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Jennifer Keating

Game and Michael Collins, underscoring the high quality of film and literary production emerging from Ireland in this period. The screen adaptation was the subject matter for Colin MacCabe’s BB (Ireland into Film) and Kate Hall’s analysis of McCabe’s portrayals of Irish childhood in We Won’t Make


Flore Coulouma

Patrick McCabe has been hailed as the “King of Bog Gothic” (O’Mahony). Violent psychosis is a recurring theme in McCabe’s stories, and his unique blend of rural subjects and crazed violence sets him apart from the “big house” Gothic tradition furthered by the likes of John Banville, Aidan Higgins


Luke Gibbons

of the ‘object-relations’ school in psychoanalysis). The child is not driven solely by biological needs but is also subject to the desire for attachment, for affection, intimacy and human contact. As Ian Suttie, one of the pioneering figures of the object-relations approach, expresses it, desire


K. Brisley Brennan

building. In that sense, habitus as an analytical tool isolates the mediation within which subjects take on forms and projections—the negotiation of the structure of feeling. For as haphazard or unorganized as the structure of feeling might seem, it is remarkably structured by competing habituses


James F. Knapp

with what we know about the world, though always subject to the disproof of future knowledge (Whittle 265). Free-Stater and Republican alike believe their own views of the world, however different, to be grounded in actuality, though some previously unknown archive could one day prove one or both to be


Lindsay Haney

, subject neither to ungovernable urges nor painful repression, allows for broader considerations of cultural complicity in the crimes of and related to the Church. As the issue of the scandalized church and the figure of the priest continue to be newsworthy in the years after 2005, many of the more


Aisling B. Cormack

postcolonial subjects, who must assert their national separateness. BB , published in 1992, is one of several works by McCabe—including Music on Clinton Street (1986), Carn (1989), BoP (1998), Call Me the Breeze (2003) and The Stray Sod Country (2010)—that feature social outcasts growing up in


Kristina Varade

within literature often reflects postmodern traits. Music, as understood in postmodern Irish fiction, conveys fragments of ideas and yet, at the same time, remains in some way distinct to each subject with which it comes into contact. On a general level, music in postmodern literature may engender a


Barbara M. Hoffmann

consider him something of a monster. His “demurring” (again, to use Dickinson’s term) from the actions of the majority makes him, if not necessarily dangerous, then at least bizarre. In Stephen’s society – one in which it is considered normal to subject young people to a three day sermon describing the