For hundreds of years, Ireland has been a testing ground for colonizing techniques. Postcolonial Dublin shows how perpetrators of colonialism have made use of urban planning and architecture to underscore and legitimate ideologies. From suburban development to building facades, the conflict between nationalists and colonialists has inscribed itself on Dublin's landscape. Andrew Kincaid illustrates how the architecture and urban planning of Dublin have been integral to debates about nationalism, modernism, and Ireland's relationship to the rest of the world. Looking at objects such as Londonderry's Market House, Patrick Abercrombie's Dublin of the Future, and the urban renewal project of today's Temple Bar, Kincaid highlights Ireland's colonial history and the significance of architecture in the evolution of national identity. In doing so, he demonstrates how ideology "spatializes" itself. Postcolonial Dublin engages the prevailing historical representations of Irish nationalism, arguing that the evolving city reflected a debate over who would hold the reins of power. Bringing the tools of literary criticism and postcolonial theory to bear on the field of urban studies, Kincaid places Dublin at the forefront of debates over modernism, modernity, and globalization.Andrew Kincaid is assistant professor of English at the University of Wisconsin, Milwaukee.

This book represents an attempt to tackle questions related to fragmented and often conflicting ideologies within Irish studies. Although a collective outcome, with contributions in English and Spanish, its unifying concern has been the appliance of postcolonial and gender perspectives to the analysis of Irish literature (prose, drama and verse) and cinema, as well as to the aesthetic production of both the Republic of Ireland and Northern Ireland. Along the volume, while some authors have chosen to delve into the broad theoretical debate concerning the position of Irish studies within postcolonial and feminist theories, others offer detailed examinations of specific literary pieces and authors that fit in this panorama. All in all, the chapters are wide and diverse enough to trace a spatial and temporal map of the evolution of these paradigms within contemporary Irish studies, North and South of the border.

A pioneering study of the development of one of the key critical discourses in contemporary Irish studies, this book covers all the major figures, publications and debates within Irish postcolonial criticism, delivering a commentary on this diverse body of work as well as positioning Irish postcolonial criticism within the wider postcolonial field.

This original study is the first major critical appraisal of Ireland’s post-colonial experience in relation to that of other emergent nations. The parallels between Ireland, India, Latin America, Africa and Europe establish bridges in literary and musical contexts which offer a unique insight into independence and freedom, and the ways in which they are articulated by emergent nations. They explore the master-servant relationship, the functions of narrative, and the concepts of nationalism, map-making, exile, schizophrenia, hybridity, magical realism and disillusion. The author offers many incisive answers to the question: What happens to an emerging nation after it has emerged?

The contributors to this volume—themselves from six continents and many representing indigenous and minority communities and disadvantaged countries—suggest strategies to strip archaeological theory and practice of its colonial heritage and create a discipline sensitive to its inherent inequalities.

Winner, 2010 Donald Murphy Prize for a Distinguished First Book, American Conference on Irish Studies Renowned as one of the most brilliant satirists ever, Jonathan Swift has long fascinated Hibernophiles beyond the shores of the Emerald Isle. Sean Moore's examination of Swift's writings and the economics behind the distribution of his work elucidates the humorist's crucial role in developing a renewed sense of nationalism among the Irish during the eighteenth century. Taking Swift's Irish satires, such as A Modest Proposal and the Drapier's Letters, as examples of anticolonial discourse, Moore unpacks the author's carefully considered published words and his deliberate drive to liberate the Dublin publishing industry from England's shadow to argue that the writer was doing nothing less than creating a national print media. He points to the actions of Anglo-Irish colonial subjects at the outset of Britain's financial revolution; inspired by Swift's dream of a sovereign Ireland, these men and women harnessed the printing press to disseminate ideas of cultural autonomy and defend the country's economic rights. Doing so, Moore contends, imbued the island with a sense of Irishness that led to a feeling of independence from England and ultimately gave the Irish a surprising degree of financial autonomy. Applying postcolonial, new economic, and book history approaches to eighteenth-century studies, Swift, the Book, and the Irish Financial Revolution effectively links the era's critiques of empire to the financial and legal motives for decolonization. Scholars of colonialism, postcolonialism, Irish studies, Atlantic studies, Swift, and the history of the book will find Moore's eye-opening arguments original and compelling.

Traces development of Irish literary modernism from the 1920s to the 1990s through the writings of James Joyce, John Millington Synge, Samuel Beckett, Sean O'Faolain, Frank McCourt, and the Blasket Island autobiographers, Tomas O'Crohan and Maurice O'Sullivan. Considers Irish literature in relation to Irish nationalism and aftermath of British empire.