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Yeats, Philosophy, and the Occult is a collection of essays examining the thought of the Irish poet W. B. Yeats and particularly his philosophical reading and explorations of older systems of thought, where philosophy, mysticism, and the supernatural blend. It opens with a broad survey of the current state of Yeats scholarship and examination of Yeats’s poetic practice through a manuscript that shows the original core of a poem that became a work of philosophical thought and occult lore, “The Phases of the Moon.” The following essay examines an area where spiritualism, eugenic theory, and criminology cross paths in the writings of Cesare Lombroso, and Yeats’s response to his work. The third paper considers Yeats’s debts to the East, especially Buddhist and Hindu thought, while the fourth looks at his ideas about the dream-state, the nature of reality, and contact with the dead. The fifth essay explores Yeats’s understanding of the concept of the Great Year from classical astronomy and philosophy, and its role in the system of his work A Vision, and the sixth paper studies that work’s theory of “contemporaneous periods” affecting each other across history in the light of Oswald Spengler’s The Decline of the West. The seventh essay evaluates Yeats’s reading of Berkeley and his critics’ appreciation (or lack of it) of how he responds to Berkeley’s idealism. The book as a whole explores how Yeats’s mind and thought relate to his poetry, drama, and prose, and how his reading informs all of them.

Touchstones examines the ways in which John McGahern became a writer through reading. This reading was both extensive and intensive, and tended towards immersion in the classics. New insights are provided into McGahern’s use of writers as diverse as Dante Alighieri, William Blake, Stendhal, Albert Camus, W. B. Yeats and several others. Evidence for these claims is found both through close reading of McGahern’s published texts as well as via unprecedented sleuthing in his extensive archive of papers held at the National University of Ireland, Galway. The ultimate intention of this book is to draw attention to the very literary and writerly nature of McGahern as an artist, and to place him, not just as a great Irish writer, but as part of a long and venerable European tradition.

Tartan Gangs and Paramilitaries is a new oral history of the loyalist backlash of the early 1970s in Northern Ireland. In the violent maelstrom of Belfast in 1971 and 1972 many young members of loyalist youth gangs known as ‘Tartans’ converged with fledgling paramilitary groups such as the Red Hand Commando, Ulster Volunteer Force and Young Citizen Volunteers. This fresh account focuses on the manner in which the loyalist community in Belfast reacted to an increasingly vicious Provisional IRA campaign and explores the violent role that young loyalist men played in the period from 1970 – 1975. Through the use of unique one-on-one interviews former members of Tartan gangs and loyalist paramilitaries explain what motivated them to cross the Rubicon from gang activity to paramilitaries. The book utilises a wide range of sources such as newspaper articles, loyalist newssheets, coroners’ inquest reports and government memorandums to provide the context for a dynamic new study of the emergence of loyalist paramilitarism.

The Knights of Labor became the first national movement of American workers between 1869 and 1917. They also established branches of their movement across the world. This book explores the history of the Knights of Labor in Britain and Ireland, where between 1883 and the end of the century they organised upwards of 50 individual assemblies (branches) and 10,000 members across England, Wales, Scotland and Ireland. It treats the Knights as an important but under-recognised part of the great changes taking place within the British labour movement at the end of the nineteenth century, whether in terms of the growth of labour politics (and ultimately the Labour Party) or the transformation of the trade unions from the movement of a minority of wage earners to a majority of them. This book looks at the approaches that British and Irish Knights took to politics, industrial relations, race, culture and gender, drawing on and making comparisons with the well-established historiography of the Knights in Canada and the United States, and shows how British and Irish Knights tried and ultimately failed to make their American movement a permanent part of the British and Irish industrial landscape.

Over the last decade Spain and Mexico have both produced an extraordinary wealth of television drama and are among the leaders in their respective continents. The new dramas have high production values (easily the equal of cinema), intricately plotted narratives, and compellingly ambivalent characters. They are thus clearly worthy of the close textual analysis they have not yet received. Drawing on both national practices of production and reception (based on archival research in Madrid and Mexico City) and international theories of textual analysis, this book offers the first study of contemporary quality TV drama in two countries where, unlike elsewhere, it is not yet recognized that television has displaced cinema as the creative medium that shapes the national narrative. As dramatized societies, Spain and Mexico are thus at once reflected and refracted by the new series on the small screen. Social issues treated include historical memory, youth, drugs, race, and gender.

This book examines the grass-roots relationship between the Irish Republican Army (IRA) and the civilian population during the Irish Revolution. It is primarily concerned with the attempts of the militant revolutionaries to discourage, stifle, and punish dissent among the local populations in which they operated, and the actions or inactions by which dissent was expressed or implied. Focusing on the period of guerilla war against British rule from c. 1917 to 1922, it uncovers the acts of ‘everyday’ violence, threat, and harm that characterized much of the revolutionary activity of this period in the Irish town or parish. It begins by treating the IRA’s challenge to the British state through the campaign against servants of the Crown – policemen, magistrates, civil servants, and others – and IRA participation in local government and the republican counter-state. The book then explores the nature of civilian defiance and IRA punishment in communities across the island before turning its attention specifically to the year that followed the ‘Truce’ of July 1921. This study argues that civilians rarely operated at either extreme of a spectrum of support but, rather, in a large and fluid middle ground. Behaviour was rooted in local circumstances, and influenced by local fears, suspicions, and rivalries. IRA punishment was similarly dictated by community conditions and usually suited to the nature of the perceived defiance. Overall, violence and intimidation in Ireland was persistent, but, by some contemporary standards, relatively restrained.

This book brings together new research from established and emerging scholars whose work focuses on Britain’s history and memory of transatlantic slavery and the slave trade. These chapters focus on the ‘small stories’ of slavery and abolition within the ‘local’ experiences of individuals and communities who were nonetheless part of the ‘national sin’ of slavery. Broken down into two parts, Part One considers some small scale specifics of Britain’s history of slavery and the slave trade, and Part Two considers how this history and its legacies has been remembered (or not) through individual people and in particular places. The book contains chapters which consider how people became involved in the slave trade, slavery and the campaign to end it, and covers such places as the Channel Islands, London, Liverpool, Glasgow, Buckinghamshire and Portsmouth.

Avant-Folk is the first comprehensive study of a loose collective of important British and American poets, publishers, and artists (including Lorine Niedecker, Ian Hamilton Finlay, and Jonathan Williams) and the intersection of folk and modernist, concrete and lyric poetics within the small press poetry networks that developed around these figures from the 1950s up to the present day. This book argues that the merging of the demotic with the avant-garde is but one of the many consequences of a particularly vibrant period of creative exchange when this network of poets, publishers, and artists expanded considerably the possibilities of small press publishing. Avant-Folk explores how, from this still largely unexplored body of work, emerge new critical relations to place, space, and locale. Paying close attention to the transmission of demotic cultural expressions, this study of small press poetry networks also revises current assessments regarding the relationship between the cosmopolitan and the regional and between avant-garde and vernacular, folk aesthetics. Readers of Avant-Folk will gain an understanding of how small press publishing practices have revised these familiar terms and how they reconceive the broader field of twentieth-century British and American poetry.

In the last quarter of the twentieth century a considerable number of Spanish films were involved in the task of essaying the nation, that is, of attempting to make it or make it over, of trying to reshape a national identity inexorably dictated by General Francisco Franco up to his death. The book explores four major issues in this regard: firstly, the filmic negotiations of the borders of the nation, focusing particularly on the debated and controversial development of Basque cinema vis-à-vis the films produced in the rest of Spain; secondly, the persistence of the old obsession with violence, thought of as an inescapable native trait, in a large amount of post-dictatorial films; thirdly, the newfound insatiable appetite for cinematic travelling, for going out and coming in through all possible variations of the road and travel movie genres; and, fourthly, the vindication of the mother qua a benign emblem of the land and its people, of the nation. There is a narrative in Spanish cinema, taken as a collective discourse, which ties together these four cinematic topoi and proposes a nation whose specificity must be precisely its impurity — difference within as essence — a hybrid nation located in temporal and spatial rendezvous of past and present, tradition and novelty, centre and margin, inside and outside, on and beyond.

Postcolonial studies has taken a significant turn since 2000 from the post-structural focus on language and identity of the 1980s and 1990s to more materialist and sociological approaches. A key theorist in inspiring this innovative new scholarship has been Pierre Bourdieu. Bourdieu and Postcolonial Studies shows the emergence of this strand of postcolonialism through collecting texts that pioneered this approach—by Graham Huggan, Chris Bongie, and Sarah Brouillette—as well as emerging scholarship that follows the path these critics have established. This Bourdieu-inspired work examines the institutions that structure the creation, dissemination, and reception of world literature; the foundational values of the field and its sometimes ambivalent relationship to the popular; and the ways concepts like habitus, cultural capital, consecration and anamnesis can be deployed in reading postcolonial texts. Topics include explorations of the institutions of the field such as the B.B.C.’s Caribbean voices program and the South African publishing industry; analysis of Bourdieu’s fieldwork in Algeria during the decolonization era; and comparisons between Bourdieu’s work and alternative versions of literary sociology such as Pascale Casanova’s and Franco Moretti’s. The sociological approach to literature developed in the collected essays shows how, even if the commodification of postcolonialism threatens to neutralize the field’s potential for resistance and opposition, a renewed project of postcolonial critique can be built in the contaminated spaces of globalization.