The book, first published in 1987, offers a unique perspective on its subject matter, showcasing insights that remain relevant today. As part of Routledge, an imprint of Taylor & Francis, it reflects rigorous academic standards and a commitment to scholarly excellence. Readers can expect a blend of historical context and contemporary analysis, making it a valuable resource for both students and professionals in the field.
A provocative history of Ulysses and the Easter Rising as harbingers of decolonization. When revolutionaries seized Dublin during the 1916 Easter Rising, they looked back to unrequited pasts to point the way toward radical futures—transforming the Celtic Twilight into the electric light of modern Dublin in James Joyce’s Ulysses. For Luke Gibbons, the short-lived rebellion converted the Irish renaissance into the beginning of a global decolonial movement. James Joyce and the Irish Revolution maps connections between modernists and radicals, tracing not only Joyce’s projection of Ireland onto the world stage, but also how revolutionary leaders like Ernie O’Malley turned to Ulysses to make sense of their shattered worlds. Coinciding with the centenary of both Ulysses and Irish independence, this book challenges received narratives about the rebellion and the novel that left Ireland changed, changed utterly.
Luke Gibbons revisits representations of the Famine, particularly those in Ireland's Great Hunger Museum to argue that images can not only give visual pleasure but demand ethical interventions on the part of spectators.
For decades, James Joyce’s modernism has overshadowed his Irishness, as his self-imposed exile and association with the high modernism of Europe’s urban centers has led critics to see him almost exclusively as a cosmopolitan figure. In Joyce’s Ghosts, Luke Gibbons mounts a powerful argument that this view is mistaken: Joyce’s Irishness is intrinsic to his modernism, informing his most distinctive literary experiments. Ireland, Gibbons shows, is not just a source of subject matter or content for Joyce, but of form itself. Joyce’s stylistic innovations can be traced at least as much to the tragedies of Irish history as to the shock of European modernity, as he explores the incomplete project of inner life under colonialism. Joyce’s language, Gibbons reveals, is haunted by ghosts, less concerned with the stream of consciousness than with a vernacular interior dialogue, the “shout in the street,” that gives room to outside voices and shadowy presences, the disruptions of a late colonial culture in crisis. Showing us how memory under modernism breaks free of the nightmare of history, and how in doing so it gives birth to new forms, Gibbons forces us to think anew about Joyce’s achievement and its foundations.
Two hundred years after her death, Mary Shelley is still alive. She has been granted immunity from death by the Fifth Estate: a vampire-led organization that has kept the world from being overrun by sentient zombies. She is the first of many human storytellers employed to reveal the presence of undead inhabitants on this planet. Others included: Bram Stoker and George Romero. Their works have been used to prepare society for the impending judgment day. Even government organizations such as the CDC have unknowingly joined the effort by issuing contingency plans. However, the world changed, and people are no longer afraid of what goes bump in the night. We are desensitized. In our state of ignorance vampires have become our guardians and zombies have become more menacing and thoughtful. Only faced with the possibility of extinction has humankind come to embrace the reality of a zombie apocalypse. However, it is too late because the attack has already begun. Zombies, like other creatures on Earth, have evolved over the centuries. No longer shiftless and slow, they now rely on guile and science to attack humankind. Their most recent invention is a vaccine for H1NI that will turn its receiver into a full-fledged zombie. The books and movies had it wrong from the beginning. A zombie scratch or bite won't turn you because zombies don't leave anything to turn. They are the ultimate predator. Like Shelley's Frankenstein, the first fictional zombie, only science can make one into a zombie and once humankind labeled the latest flu a global pandemic, the fight was over before it even started.
The study explores the deep connection between Burke's early writings on aesthetics and his political views. It delves into how his aesthetic theories not only shaped his philosophical outlook but also influenced his political ideology, revealing the interplay between art and politics in his work.
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