The Cabinet of Irish Literature: A Historical Perspective on Irish Anthologies

DC FieldValueLanguage
dc.contributor.authorKelleher, Margaret-
dc.date.accessioned2021-10-18T14:56:16Z-
dc.date.available2021-10-18T14:56:16Z-
dc.date.issued2003-01-
dc.identifier.citationEire-Irelanden_US
dc.identifier.issn0013-2683-
dc.identifier.urihttp://hdl.handle.net/10197/12552-
dc.description.abstractTHE CABINET OF IRISH LITERATURE: A HISTORICAL PERSPECTIVE ON IRISH ANTHOLOGIES* MARGARET KELLEHER I. THE “CULTURE OF THE EXCERPT” among the flurry of reviews and commentaries that followed the publication of volumes I to III of the Field Day Anthology of Irish Writing in 1991, those of most enduring interest moved beyond the heat of the moment to a more general reflection on the role of anthologies themselves. Francis Mulhern’s 1993 essay, “A Nation, Yet Again” began, for example, with the cautionary pronouncement, by then all too evident, that “[a]nthologies are strategic weapons in literary politics.”1 Mulhern acknowledged that “authored texts of all kinds—poems, novels, plays, reviews, analyses—play more or less telling parts in a theatre of shifting alliances and antagonisms ,” but he argued for the special rhetorical force of anthologies in their “simulation of self evidence.THE CABINET OF IRISH LITERATURE: A HISTORICAL PERSPECTIVE ON IRISH ANTHOLOGIES* MARGARET KELLEHER I. THE “CULTURE OF THE EXCERPT” among the flurry of reviews and commentaries that followed the publication of volumes I to III of the Field Day Anthology of Irish Writing in 1991, those of most enduring interest moved beyond the heat of the moment to a more general reflection on the role of anthologies themselves. Francis Mulhern’s 1993 essay, “A Nation, Yet Again” began, for example, with the cautionary pronouncement, by then all too evident, that “[a]nthologies are strategic weapons in literary politics.”1 Mulhern acknowledged that “authored texts of all kinds—poems, novels, plays, reviews, analyses—play more or less telling parts in a theatre of shifting alliances and antagonisms ,” but he argued for the special rhetorical force of anthologies in their “simulation of self evidence.THE CABINET OF IRISH LITERATURE: A HISTORICAL PERSPECTIVE ON IRISH ANTHOLOGIES* MARGARET KELLEHER I. THE “CULTURE OF THE EXCERPT” among the flurry of reviews and commentaries that followed the publication of volumes I to III of the Field Day Anthology of Irish Writing in 1991, those of most enduring interest moved beyond the heat of the moment to a more general reflection on the role of anthologies themselves. Francis Mulhern’s 1993 essay, “A Nation, Yet Again” began, for example, with the cautionary pronouncement, by then all too evident, that “[a]nthologies are strategic weapons in literary politics.”1 Mulhern acknowledged that “authored texts of all kinds—poems, novels, plays, reviews, analyses—play more or less telling parts in a theatre of shifting alliances and antagonisms ,” but he argued for the special rhetorical force of anthologies in their “simulation of self evidence.en_US
dc.language.isoenen_US
dc.publisherIrish-American Cultural Instituteen_US
dc.subjectIrish literatureen_US
dc.subjectAnthologiesen_US
dc.subjectPublishing historyen_US
dc.titleThe Cabinet of Irish Literature: A Historical Perspective on Irish Anthologiesen_US
dc.typeJournal Articleen_US
dc.internal.authorcontactothermargaret.o.kelleher@ucd.ieen_US
dc.internal.webversionshttps://muse.jhu.edu/article/666474/summary-
dc.statusPeer revieweden_US
dc.identifier.volume38en_US
dc.identifier.issue3-4en_US
dc.identifier.startpage68en_US
dc.identifier.endpage89en_US
dc.identifier.doi10.1353/eir.2003.0004-
dc.neeo.contributorKelleher|Margaret|aut|-
dc.date.updated2020-09-02T19:07:43Z-
dc.rights.licensehttps://creativecommons.org/licenses/by-nc-nd/3.0/ie/en_US
item.grantfulltextopen-
item.fulltextWith Fulltext-
Appears in Collections:English, Drama & Film Research Collection
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