By Ellen Crowell
This booklet identifies and translates the longstanding ideological and aesthetic discussion among the literary imaginations of Anglo-Ireland and the Anglo-American South.
It bargains a wealthy comparative exam of 19th- and twentieth-century Irish and American Southern plantation literatures and their respective representations of race and country, gender and sexuality, area and panorama, and the gothic mind's eye. Pairing significant writers from either traditions, together with Maria Edgeworth, William Faulkner, Oscar Wilde, Katherine Anne Porter and Elizabeth Bowen, the publication indicates how this transatlantic discussion coalesced round questions of strength, supremacy, and gentility: writers in Anglo-Irish and Anglo-Southern literary traditions well-known and spoke to one another during the discourse of aristocracy.
As the e-book demonstrates, from the early nineteenth-century onwards, Irish and Anglo-Southern writers carried out a sustained exploration into structures of aristocracy throughout the determine of the dissipated, deviant gentleman (or lady): the dandy. by means of augmenting literary research with various ancient, biographical, archival and visible fabrics, together with nineteenth-century exchange playing cards, unique letters, and twentieth-century photographic pics, the e-book bargains readers a wide-ranging, interdisciplinary illumination of transatlantic modernism.
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Additional resources for The Dandy in Irish and American Southern Fiction: Aristocratic Drag
Burke 1881: 363) Such arguments have prompted some critics to label Burke’s his politics progressive; his long-held beliefs in the efficacy of Catholic emancipation and the abolition of the slave trade seem to bear out this identification. Yet reform, in the Burkean sense, is enacted to conserve power. By carefully monitoring the climate of their country and initiating reforms as needed, Burke argues, an aristocracy might retain moral power and thus ascendancy: ‘[The Anglo-Irish] ought well to look about them .
Lee: General commanding the army of Virginia the idol of his soldiers & the Hope of His Country is also the handsomest man in all that constitutes real dignity of man that I ever saw. A large rich intense blue-ish gray eye a beautifully shaped head, a most benign expression, manly healthful complexion, iron gray beard neatly trimmed, a nose slightly aquiline, a small well-shaped mouth, erect with commanding porte & long graceful kneck, solidly embedded in broad manly shoulders & deep chest the whole supported by a lightly muscular frame of more than the average height make together with an easy courteous manner one of the most prepossessing figures that ever bore the weight of command or led the fortunes of a nation.
Burke’s paradoxical maxim, succinctly paraphrased by Terry Eagleton as: ‘what [the English aristocracy] ought to have done was to allow the colonies to associate the very idea of their own freedom with the sovereignty that holds them down’ (Eagleton 1995: 38), structures both Kennedy’s pastoral and Edgeworth’s gothic vision of aristocratic reform. On Kennedy’s bucolic Swallow Barn plantation, where dutiful servants are rewarded with certain freedoms within slavery, readers find ‘successful’ applications of Burke’s sovereignty paradox; Edgeworth’s Castle Rackrent, the decaying ancestral seat in which servants actively and covertly usurp their masters’ power, imagines the dystopic perils of inattentive estate management.