry Ireland Review 36 (1992).

Eavan Boland, Object Lessons: The Life of the Woman and the Poet in Our Time (1995)

Anne Colman, Dictionary of Nineteenth-Century Irish Women Poets (1996)

Spurgeon Thompson, "Feminist Recovery Work and Women's Poetry in Ireland", Irish Journal of Feminist Studies 2.2 (1997)

Kathryn Kirkpatrick, Border Crossings: Irish Women Writers and National Identity (2000)

Anne Fogarty (ed), Irish Women Novelists: 1800-1940 (special issue of Colby Quarterly 36.2 2000)

Margaret Kelleher, "Writing Irish Women's Literary History", Irish Studies Review 9.1 (2001).

Session 3:

Drawing from the preceding seminars, an assessment of Irish feminist criticism: its chief characteristics, achievements and limitations. This seminar will also examine the changing face of Irish feminist criticism with the emergence of queer theory, gender studies and film theory, and in relation to Irish language writing, postcolonial theory and postmodernism.

Bibliography to include:

Declan Kiberd, Men and Feminism in Modern Literature (1985)

Eibhear Walshe (ed), Sex, Nation and Dissent in Irish Writing (1997)

Gerardine Meaney, "Territory and Transgression: History, Nationality and Sexuality in Kate O'Brien's Fiction", Irish Journal of Feminist Studies 2.2 (1997).

Catriona Clutterbuck, "Gender and Self-representation in Irish Poetry: The Critical Debate", Bullán 4.1 (1998).

Colin Graham, "Subalternity and Gender: Problems of Post-Colonial Irishness", Journal of Gender Studies 5.3 (1996).

Susan Shaw Sailer, Representing Ireland: Gender, Class, Nationality (1997)

Scott Brewster et al (eds), Ireland in Proximity: History, Gender, Space (1999)

Elizabeth Butler Cullingford, Ireland's Others: Gender and Ethnicity in Irish Literature and Popular Culture (2001)

SEMINAR 5

Beckett's Conclusions: The Plays in Focus

Professor Christopher Murray

University College Dublin

Brief description:

The attempt will be to explore Beckett's plays with special emphasis on their endings. Notoriously, there is no "closure" involved, and yet, ever more variously, the plays focus on a final image.

The questions raised by these endings which are and are not "conclusions" will lead us into three groupings from Complete Dramatic Works (Faber, Paperback, 1990), the first of which will be Waiting for Godot, Rough for Theatre One, and Endgame.

SEMINAR 6

Cultural Translation in Twentieth-Century Irish Literature

Maria Tymoczko

University of Massachusetts

Overview of the structure of the course:

The first session will present the theoretical underpinnings needed for the investigation of cultural translation in Irish literature, blending translation theory with postcolonial theory so as to develop useful tools for the analysis of particular texts and authors. The second and third sessions will present readings of specific authors taken from my published work and my current research, illustrating the ways that analysis of an author's cultural translation between Irish and English traditions offers a nuanced means of discussing the author's cultural position, cultural affiliation, and literary project, as well as the author's place of enunciation.

Session 1: Cultural Translation and the Place of Enunciation of Irish Writers
As in many postcolonial countries, Ireland has a culture based on two principal languages, two cultural traditions, and two literary histories. The literary heritage in both Irish and English is extraordinarily rich, with native Irish literature being distinguished as perhaps the oldest secular vernacular written tradition of Europe, which even in its fragmentary surviving form is one of the most extensive literatures of the early and high Middle Ages. Irish tradition has also been characterized as one of the richest oral folk traditions in Western Europe.
A brief introduction to systems theory as a tool for analyzing cultural production in postcolonial cultures with heterogeneous linguistic and literary traditions.

The centrality of cultural translation for the emergence of "an Irish national literature" written in English. The translation movement in the nineteenth century. An Irish canon in English: Davis, Mangan, Ferguson.

Cultural translation and patterns of resistance: representation, transculturation, and translation. Three stages of response to colonialism: Fanon's model of cultural resistance. The dual constraints on a postcolonial writer: the strictures of the colonizers, the strictures of the nationalists.
Cultural translation as a litmus test for an author's place of enunciation and affiliation.

Session 2: Pioneering Methods of Cultural Translation

Standish O'Grady, Douglas Hyde, and Augusta Gregory: translation, rewriting, and refraction. The search for an Irish literary system in English. Symptomatic readings of Irish literature: naming, culture, values, form. Synge as translator of the Irish peasantry. Yeats as pseudotranslator; Yeats as mythmaker.

Joyce and the Irish Revival; Joyce and transculturation.

Session 3: Cultural Translation and Ideology since 1922

Divergence of cultural paradigms in the Republic of Ireland and Northern Ireland. Hegemony and resistance North and South. Beyond piety: Patrick Kavanagh, Austin Clarke, Thomas Kinsella.
Seamus Heaney between literary systems: the color of his passport.

COMMUNICATIONS

Abstracts

28 July – 1 August

UNIVERSIDADE DE SÃO PAULO

FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS

Diretor: Prof. Dr. Sedi Hirano

IASIL 2002

IASIL Executive Committee

Brazilian National Committee

Prof.Carlos Daghlian (UNESP/ S.J. Rio Preto)

Conference Organisers

Sponsored by:

Camargo Guarnieri Auditorium

MONDAY, JULY 29

ACTIVITIES

ROOM

MONDAY, JULY 29

TUESDAY, JULY 30

ACTIVITIES

ROOM

Cultural and social event at “Clube dos Professores”:

BILLY ROCHE talks about his work and reads from his plays.

WEDNESDAY, JULY 31

ACTIVITIES

ROOM

THURSDAY, AUGUST 1

ACTIVITIES

ROOM

Dr John Brannigan

University College Dublin

SEMINAR 4