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• The Petrified Men and the Scarecrow: Substance, Body, and Self-image in Seamus Heaney’s Bog Poems

  József Pap

  Views:

  102

  Seamus Heaney’s poetry was engaged with violence for decades. His artistic exploration of land and fossils revolved around the same questions: to what extent can a human being move himself away from an inherent “tribalism”? To what extent is identity inherited through history and what rights, responsibilities come with it? These questions arose in the author's oeuvre when the horrors of civil war reached their peak in Northern Ireland. The issues of shared community not only played a significant role in the development of self-identification, they also meant the survival of the sectarian conflict. Starting with the first bog-poems, Heaney was keen on producing a mythology to serve identity, and sometimes allowed his political opinion to filter through the images of Stone Age remains from the bog. For scientists, the investigation of archeological finds means relying on methods such as the necessary carbon analysis and careful identification of evidence, as to who these bodies were, when they lived, what characterized their daily routines, and the times they lived in. The same findings, however, had a different impact on Heaney. He used the metaphor of the land of these ancient bodies, and of history, to engage with the question of identity, but criticism made him reconsider what position he should take on the morality of the given past society. At the same time the poet, who voluntarily shared common roots with these long-forgotten forbears, was the one who started deconstructing their moral heritage in the works written towards the end of his poetic oeuvre. In contrast to earlier poems on bog-bodies, “Tollund” from the 1996 collection, The Spirit Level, and “Tollund Man in Springtime” from 2006, reflect a forward-looking attitude in which Heaney left behind an apologist viewpoint for sectarian violence. (JP)

• "The Very Seeds of Fire”: Chris Lee’s The Map Maker’s Sorrow

  Donald E. Morse

  Views:

  74

  Chris Lee’s The Map Maker’s Sorrow (1999), produced at the Abbey Theatre only six years after Ireland decriminalized suicide, proved prescient in focusing on this national health problem among the young. The very structure of the play mirrors the fragmentation and messy aftermath that suicide almost inevitably produces. The abrupt beginning, where a character that the audience does not know and cannot know kills himself, leaves the audience in a position similar to that of survivors who find a suicide. Drawing on the work of Ludwig Binswanger, Kay Renfield Jamison, and national studies of suicide the essay argues that young Jason’s suicide represents a direct challenge to life understood as an orderly progression from birth to death and as an attempt to deny the very premise of lived life itself. (DEM)

• In Memoriam: Sam Shepard

  Donald E. Morse

  Views:

  65

  In Memoriam: Sam Shepard

• “If I Should Die”: Attitudes to the Dead Hero in British Poetry of the Great War

  István D. Rácz

  Views:

  74

  When we read the poems of the Great War today, we interpret them both as historical documents and as works of art. World War I poetry wished to open the readers’ eyes to the horror that they were unable to imagine in the home country. As a consequence, the representation of the victim position proved to be particularly important both in populist texts (such as John McCrae’s “In Flanders Fields”) and in poems undermining the conventional idea of heroism (such as those by Charles Sorley, Wilfred Owen, Edmund Blunden). Furthermore, a comparison between two poems about war heroes, Rupert Brooke’s “The Soldier” and Yeats’s “An Irish Airman Foresees His Death” demonstrates the difference between war poetry and modernist literature. Yeats views and considers the problem of the dead hero from a distance, whereas Brooke represents his own situation from within. Both texts (although very different both in character and in artistic value) contribute to our better understanding of the war experience. (IDR)

• Utopian Horizons in Hungary

  Joachim Fischer

  Views:

  84

  Book review:

  Czigányik, Zsolt, ed. Utopian Horizons: Ideology, Politics, Literature. Budapest, New York: Central European UP, 2017. viii + 256 pages. ISBN 978-963-386-181-3. Hb. Npr.

• Editor’s Notes

  Lenke Németh

  Views:

  101

  Editor's notes

• The Truth of Beauty and the Goodness of Chaos: Jim Clarke’s Nietzschean Burgess

  Ákos Farkas

  Views:

  41

  Book review:

  Clarke, Jim. The Aesthetics of Anthony Burgess: Fire of Words. Cham: Palgrave Macmillan, 2017. xviii + 303 pages. ISBN 978-3-319-66410-1. Hb. £49.29.

• The Murdochian Moral Vision and the Art of Contemporary Cinema

  Dávid Szőke

  Views:

  77

  Book review:

  Bolton, Lucy. Contemporary Cinema and the Philosophy of Iris Murdoch. Edinburgh: Edinburgh UP, 2019. 228 pages. ISBN 9781474416399. Pbk. £75.00.

• Modernism between History and Academia

  Erika Mihálycsa

  Views:

  77

  Books reviewed:

  Bahun, Sanja. Modernism and Melancholia: Writing as Countermourning. Oxford: OUP, 2014. 236 pages. ISBN 978-0-19-997795-6. Hb. $45.00.

  Goldstone, Andrew. Fictions of Autonomy: Modernism from Wilde to de Man. Oxford: OUP, 2013. 204 pages. ISBN 978-0-19-986112-5. Hb. $73.00.

   

• Performing on the Razor’s Edge: On the Aesthetics of the Theatre of Martin McDonagh

  Péter P. Müller

  Views:

  92

  Since the emergence of naturalism in the theatre in the last decades of the nineteenth century the reality of an action on the stage has been put into a new context. The previous tradition of performance characterized by artificial, schematic solutions in gestures and speaking was replaced by direct presentation. Performance pretended that real events were taking place in an artificial, stylized context; that is, within the framework of the theatre. The first part of the essay discusses the connection between theatre and violence, starting from a historical and philosophical context and arriving at an aesthetic perspective which regards violence as a challenge for the theatrical representation. The second part studies stage violence in the plays of Martin McDonagh with the primary example of The Lieutenant of Inishmore. The third part summarizes the Hungarian reception of The Lieutenant of Inishmore and compares two productions which handle the staging of natural and brutal scenes quite differently. As the whole play has a metatheatrical feature, confronting theatre with the general problem of theatrical representation, it is relevant to see how this challenge is handled by the productions reviewed. (PPM)

• In Memoriam Tom Murphy (1935-2018)

  Csilla Bertha

  Views:

  87

      

• Larkin’s Poetics

  Attila Dósa

  Views:

  62

  Book review:

  Rácz, István. Philip Larkin’s Poetics: Theory and Practice of an English Post-War Poet. Leiden and Boston: Brill Rodopi. 2016. 235 pages. ISBN 978-90-04-31106-0. Hb. €76.00.