By Gerry Smyth, Jo Croft (Editors)
House has emerged lately as an intensive classification in various comparable disciplines around the humanities. Of the numerous attainable functions of this new curiosity, probably the most fascinating and not easy have addressed the difficulty of household structure and its functionality as an area for either the dramatisation and the negotiation of a cluster of hugely salient concerns referring to, among different issues, belonging and exclusion, worry and hope, id and distinction. Our home is a cross-disciplinary selection of essays taking as its concentration either the possibility and the potential for ‘the house’. This latter time period is taken in its broadest attainable resonance, encompassing every thing from the good homes so cherished of nineteenth-century English novelists to the caravans and cellular houses of the latterday vacationing group, and all issues in among. The essays are written by way of a mix of demonstrated and rising students, operating in quite a few scholarly disciplines, together with literary feedback, sociology, cultural stories, historical past, well known track, and structure. No particular tuition or idea predominates, even supposing the paintings of 2 key figures – Gaston Bachelard and Martin Heidegger – is engaged all through. This assortment engages with a few key concerns raised by means of the more and more afflicted courting among the cultural (built) and traditional environments within the modern international. Contents Acknowledgements participants Gerry SMYTH and Jo CROFT: creation: tradition and household house 1 Joe MORAN: homes, behavior and reminiscence 2 Gerry SMYTH: ‘You comprehend what household structure needs to be, you do’: discovering domestic within the Wind within the Willows three Karen SAYER: The lifetime of a rustic Cottage four Ruth MCELROY: Labouring at relaxation: features of way of life and the increase of remodeling five Shane ALCOBIA-MURPHY: secure condominium: Authenticity, Nostalgia and the Irish condominium 6 Mari HUGHES-EDWARDS: ‘The apartment … has cancer’: Representations of household house within the Poetry of Carol Ann Duffy 7 Scott BREWSTER: development, living, relocating: Seamus Heaney, Tom Paulin and the opposite Aesthetic eight Jeff ADAMS: afflicted locations: household area in photograph Novels nine Peter CHILDS: homeowners: group, Violence and Resistance in 3 modern Women’s Texts 10 Ron MOY: Sonic structure: domestic Hi-fi and Stereo(types) eleven Jo CROFT: a lifetime of Longing in the back of the bed room Door: Adolescent area and the Makings of non-public id 12 Joseph BOUGHEY: One Widower’s domestic: Excavating a few Disturbed Meanings of family area References Index
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Additional info for Our House: The Representation of Domestic Space in Modern Culture (Nature, Culture and Literature 2) (Nature, Culture & Literature)
The political revolution of 1916-1922 (in which the state that would become the Republic of Ireland was established) was accompanied (and to a significant degree precipitated) by a cultural revolution that had been underway since the late eighteenth century.
One of the more useful insights of Bachelard’s work is its questioning of this conventional linkage of time, memory and identity. Bachelard sees our memories as an effect not of the “sentimental repercussions” of childhood (1994: xxiii) but of our everyday interaction with matter and space. He suggests that memory is not a wholly interiorised experience in which we seek to retrieve the lost time of the past, but a practical activity involving the substances and sensations of the physical world.
The world is excluded, “shut out”, precisely because it is a place where “everything” can never be “exactly right”. That (as so much Victorian literature attests) is a condition reserved only for childhood and dreams. At the same time, the space described is in some senses already a cultural one – a built environment (encompassing shelves and walls, and presumably a roof and door) in which are housed a range of materially preferred objects. Culture is also present in the allusions to the social context of poverty, and to the taste that prescribes the superiority of certain “editions”.