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Laura P. Z. Izarra, Hedwig Schwall, Nicholas Taylor-Collins
Published: 4 September 2020
ABEI Journal, Volume 22, pp 15-17; doi:10.37389/abei.v22i1.3874

Mehdi Ghassemi
Published: 4 September 2020
ABEI Journal, Volume 22, pp 237-238; doi:10.37389/abei.v22i1.3861

Abstract:
Hedda Friberg-Harnesk. Reading John Banville through Jean Baudrillard. New York: Cambria Press, 2018. pp.223.LCCN 2018027875 | ISBN 9781604979534
John O'donnell
Published: 4 September 2020
ABEI Journal, Volume 22, pp 49-52; doi:10.37389/abei.v22i1.3846

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Cody D Jarman
Published: 4 September 2020
ABEI Journal, Volume 22, pp 85-95; doi:10.37389/abei.v22i1.3850

Abstract:
This article considers John Banville’s engagement with memories of the Irish Famine and the conventions of the Irish Gothic and Big House novel in his 2009 novel The Infinities by comparing his approach to these topics to that of Emily Lawless in her considerably earlier 1897 collection Traits and Confidences. I argue that Banville’s engagement with the history of the Irish Famine and the conventions of the Irish Gothic and Big House novel are not incidental to the novel’s exploration of the problem of identity and the idea of the self but, rather, are fundamental to its thematic investments. Furthermore, I suggest that the novel’s experimental form fits into Irish literary tradition as Banville’s novel develops questions of identity, form, and content central to Lawless’s text.Resumo: Este artigo considera o envolvimento de John Banville com as memórias da fome irlandesa e as convenções do romance gótico irlandês e sobre a Casa Grande em The Infinities, publicado em 2009, comparando sua abordagem desses tópicos à de Emily Lawless em sua coleção anterior Traits and Confidences de 1897. Argumento que o envolvimento de Banville com a história da fome irlandesa e as convenções do romance gótico irlandês e sobre a Casa Grande não são acidentais à exploração do romance sobre a problemática da identidade e da ideia de si, mas são fundamentais para sua delimitação temática. Além disso, sugiro que a forma experimental do romance se encaixa na tradição literária irlandesa, pois o romance de Banville desenvolve questões de identidade, forma e conteúdo, as quais são centrais ao texto de Lawless.
Adel Cheong
Published: 4 September 2020
ABEI Journal, Volume 22, pp 233-236; doi:10.37389/abei.v22i1.3860

Abstract:
Neil Murphy. John Banville. Maryland, USA: Bucknell University Press, 2018. pp. 216. ISBN 978-1-61148-872-2 (cloth); 978-1-61148-873-9 (electronic)
Jessica Traynor
Published: 4 September 2020
ABEI Journal, Volume 22, pp 53-55; doi:10.37389/abei.v22i1.3847

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Hedwig Schwall
Published: 4 September 2020
ABEI Journal, Volume 22, pp 147-158; doi:10.37389/abei.v22i1.3854

Abstract:
Both Banville and Lacan are Freudian interpreters of the postmodern world. Both replace the classic physical-metaphysical dichotomy with a focus on the materiality of communication in an emophysical world. Both chart the ways in which libidinal streams combine parts of the self and link the self with other people and objects. These interactions take place in three bandwidths of perception, which are re-arranged by the uncanny object a. This ‘object’ reawakens the affects of the unconscious which infuse the identity formations with new energy. In this article we look briefly at how the object a is realised in The Book of Evidence, Ghosts and Eclipse to focus on how it works in The Infinities, especially in the relations between Adam Godley junior and senior, Helen and Hermes.Resumo: Banville e Lacan são intérpretes freudianos do mundo pós-moderno. Ambos substituem a dicotomia físico-metafísica clássica pelo foco na materialidade da comunicação em um mundo emofísico. Ambos traçam a diferentes maneiras pelas quais os fluxos libidinais combinam partes do eu e vinculam o eu a outras pessoas e objetos. Essas interações ocorrem em três larguras de banda da percepção, que são reorganizadas pelo objeto misterioso a. Esse “objeto” desperta os afetos do inconsciente que infundem as formações identitárias com nova energia. Neste artigo, veremos brevemente como o objeto a é percebido em The Book of Evidence, Ghosts e Eclipse, a fim de focar em como ele funciona em The Infinities, especialmente nas relações entre Adam Godley Júnior e Sênior, Helen e Hermes.
Catherine Toal
Published: 4 September 2020
ABEI Journal, Volume 22, pp 173-182; doi:10.37389/abei.v22i1.3856

Abstract:
Mrs Osmond (2017) is unique to date among John Banville’s non-pseudonymous novels in having a female protagonist and no first-person voice. Reviewers have hailed it as a pastiche faithful to the style and dramatic situation of the classic work for which it offers a sequel, Henry James’s The Portrait of a Lady (1881). This essay argues that Mrs Osmond dismantles all the central elements of Portrait. Its manner of doing so shows the fundamental importance of a quality often observed in Banville’s male narrators—misanthropy—to the design of his novels, particularly its close connection to the aspect of his work most highlighted by scholars: metafictional self-reflexivity.Resumo: Mrs. Osmond (2017) é o único entre os romances não pseudonímicos de John Banville a ter uma protagonista feminina e nenhuma voz em primeira pessoa. Os críticos o saudaram como um pastiche fiel ao estilo e à situação dramática da obra clássica The Portrait of A Lady (1881), de Henry James, para a qual oferece uma sequência. Este ensaio argumenta que Mrs. Osmond desmonta todos os elementos centrais de Portrait. Sua maneira de fazer isso mostra a importância fundamental de uma qualidade frequentemente observada nos narradores masculinos de Banville para a construção de seus romances – a misantropia – e particularmente sua estreita conexão com o aspecto mais destacado de sua obra pelos estudiosos: a auto reflexividade metaficcional.
Eiléan Ní Chuilleanáin
Published: 4 September 2020
ABEI Journal, Volume 22, pp 41-42; doi:10.37389/abei.v22i1.3843

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Joakim Wrethed
Published: 4 September 2020
ABEI Journal, Volume 22, pp 183-196; doi:10.37389/abei.v22i1.3857

Abstract:
John Banville’s long career can of course conventionally be viewed as a linearity, but it would be better seen as a form of spiral. This spiral is the hermeneutic process and concomitantly the movements of eternal recurrence in the oeuvre. In accordance with Nietzsche’s concept, these recurrences are not to be construed as returns of the identical. Rather, this ethic and aesthetic dimension in Banville is explicated as an attunement to the overall force of becoming. In agreement with Wallace Stevens’ poetics, Banville’s aesthetic is seen primarily as process. Through the immediate access to metacognition and reflection in the intentional act, Banville, through his protagonists, maintains a sense of wonder as hope in a fictional world often permeated by loss, melancholy and despair. This fictional trait is argued to have been there since the debut up to Banville’s more recent creative work.Resumo: A longa carreira de John Banville pode, evidentemente, ser vista convencionalmente de modo linear, contudo seria melhor se fosse vista como uma forma de espiral. Essa espiral representa o processo hermenêutico e, concomitantemente, os movimentos de recorrência eterna na obra. De acordo com o conceito de Nietzsche, essas recorrências não devem ser interpretadas como retornos do idêntico. Em vez disso, essa dimensão ética e estética em Banville é explicada como uma sintonização com a força geral do devir. De acordo com a poética de Wallace Stevens, a estética de Banville é vista principalmente como processo. Por meio do acesso imediato à metacognição e reflexão no ato intencional, Banville, através de seus protagonistas, mantém um sentimento de admiração como esperança em um mundo fictício, muitas vezes permeado por perda, melancolia e desespero. Argumenta-se que esse traço ficcional está presente desde a sua estréia até a escrita mais recente de Banville.
Colum McCann
Published: 4 September 2020
ABEI Journal, Volume 22; doi:10.37389/abei.v22i1.3842

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Neil Hegarty
Published: 4 September 2020
ABEI Journal, Volume 22, pp 31-32; doi:10.37389/abei.v22i1.3839

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Juan José Delaney
Published: 4 September 2020
ABEI Journal, Volume 22, pp 23-26; doi:10.37389/abei.v22i1.3837

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
David Clark
Published: 4 September 2020
ABEI Journal, Volume 22, pp 229-232; doi:10.37389/abei.v22i1.3859

Abstract:
Benjamin Black. The Secret Guests. New York: Henry Holt and Company, 2020. ISBN-10: 1250133017.
Jorge Schwartz
Published: 4 September 2020
ABEI Journal, Volume 22, pp 199-223; doi:10.37389/abei.v22i1.3858

Abstract:
This article analyzes the neo-creole, a utopian Latin American language, in the midst of the historical avant-garde era, the 1920s and 1930s, although Xul Solar (1887-1963) was faithful to his project until his last days. Neo-Creole is a binding language, basically a mixture of Spanish and Portuguese, thought in terms of a utopia of Latin American brotherhood. Ideologically, it borders on Esperanto. This linguistic production is related to the cosmopolitan aspect of Buenos Aires, a multilingual city with a huge flow of immigrants in the first half of the twentieth century. His two great interlocutors in this invented language have been his wife Lita Cadenas, and Jorge Luis Borges, who wrote several conferences on the painter. Furthermore, this essay mentions the artist’s permanent inventive character: the duodecimal system instead of the decimal (1961 = 1775), the influence of the Kabbalah on his paintings (the pan trees), as well as an impulse to permanent change, the never definitive, fruit of a permanent desire for correction and perfection.Resumo: Este artigo analisa o neo-crioulo, um idioma latino-americano utópico, em meio à vanguarda histórica das décadas de 1920 e 1930, embora Xul Solar (1887-1963) tenha sido fiel a seu projeto até seus últimos dias. O neo-crioulo é uma língua vinculativa, basicamente uma mistura do espanhol e do português, pensada em termos de uma utopia da confraternização latino-americana. Ideologicamente, faz fronteira com o esperanto. Essa produção linguística está relacionada ao perfil cosmopolita de Buenos Aires, uma cidade multilíngue com um enorme fluxo de imigrantes na primeira metade do século XX. Seus dois grandes interlocutores com essa linguagem inventada foram sua esposa Lita Cadenas e Jorge Luis Borges, que escreveu várias conferências sobre o pintor. Ademais, o artigo menciona o permanente caráter inventivo do artista: o sistema duodecimal em vez do decimal (1961 = 1775), a influência da Cabala em suas pinturas (as “pan trees’) e um impulso em direçãoa à mudança permanente, nunca definitiva, fruto permanente de um desejo de correção e perfeição.Resumen: El artículo analiza el neocriollo, un lenguaje utópico, latinoamericanista, en plena era de las vanguardias históricas, los años veinte y treinta, aunque Xul Solar (1887-1963) fue fiel a su proyecto hasta sus últimos días. El neocriollo es un lenguaje aglutinante, mezcla básicamente de español y portugués, pensado en función de una utopía de confraternización latinoamericana. Ideologicamente roza con el Esperanto. Esta producción lingüística tiene mucho que ver con el perfil cosmopolita de Buenos Aires, una ciudad multilingüe con enorme flujo de inmigrantes en la primera mitad del siglo XX. Sus dos grandes interlocutores en esta lengua inventada han sido su esposa Lita Cadenas, y Jorge Luis Borges, que escribió varias conferencias sobre el pintor. El artículo menciona también el caráter inventivo permanente del artista: el sistema duodecimal en vez del decimal (1961 = l775), la influencia de la Cábala en sus pinturas (los pan trees). También un impulso al cambio permanente, lo nunca definitivo, fruto permanente de un afán de corrección y perfección.
Billy O’Callaghan
Published: 4 September 2020
ABEI Journal, Volume 22, pp 45-47; doi:10.37389/abei.v22i1.3845

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Aurora Piñeiro
Published: 4 September 2020
ABEI Journal, Volume 22, pp 121-134; doi:10.37389/abei.v22i1.3852

Abstract:
According to both Genette and Hutcheon, parody is transformational in its relationship to other texts, whereas pastiche is imitative. Other theorists such as Hoesterey and Dyer have redefined pastiche (and imitative textual practices) from the perspective of postmodern aesthetics and explored the way in which it resignifies previous artworks, as it is associated to an awareness of historicity. The aim of this article is to analyse Mrs Osmond (2017) by John Banville as an example of a postmodern pastiche that not only operates by correspondence or tribute in relation to The Portrait of a Lady (1881) by Henry James, but also as a novel where recontextualisation does create meaningful differences between the literary works involved. It is in this distance that Banville’s text unsettles traditional notions of pastiche and produces a more polyvalent effect as well as an expansion of the multiplicity already associated to his authorial figure.Resumo: Segundo Genette e Hutcheon, a paródia é transformacional em sua relação com outros textos, enquanto o pastiche é imitativo. Outros teóricos como Hoesterey e Dyer redefiniram o pastiche (e práticas textuais imitativas) a partir da perspectiva da estética pós-moderna e exploraram a maneira pela obras de arte anteriores são ressignificadas, pois o pastiche está associado a uma consciência da historicidade. O objetivo deste artigo é analisar Mrs. Osmond (2017), de John Banville, como exemplo de um pastiche pós-moderno que não só opera por correspondência ou tributo em relação a The Portrait of a Lady (1881), de Henry James, mas também como um romance no qual a recontextualização cria diferenças significativas entre as obras literárias envolvidas. É a essa distância que o texto de Banville desestabiliza as noções tradicionais de pastiche e produz um efeito mais polivalente, além de uma expansão da multiplicidade já associada a sua figura autoral.
Rosemary Jenkinson
Published: 4 September 2020
ABEI Journal, Volume 22, pp 35-38; doi:10.37389/abei.v22i1.3841

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Alan Gilsenan
Published: 4 September 2020
ABEI Journal, Volume 22, pp 27-29; doi:10.37389/abei.v22i1.3838

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Hedda Friberg-Harnesk
Published: 4 September 2020
ABEI Journal, Volume 22, pp 75-84; doi:10.37389/abei.v22i1.3849

Abstract:
John Banville’s shrouded fictional territory suggests a Nietzschean world in which the notions of truth and reality are questioned and in the center of which humanity might find “an infinite nothing.” From Nietzsche’s bleak vision, the mind readily moves to Jean Baudrillard’s envisioned universe – even bleaker, perhaps – in which simulation is a “dominant mode of perception.” Baudrillard’s ideas are in dialogue with John Banville’s textual explorations of a territory of radical uncertainty. Elements of what can be seen as Baudrillardean third-order simulation are readily discernible in Banville’s late work, but in his play Love in the Wars, at focus in this article, it is Baudrillard’s notion of a pre-Renaissance symbolic order – an age of “the rule,” not of “the roll of the dice” – that has proved a superior analytical tool.Resumo: O território fictício e obscuro de John Banville sugere um mundo nietzschiano no qual as noções de verdade e realidade são questionadas e em cujo centro a humanidade pode encontrar “um nada infinito”. Da visão sombria de Nietzsche, a mente se move rapidamente para o universo imaginado de Jean Baudrillard – talvez ainda mais sombrio – em que a simulação é um “modo dominante de percepção”. As ideias de Baudrillard estão em diálogo com as explorações textuais de John Banville acerca de um território de incerteza radical. Instâncias daquilo que pode ser reconhecido como simulação da terceira ordem baudrillardiana são facilmente discerníveis no trabalho tardio de Banville; contudo, em sua peça Love in the Wars, foco deste artigo, a noção de Baudrillard sobre uma ordem simbólica pré-renascentista – uma era da “ordem”, não do “acaso” – provou ser uma ferramenta analítica superior.
Patrick Holloway
Published: 4 September 2020
ABEI Journal, Volume 22, pp 33-34; doi:10.37389/abei.v22i1.3840

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Nicholas Taylor-Collins
Published: 4 September 2020
ABEI Journal, Volume 22, pp 159-172; doi:10.37389/abei.v22i1.3855

Abstract:
There is a clear engagement with theories of time across Banville’s oeuvre, from his earliest published work through to the twenty-first-century novels. I explore how, in their engagement with age and ageing, Banville’s characters adopt and interrogate Albert Einstein’s and Henri Bergson’s competing ideas of the present and the passage of time, sliding from favouring the former to prioritising the latter. Martin Heidegger’s conception of Dasein, a Being-toward-death, allows me to explore how Banville’s characters evoke either Einstein’s spacetime and series of nows, or Bergson’s psychologised Duration (Durée). This is borne out in Gabriel Godkin’s subverted and anti-atavistic narrative in Birchwood (1973), the battle over authenticity between Copernicus and Rheticus in Doctor Copernicus (1976), and how Hermes controls the mortals’ time and tries his best to age in The Infinities (2009). I conclude that Banville’s characters’ evolving preference for Bergsonian over Einsteinian tropes indicates an acceptance and happy engagement with the ageing process.Resumo: Há um claro envolvimento com as teorias do tempo na obra de Banville como um todo, desde em seus primeiros livros publicados até nos romances do século XXI. Considerando os conceitos de idade e envelhecimento, exploro como os personagens de Banville adotam e interrogam as ideias concorrentes de Albert Einstein e Henri Bergson sobre o presente e a passagem do tempo, deixando de favorecer o primeiro e priorizando o segundo. A concepção de Martin Heidegger de Dasein, um Ser em direção à morte, permite-me explorar como os personagens de Banville evocam a relação espaço-tempo de Einstein e séries de “agoras”, ou a Duração psicologizada de Bergson (Durée). Isso é confirmado na narrativa subvertida e anti-atávica de Gabriel Godkin em Birchwood (1973), na batalha pela autenticidade entre Copernicus e Rheticus em Doctor Copernicus (1976), e na forma como Hermes controla o tempo dos mortais e tenta o seu melhor para envelhecer em The Infinities (2009). Concluo que a preferência crescente dos personagens de Banville pelos tropos bergsonianos e einsteinianos indica uma aceitação e um envolvimento bem-sucedido com o processo de envelhecimento.
Kersti Tarien Powell
Published: 4 September 2020
ABEI Journal, Volume 22, pp 135-146; doi:10.37389/abei.v22i1.3853

Abstract:
Focusing on unpublished manuscript materials, this article is the first scholarly attempt to investigate the textual and thematic evolution of John Banville’s Mefisto (1986). As originally conceived, Mefisto would loosely follow Albert Einstein’s life story in order to investigate the moral and political undercurrents of 20th-century European weltanchauung. However, the novel’s five-year-long composition process culminates with the eradication of these historical, moral and scientific concerns. Mefisto is finally born when Banville establishes Gabriel Swan’s narrative voice. As this article argues, this novel constitutes a turning point not only for the science tetralogy but for Banville’s literary career.Resumo: Com foco em manuscritos não publicados, este artigo é a primeira tentativa acadêmica de investigar a evolução textual e temática de Mefisto (1986), de John Banville. Como originalmente concebido, a história de Mefisto seria livremente baseada na vida de Albert Einstein, a fim de investigar as correntes morais e políticas da weltanchauung europeia do século XX. No entanto, o processo de cinco anos de composição do romance culmina com a erradicação dessas preocupações históricas, morais e científicas. Mefisto finalmente nasceu quando Banville estabelece a voz narrativa de Gabriel Swan. Como este artigo argumenta, este romance constitui um ponto de virada não apenas para a tetralogia científica, mas também para a carreira literária de Banville.
Lianghui Li
Published: 4 September 2020
ABEI Journal, Volume 22, pp 97-107; doi:10.37389/abei.v22i1.3459

Abstract:
Time is complex in Banville’s novels in that they constantly feature tense switching, chronological confusion, and characters who are always casting a look back to the past for an escape from the present. In The Sea, Banville’s experimentation with tenses reflects his conception of time, particularly, the complex relationship between past and present. Part one of this article, focusing on Max’s childhood memory, examines how the blurring of the past and present selves, resulting from frequent tense switching and the notable use of the historical present, destabilizes the temporal gap between the narrator and the narrated within retrospective narration. Part two, concerning Max’s present, proposes to compare the portrayal of the present-day Cedars in the two parts of the novel, and proves the present to be elusive since Max’s experience is not contemporaneous with the time of narration. Drawing on Max’s various experiences of an alternative space, part three proceeds to argue that Max’s entire act of narration constructs a similar alternative space where past and present are engendered simultaneously. The dubious existence of the self in this alternative space suggests a defiance against the deictic center as I- herenow. Resumo: O tempo é complexo nos romances de Banville, pois constantemente apresentam mudança de tempos verbais, confusão cronológica e personagens que estão sempre lançando um olhar para o passado para uma fugir do presente. Em O Mar, a experimentação de Banville com tempos verbais reflete sua concepção de tempo, particularmente a complexa relação entre passado e presente. A primeira parte deste artigo, ao enfocar a memória infantil de Max, examina como o embaçamento entre os “eus” do passado e do presente, como resultado da troca frequente de tempos verbais e do uso notável do presente histórico, desestabiliza a lacuna temporal entre o narrador e o narrado na narração retrospectiva. A segunda parte, referente ao presente de Max, propõe comparar o retrato da família atual, os Cedars, nas duas partes do romance e provar que o presente é ilusório, pois a experiência de Max não é contemporânea ao tempo da narração. Com base nas várias experiências de Max de um espaço alternativo, a terceira parte argumenta que todo o ato de narração de Max constrói um espaço alternativo semelhante, onde passado e presente são gerados simultaneamente. A existência duvidosa do eu neste espaço alternativo sugere um desafio contra o centro dêitico como eu-aqui-agora.
Annemarie Ní Churreáin
Published: 4 September 2020
ABEI Journal, Volume 22, pp 43-44; doi:10.37389/abei.v22i1.3844

Abstract:
This section brings different voices from writers who narrate their experience as readers of John Banville’s work to pay tribute to his 50 years of an inspiring writing.Resumo: Esta seção traz diferentes vozes de escritores que narram sua experiência como leitores do trabalho de John Banville para homenagear seus 50 anos de escrita inspiradora.
Adel Cheong
Published: 4 September 2020
ABEI Journal, Volume 22, pp 61-73; doi:10.37389/abei.v22i1.3848

Abstract:
The trope of returning back to the childhood home, in middle age, after some kind of tragedy has struck is central to both the plot and act of narration in John Banville’s Eclipse (2000) and The Sea (2005). This withdrawal to the past is not simply a thematic element, but also a narrative strategy through which Banville casts an indirect gaze at the world as he describes it. Reality is, thus, never what is simply before your eyes but layered with echoes of the past, more specifically what we remember or imagine to be the past. The return home is also central to Mike McCormack’s Solar Bones (2016), in which Marcus Conway, the ghost-narrator finds himself back at his kitchen table where he reminisces about the past. What unites these novels is the act of narration, or the act of writing, that is carried out in these childhood spaces and places that are key to the ways in which these protagonists understand and confront their sense of identity although this notion of return is met with resistance or not fully understood by oneself. Extending this idea of what the house could symbolize in the context of Banville’s artistic aims, I examine the relationship between past and present, the act of writing for an imagined audience in one's childhood home, and how the spatial dimensions of the house itself relate to or reveal the aesthetics of these novels. Mike McCormack, whose writing has recently gained increasing critical attention, is one Irish author who makes an interesting counterpoint to Banville, in that similar concerns about identity and memory are reflected in the space of the home but in markedly different ways. This essay, hence, will demonstrate certain commonalities between these three novels while distinguishing how each engages with representations of space and place, particularly in the context of identity and the idea of home.Resumo: O tropo do retorno ao lar da infância, na meia-idade, após algum tipo de tragédia é central para a trama e para o ato de narrar em Eclipse (2000) e The Sea (2005), de John Banville. Revisitar o passado não é apenas um elemento temático, mas também uma estratégia narrativa por meio da qual Banville lança um olhar indireto para o mundo como ele o descreve. A realidade nunca é, portanto, o que parece diante de seus olhos, pois está mergulhada em ecos do passado, mais especificamente do que lembramos ou imaginamos ser o passado. A volta para casa também é central para Solar Bones (2016), de Mike McCormack, em que Marcus Conway, o narrador-fantasma, vê-se novamente sentado à mesa da cozinha, onde relembra o passado. O que une esses romances é o ato de narrar, ou o ato de escrever, realizado nesses espaços e lugares da infância que são fundamentais para a maneira pela qual esses protagonistas entendem e confrontam seu senso de identidade, embora essa noção de retorno seja não só percebida com resistência, como também mal compreendida em sua totalidade. Ampliando a ideia do que a casa poderia simbolizar no contexto dos objetivos artísticos de Banville, examino a relação entre passado e presente, o ato de escrever para um público imaginado na casa de infância e como as dimensões espaciais da casa se relacionam ou revelam a estética desses romances. Mike McCormack, cuja escrita tem recebido crescente atenção crítica, é um autor irlandês que faz um contraponto interessante a Banville, na medida em que preocupações semelhantes sobre identidade e memória são refletidas no espaço da casa, mas de maneiras marcadamente diferentes. Este ensaio, portanto, demonstrará certas semelhanças entre esses três romances, enquanto distingue como cada um se envolve com representações de espaço e lugar, particularmente no contexto da identidade e da ideia de lar.
Neil Murphy
Published: 4 September 2020
ABEI Journal, Volume 22, pp 109-120; doi:10.37389/abei.v22i1.3851

Abstract:
This essay argues that John Banville’s Ghosts (1993) may in fact be Banville’s most technically inventive novel, replete as it is with multi-layered ontological levels that repeatedly bring its primary diegetic discourse into communion with other artistic forms – music, paintings, statues, as well as a narrative saturation with other literary antecedents that exceeds anything found elsewhere in his work. Ghosts demonstrates an implicit layering of dialectical levels, in effect a narrative enactment of the multiple worlds theory that so fascinates several of Banville’s narrators. Nowhere else does he generate so comprehensive a model of a multi-level ontological system in which the levels intersect so purposefully as Ghosts. This essay maps out a topography of what is effectively a sophisticated fictional variant on the scientific multiple worlds theory in Ghosts, and offers some perspectives on the significance of this aesthetic model.Resumo: Este ensaio argumenta que Ghosts (1993), de John Banville, pode considerado o romance mais tecnicamente inventivo de Banville, repleto de níveis ontológicos com diversas camadas que trazem, repetidamente, seu discurso diegético primário em comunhão com outras formas artísticas – música, pinturas, estátuas, bem como uma saturação narrativa com outros antecedentes literários que excedem qualquer coisa encontrada em outro lugar em sua obra. Ghosts demonstra uma camada implícita de níveis dialéticos que são, de fato, uma encenação narrativa da teoria dos múltiplos mundos que tanto fascinam muitos dos narradores de Banville. Em nenhum outro lugar ele gera um modelo tão abrangente de um sistema ontológico com diferentes níveis que se cruzam tão propositadamente quanto em Ghosts. Este ensaio mapeia uma topografia do que é efetivamente uma variante fictícia sofisticada da teoria científica de múltiplos mundos em Ghosts, e oferece algumas perspectivas sobre a importância desse modelo estético.
Angela Byrne
Published: 13 May 2020
ABEI Journal, Volume 21, pp 27-36; doi:10.37389/abei.v21i2.3812

Abstract:
Irish-born Cynthia Longfield (1896-1991) became a leading entomologistafter participating in three expeditions to South America in the 1920s. Working unpaid in the British Museum for 30 years, she catalogued Odonata (dragonflies and damselflies) from all over the world, published scientific papers, and collaborated with British, Irish and international scientists. While she made several other collecting expeditions to Africa and South-East Asia in the 1920s and 1930s, her early experiences of South American natural history are a crucial aspect of her formation asan internationally renowned scientist, and are an interesting chapter in the long history of Irish connections with the region. She was a migrant, a traveller, and a scientist, and was a person at once privileged by her class and denied basic equalities due to her gender. This article firstly considers her scientific career in the context of Irish women’s migration in the first half of the twentieth century, before focusing on her three voyages to South America in 1921-7 and, finally, examining the ways in which her participation in the St George expedition– as one of just three women aboard ship – was reported in the Anglophone press.
Stephania Ribeiro Do Amaral Corrêa, Peter James Harris
Published: 13 May 2020
ABEI Journal, Volume 21, pp 57-68; doi:10.37389/abei.v21i2.3377

Abstract:
Oscar Wilde is renowned for the sharp wit of his pithy aphorisms, which are evident throughout his writing. In particular, his dramatic oeuvre demonstrates the enduring qualities of his skill as a playwright. However, one of his most enduring legacy comes from one of his critical writings: the effective separation between aesthetics and ethics. In "The Critic as Artist", one of the essays published in Intentions, in 1891, Wilde draws a distinction between Aesthetics and Ethics, arguing that they belong to different spheres. Wilde’s essay was of seminal importance in altering the way in which works of art were analysed: to this day, morality and utility are no longer considered valid criteria with which to judge the artistic qualities of any creative work. The aim of this article is to discuss Wilde’s plays in the light of his aesthetic criticism, focusing primarily on the separation between aesthetics and ethics, demonstrating that the very aesthetic principles Wilde helped to establish and disseminate are also present in the texts of his plays, since the first tragedy, Vera, or The Nihilists (1882) to his last play, The Importance of Being Earnest (1895).
Claudia Parra
Published: 13 May 2020
ABEI Journal, Volume 21, pp 69-83; doi:10.37389/abei.v21i2.3815

Abstract:
In a period when the stereotype of womanhood in Irish drama was determined by political influences, and the male figure was the sole representation of the active force of humanity, Sean O’Casey’s women were a type of subject which was apparently non-existent, even though they demonstrated the real significance of the power they withheld among their families and communities. In Juno and the Paycock (1924), the playwright surprises the audience by staging representations of Dublin tenement women which subvert the prevailing image of powerless females in Irish drama. O’Casey’s female characters, Juno and Mary, undergo a process of strengthening which enables them to surpass domineering structural forces and challenge conservative and oppressive gender expectations about power. They are depicted as being imperfect,just as men are, but they are also representations of autonomous individuals who embody characteristics that lead us to envisage female empowerment. This article seeks to demonstrate that when applying notions of personal empowerment, O’Casey’s play confers visibility and appropriate representation to those strong marginalised women.
Barry Tumelty
Published: 13 May 2020
ABEI Journal, Volume 21, pp 13-14; doi:10.37389/abei.v21i2.3819

Alzira Leite Vieira Allegro
Published: 13 May 2020
ABEI Journal, Volume 21, pp 101-107; doi:10.37389/abei.v21i2.3816

Abstract:
What follows is a briefly expanded version derived from a short talk given at XIV ABEI and II AEIS Symposium of Irish Studies in South America, held at USP on August 14, 2019. I reflect on my experience both as a professor oftranslation and literature of English-speaking countries and – in this specific case – as a translator of texts by Irish authors and by different scholars and professionals who discuss Irish life, culture and society.
Aurélio Michiles, Mariana Bolfarine
Published: 13 May 2020
ABEI Journal, Volume 21, pp 51-54; doi:10.37389/abei.v21i2.3814

Abstract:
In the Name of this Land/Em Nome desta Terra is a feature documentary film that explores the atrocities committed by rubber barons against theenslaved Indians in Colombia and on the Putumayo River district. Such atrocities were reported in 1910 by the British diplomat Roger Casement, an obstinate human rights defender, in the Amazon and in Africa, who was sentenced to death in 1916 after fighting for the independence of Ireland. In April 2019, in La Chorrera, where the Peruvian Amazon Company was stationed, along 10 days the production crew filmed the lives of the Uitotos, Boras, Ocainas and Muinanes Indians, the four surviving peoples of what is now known as the “indigenous holocaust”.
María Graciela Eliggi, Ma. Elena Pérez Bustillo
Published: 13 May 2020
ABEI Journal, Volume 21, pp 109-117; doi:10.37389/abei.v21i2.3817

Abstract:
George Bernard Shaw, playwright and theatre critic, was an outstandingbut also highly controversial figure. In his role as critic, writing for The Saturday Review, he exposed and condemned the weaknesses of Victorian drama, full of melodramatic, biased ideas, typical of the English bourgeois mentality of his time. He was concerned, not only with drama but mostly with the attitude of a hypocritical society. Rosalie Rahal Haddad’s book Shaw, O Crítico/Shaw, the Critic (2009), presents what Shaw understood as good theater and comments on some of his critical texts that show how his ideas prevail and are still applicable today. In this work we intend to show, first, the difficulties met while translating from both Portuguese and late 19th century English and the decisions made by the translators. Secondly, we aim at referring to the process of negotiation of meanings (Eco 2008) and the linguistic and cultural revision resulting from the initial phase of translation, which is understood as a multidimensional process that includes the acts of reading and re-reading, as well as interpreting, based on context of production and reception, creating a text in another language, and finally revising, before coming out with the translated version.
Daniela Nicoletti Fávero
Published: 13 May 2020
ABEI Journal, Volume 21, pp 147-153; doi:10.37389/abei.v21i2.3429

Abstract:
Questions regarding the female gender – especially those that entail women’s role in society – are better understood once analyzed within a historical background. In the Irish patriarchal perspective, women were idealized as wife and mothers; motherhood was imposed as a social norm, and the domestic realm was sanctified as the basis of thefamily unit. This institutionalized version of womanhood, questioned initially by the 1970s feminist movements, is confronted by the transformations of Ireland after the Celtic Tiger Period, when the work environment was redesigned with the inclusion women as workforce. From the 1980s onward, Irish women demanded the revision of issues such as marriage, motherhood, abortion, sexual freedom and equal pay. In “Quare Name for a Boy”, published in Antarctica (1999), Claire Keegan presents the predicament of a woman who gets pregnant after a casual fling, returning home to reassess her place and fate, in comparison to those of her female relatives. This reading of Keegan’s story, in the light of studies by Pauline Jackson, Jacqueline Rose, and Pilar Argáiz on the social and cultural transformations that Ireland has undergone, intendsto demonstrate how women are breaking the mold regarding female fate by opting for a more independent role in society.
Viviana Patricia Keegan
Published: 13 May 2020
ABEI Journal, Volume 21, pp 87-97; doi:10.37389/abei.v21i2.3407

Abstract:
During the 1810s and 1820s thousands of Irishmen enlisted in the patriot armies of South America, many of them in the British and Irish Legions fighting with Simón Bolívar in the independence wars of Venezuela and Colombia. Two hundred years later, Colombian writer Jairo Buitrago brings back the lives of those soldiers and officers in Los irlandeses, a short novel for young teenagers that vividly recreates theharshness of the war and the sufferings and loyalty of those brave men. With a thorough investigation of the historical context and a sound and lyric prose, the book tells the story of Lucas, a Colombian fourteen-year-old boy who, in the company of four Irish soldiers from the Rifles, survives the war and grows up, approaching the novel to a Bildungsroman. This paper analyses how the Irish soldiers are portrayed in this novella for children and the historical context in which the action is set. The edition and the illustrations in charcoal by Santiago Guevara provide a new concept in picture books.
Giovanna Tallone
Published: 13 May 2020
ABEI Journal, Volume 21, pp 121-133; doi:10.37389/abei.v21i2.3818

Abstract:
An analysis of the work of Éilís Ní Dhuibhne and Mary O’Donnell is away to honour the activities of the Brazilian Association of irish Studies, as both writers visited Brazil in 2016 and 2019, respectively, and their work has appeared in the ABEI Journal, along with critical essays on their creative production. Born in the same year, Ní Dhuibhne and O’Donnell are two of the most representative female voices in contemporary Irish writing, constantly crossing the borders between different interests, literary genres, and forms of artistic expression. In particular, both areconcerned with the awareness of the creative process, so that the conscious literariness of their fiction provides an interesting insight into the issue of writing itself. Throughout their careers, figures of artists, intellectuals, writers, students, teachers and academics constantly recur in their fiction, which displays an increasing concern with the figure ofthe artist and the writer, creativity and the act of writing. The purpose of this paper is to examine and compare artist figures in the fiction of Éilís Ní Dhuibhne and Mary O’Donnell and relate them to their narrative strategies, focusing on creativity and on the consciousness of the creative process, disclosing hidden layers of meanings in their literary affinities.
Angus Mitchell
Published: 13 May 2020
ABEI Journal, Volume 21, pp 37-49; doi:10.37389/abei.v21i2.3813

Abstract:
Roger Casement made two journeys to Argentina: the first was in 1907 and the second was in 1910. Little is known about either trip beyond a few fragmentary references in letters and some encrypted entries in the contested Black Diaries. Nonetheless, these traces would suggest that Casement was connected into a vibrant Irish-Argentinian network that played a vital role in the independence struggle before and after 1916. Through reconstructing evidence of these visits and locating his friendships within Ireland’s broader transnational struggle, this essay excavates a dimension of informal diplomacy that prepared the ground for the emergence of Irish foreign policy after 1919.
Mariana Bolfarine
Published: 13 May 2020
ABEI Journal, Volume 21; doi:10.37389/abei.v21i2.3810

Marcel De Lima Santos
Published: 13 May 2020
ABEI Journal, Volume 21, pp 135-146; doi:10.37389/abei.v21i2.3365

Abstract:
It is argued here that certain literary representations related to Irish Studies, such as the oral tradition of the “Caoineadh”, or lament panegyric, as well as the “luadh”, or vigil songs, can be seen under the light of a somewhat new conceptual idea, given their marginal, if not liminal, nature, called ethnopoetics. Such epistemological tool can indeed allow the artistic representations of autochthonous practices to reflect more fully the worldview of societies to which art, as culture in general, is intrinsically linked to religious values as a whole, revealing the complexity of “primitive” as opposed to civilized. Hence, this paper evidences the Irish oral poetic tradition as its object of study, under the light of an ethnopoetic conceptualization, given both the marginal nature of its compositions, connected to a feminine force, and the liminal quality of its interdisciplinary representations, associated to the rites of passage.
Mariana Bolfarine, Laura P. Z. Izarra, Munira H Mutran, Rosalie Haddad, Alessandra Cristina Rigonato, Eduardo Boheme Kumamoto
Published: 13 May 2020
ABEI Journal, Volume 21, pp 17-24; doi:10.37389/abei.v21i2.3811

Abstract:
The round table commemorating the thirtieth anniversary of the BrazilianAssociation of Irish Studies (ABEI) and tenth year of the W.B. Yeats Chair of Irish Studies was part of the XIV ABEI and II AEIS Symposium of Irish Studies - “The State of the Art: Local and Global Contexts in Dialogue”, and was held on August 15, 2019. The session was comprised by Dr Munira H. Mutran, honorary president of ABEI and director of the W.B. Yeats Chair of Irish Studies; Dr Laura P.Z. de Izarra, coordinator of the W.B. Yeats Chair and advisory member of ABEI; Dr Rosalie R. Haddad, advisory member of ABEI and researcher in the W.B. Yeats Chair, Alessandra Cristina Rigonato, PhD candidate at the University ofSão Paulo, and Eduardo Kumamoto, graduate from the University of São Paulo and Master in Literary Translation at Trinity College Dublin. The discussion, which revolved around the history of the founding of both ABEI and the Chair, and their current developments, was conducted by Dr Mariana Bolfarine, head of ABEI and researcher at the W.B. Yeats Chair of Irish Studies.
Alysson Tadeu Alves De Oliveira
Published: 13 May 2020
ABEI Journal, Volume 21, pp 157-159; doi:10.37389/abei.v21i2.3485

Abstract:
Published in 2019, “Sorte”, by Brazilian writer Nara Vidal, is a historical novel whose main character is Margareth Cunningham, a young woman living with her family in the 18th Century Ireland. Suffering from famine and poor living conditions, they dream to move to Brazil, whose name resembles the mythical island Hy-Brazil. This review analyzes the narrative movement in which utopia is an impulse that drive their journey and the text, while the fictive universe serves as an investigation of structures of oppression that remain in both countries throughout the centuries.
Camila Franco Batista
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3272

Abstract:
This review analyses the Special Issue of Estudios Irlandeses vol. 13, n. 2 - "Gender Issues in Contemporary Irish Literature", edited by Melania Terrazas Galego.
James Mc Eroy
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3372

Abstract:
The Apotheosis Of Tins And/Or Reinterpretation Of The "Phenomenological" In Irish Literature With Special Reference To The Poetry Of Derek Mahon
Tarso Do Amaral De Souza Cruz
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3252

Abstract:
James Joyce’s fictional works have been vastly analyzed and discussed ever since the first decades of the twentieth century. Nevertheless, only recently there has been a consistent growth of the critical attention given to Joyce’s essayistic production. One of the most emblematic essays written by Joyce is “Drama and Life”, from 1900. It is precisely in this essay that Joyce introduces and develops concepts ­– such as Joyce’s concept of drama – that would eventually turn out to be of paramount importance to the unfolding and to the understanding of his work as a whole. This article aims to critically analyze “Drama and Life” and hopefully provide enough evidence to support the hypotheses that Joyce’s conceptualization of drama is based upon basically essentialist premises and that these very premises have foundational importance for the development Joyce’s fictional work. The ideas on Joyce’s essayistic output, as well as on “Drama and Life” itself, posited by Caetano W. Galindo, Richard Ellmann, Sérgio Medeiros, and Andrew Gibson are used as theoretical basis for the development of the article.
Mark Harman
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3244

Abstract:
This essay focuses on the ambivalent relationship between Jorge Luis Borges and James Joyce from the perspective of literary translation as well as of the Argentinian writer’s fluctuating attitude towards his Irish counterpart. Both writers are polylingual artists and life-long translators. Borges was fond of making provocative statements about translation, though his own translations are rarely as radical as his theories about the craft. He could not enjoy the comparatively unfettered freedom of a self-translator like Joyce, whose Italianizing rendering of an excerpt from Finnegans Wake is more Borgesian than Borges.
Dirce Waltrick Do Amarante
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3240

Abstract:
I propose here a feminist reading of Finnegans Wake, or rather, another feminist reading of the novel, since this approach is not new: there are some quite solid studies on the theme. It is believed that in Finnegans Wake Joyce brings woman to light, contrary to what happens in Ulysses, a novel in which the writer leaves her (or them) practically mute for more than six hundred pages. My thesis is that Anna Livia is the great narrator of the Wake, but instead of silencing the other voices, she allows everyone to speak, and unites the talk of everybody in a colorful weave, a collage of narrative threads that she is careful not to break, so that they may have a continuity, albeit tenuous.
Viviane Carvalho Da Annunciação
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3456

Abstract:
The historian Eric Hobsbawm defined the sixties as a moment of collective intensity. In addition to the political changes, the decade created the material conditions for the emergence of a new kind of subjectivity, supported by shared cultural expectations. Poetry followed these subjective and social transformations through the expansions of literary forms and modes of exhibition. The objective of this article is then to examine how the poetic landscape of the sixties was shaped by this revolutionary energy. In order to do that, I am going to focus on three different locations: Northern Ireland (Belfast), Scotland (Glasgow), and Brazil (São Paulo).
Published: 17 July 2019
ABEI Journal, Volume 21; doi:10.37389/abei.v21i1.3239

Abstract:
Entrevista com Bernardina da Silveira Pinheiro, tradutora de Ulisses
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