ENH 290: Modern Irish Literature and Culture

Summer 2006—Study Abroad in Ireland

Session 1

Instructor: Dr. Mary E. Aldridge Email: maldridg@mail.mc.maricopa.edu

“Your wits can’t thicken in that soft moist air, on those white springy roads, in those misty rushes and brown bogs, on those hillsides of granite rocks and magenta heather. You’ve no such colours in the sky, no such lure in the distance, no such sadness in the evenings. Oh the dreaming! The dreaming! The torturing, heartscalding, never satisfying dreaming, dreaming, dreaming.”

George Bernard Shaw, John Bull’s Other Island

Course description:

In the twentieth century alone, Ireland has produced much of the western world’s great literature. This small country, about the size of Ohio, has generated four Nobel Prize winners for literature: G. B. Shaw, W. B. Yeats, Samuel Beckett, and Seamus Heaney. All of the writers we will study have used Ireland and its

complicated history as part of the subject of their work, whether James Joyce is

writing about Dublin in 1910 or Seamus Heaney is writing about Derry in 1980.

While Ireland has clearly shaped its writers, to what degree have Irish writers

shaped the idea of “Ireland”?

This course attempts to answer that question as it also considers other aspects of Ireland’s culture. We will examine fiction, poetry, and drama by Irish writers in addition to other aspects of Irish culture from the 1880s to the present. We will pay particular attention to the political, personal, and military struggles against British colonialism, as they are reflected in poetry, drama, fiction, music, and film. Beginning with a mixture of mythological “Celtic Twilight” and fervent political activism of the first wave Irish Renaissance—W. B. Yeats, Padriag Pearse, Sean O’Casey, J. M. Synge—, we will work our way through the moment of independence for the Republic of Ireland, and we will address the challenges to the politics and people of the Irish State as it is articulated by contemporary writers—Nuala Ní Dhomhnaill, Seamus Heaney, Patrick Kavanagh, Eavan Boland, Brian Friel, Patrick McCabe. From James Joyce’s fiction to U2’s music to Neil Jordan’s films, we will examine how “the troubles” in Northern Ireland have been reflected in high and popular culture and how this culture has influenced Ireland’s literary tradition. No prior knowledge of Irish history is expected.

Goals and objectives:

The main goals of this course are to acquaint students with a selection of texts that represent the “best” of Irish writing while supplementing these texts with additional aspects of Irish culture. In order to appreciate the milieu in which these texts were produced, students will be expected to understand key components of Irish history as well as present day issues. Students should come to recognize the complex, deeply felt beliefs that divide parts of the country and contribute to the continuing troubles. As a literature course, this class will examine the qualities that make for excellence in writing; students will develop their critical abilities, improve their reading and writing skills and their ability to participate in discussions.

Course expectations:

Students should have the assignments read before class and should come to class

prepared to discuss the readings/music/film. Grades will be based on oral and

written discussion, 4 reader responses, in class quizzes (essay format), and a

reading/reflection journal.

Grading:

Here is how your grade will be computed:

Responses: 300 pts. (4) (700-1000 words each)

Quizzes: 100 pts. (4)

Journal: 400 pts. (15 entries)

Participation/Attendance: 200 pts.

Attendance and participation:

Attending class is an important part of any college course; it is more crucial in this class as much of the work is accomplished in discussion during class time

Your participation in class is essential to your success in this course. I expect you to contribute relevant comments in class.

Late work:

I will not accept late work.

Assignments:

All assignments on your syllabus are to be completed by the date they appear on the syllabus. If you are absent the class period before an in-class assignment, an impromptu assignment, or any other assignment, you are still responsible for it upon your return.

All out of class papers are to be in MLA format—no exceptions.

Please note: In this course we will watch films that are rated “R”. No substitutions will be made.

Webboard:

You must post to the webboard on the designated days. You will need an MCC username and password to do so. Please post as early as possible. You must not only post original responses, but you must also post responses to other students’ postings at least 4 times during the semester. Postings should be at least 200 words each.

In class work:

In class work cannot be made up, no matter the reason for your absence. If

you miss a movie, it is your responsibility to rent it and to watch it.

Plagiarism:

Plagiarism consists of submitting someone else’s work as your own or of

borrowing someone else’s work without citation. Sometimes the line between

borrowing and stealing is unclear. If you are ever uncertain, ask me to clarify the

difference. Plagiarism is a serious offense with equally serious consequences:

failure of the course and possibly dismissal from the college.

Course schedule

June:

6: Intro to course

Read introduction pp. xiii-xxxix (have this read by first class)

Background info—historical, social, cultural

Irish Resistance and Literary Revival

Thomas Kinsella, “The Irish Writer” (handout)

Patrick Pearse, “The Coming Revolution” p. 185

“I am Ireland” p. 391

“The Mother” p. 393

James Clarence Mangan, “To My Native Land” p. 140

“Kathaleen Ny-Houlahan” p. 145

W. B. Yeats, “Easter 1916” p. 347

7: Begin film—Michael Collins

Writing a response to literature: thesis and evidence

8: Michael Collins (cont.)

Quiz #1

12: Response #1 due

Intro to James Joyce

Dubliners

Robin Bates, “Can John Kidd Save Ulysses?”

Intro to MLA format

13: James Joyce, Ulysses episode one, “Telemachus” p. 293

Preparations for Dublin—Joyce, Yeats, and other Dublin Writers

New Dubliners (handout)

Influence on writers and on city

Contemporary music and art

14: Intro to Yeats and the Revival

Patrick Kavanagh, “If Ever You Go To Dublin Town” (handout)

Thomas MacDonagh, “from Literature in Ireland” p.212

W. B. Yeats, “To Ireland in the Coming Times” p. 343

“The Lake Isle of Innisfree”

“September 1913”

“The Wild Swans at Coole” p. 349

“Sailing to Byzantium” p. 362

“The Circus Animals Desertion” p. 363

Quiz #2

15: Dublin

19: W. B. Yeats, Cathleen Ni Houlihan p. 421

J. M. Synge, Riders to the Sea

Patrick Kavanagh, selected poems (handout)

Response #2 (Scavenger Hunt) due.

20: Language and Culture

Poetry and song in Irish

Nuala Ní Dhomhnaill, “Muintir m’Athar” (handout)

Pearse Hutchinson, “Achnasheen” (handout)

“The Frost is All Over”

Ciaran Carson, “The Irish For No” (handout)

“Belfast Confetti”

“Clearance”

21: Brian Friel, Molly Sweeney

Response #3

22: Women in Ireland

Eavan Boland, selected poems (handout)

Nuala Ni Dhomhnaill, selected poems (handout)

Music

Art

26: Modern Ireland

John Montague, “Speech for an Ideal Irish Election” (handout)

Christian O’Reilly, “The Brickman” (handout)

Current situation—political, economic, cultural, social

27: Film: In the Name of the Father

Response #3

28: Northern Ireland

“The Troubles”

Sean MacBride, “Britain’s Role in Ireland: The Hunger Strike” (handout)

Literature of the North

Padraic Fiacc, “The British Connection” (handout)

“Credo Credo”

“Soldiers”

Seamus Deane, “Roots” (handout)

“Return”

“A World Without a Name”

“History Lessons”

Gerald Dawe, “The Lundy’s Letter” (handout)

Quiz #4

29: Seamus Heaney, selected poems (handout)

Richard Murphy, “The Last Galway Hooker” (handout)

Brendan Behan, “The Confirmation Suit” (handout)

Response #4 due