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By Colin Graham

Deconstructing eire examines the direction through which the background of modernity and colonialism has developed an concept of "Ireland," produced extra frequently as a quotation than an reality. The author's procedure -- utilizing Derridean deconstruction in alliance with positions in postcolonial and Subaltern reviews -- illuminates the best way nationwide identification is built and reconfigured via a desirable diversity of fabric, together with literature, political writing, and renowned cultural varieties equivalent to tv, movie, and ads.

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Anderson, Imagined Communities, p. 145. 39. Thirty First International Eucharistic Congress, Dublin 1932: Pictorial Record, p. 165 40. This phrase from Mark Maguire, ‘The Space of the Nation: History, Culture and a Conflict in Modern Ireland’, Irish Studies Review, 6:2 (1998), 111. 41. Maguire, ‘The Space of the Nation: History, Culture and a Conflict in Modern Ireland’, 110. 42. Maguire, ‘The Space of the Nation: History, Culture and a Conflict in Modern Ireland’, 114. 43. Frantz Fanon, The Wretched of the Earth (Harmondsworth: Penguin, 1990), p.

O’Donnell, The Irish Future, with the Lordship of the World (London: Cecil Palmer, 1931), p. 17. html Jameson, Postmodernism, p. 165. Jean Baudrillard, Simulations, trans. Paul Foss, Paul Patton and Philip Beitchman (New York: Semiotext(e), 1983), p. 101. Seán Hillen, Irelantis (Dublin: Irelantis, 1999). On Hillen’s art and its relationship to John Hinde’s postcards see Mic Moroney, ‘Postcards from the Edge’, Cara (March/April 1998), 20–8. On Irelantis see Rosita Boland, ‘Hillen’s Hinde-sight’, The Irish Times (Weekend Section), 9 October 1999, p.

97 Without entering the socio-politics of this debate, it is clear that in criticism (and perhaps particularly in Irish criticism) the nation and the postmodern are too often played out against each other, as insular atavism battling with the ‘multi-’, a sincere nostalgia blinkering itself to ironic pastiche. The interaction of nostalgia and future visions in a ‘crise pléthorique’ may not be a symptom of an Irish obsession with history. 98 As this chapter has tried to show, not only does ‘Ireland’ cast itself into the future in order to be realised; it also turns inside-out the underlying need for the future, disarming the crisis of what the future might be by forcing it to exist in a ‘plethora’ of cultural images.

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