I have always felt like an outsider and so have been preoccupied by questions of identity and belonging. In my youth, I became fascinated by the great Irish writers W. B. Yeats and James Joyce and their struggles with such questions after my family moved from Ulster to Scotland. As a young academic in Brisbane, I encountered fierce debates about Australian national identity as it shifted from a British heritage to a multicultural society. In the flux of the modern world, our identities are always under challenge and often require painful renovation.
I wrote...
The Dynamics of Cultural Nationalism: The Gaelic Revival and the Creation of the Irish Nation State
Much of the study of nationalism is about politics and violence. My book is about individuals generally seen in the background of history – for example, writers (poets and journalists), scholars (historians, archaeologists), language activists, mystics, and religious rebels. Such figures, however, transformed how people thought about tradition and modernity by "rediscovering" an Irish golden past and culture distinct from that of Britain. They created new national identities on which an independent Irish nation-state now rests.
I found there were three significant cultural revivals around which these figures coalesced, but only the third was politically transformative. I ask why each of these cultural revivals formed and when they became politically powerful.
This play conveys the inner world of nationalism in both its romance and fanaticism.
Yeats’s play became a cult for young revolutionary nationalists in celebrating blood sacrifice for the nation. A young man joins an uprising on the eve of his wedding after meeting an old woman, Cathleen ni Houlihan (a folk name for Ireland), who pleads for his help to recover her green fields. By his sacrifice, Cathleen is transformed into a beautiful young woman with "the face of a queen."
Yeats later agonised over this play and developed a more ambivalent attitude to nationalism. When young nationalists staged a sacrificial rebellion in 1916, he warned in his poem "Easter 1916" that "Too long a sacrifice can make a stone of the heart." He asked in a later poem, "Did that play of mine send out / Certain men the English shot?"
Cathleen Ni Houlihan is a one-act play written by the renowned Irish poet and playwright, William Butler Yeats. The play was first performed in 1902 and is set in rural Ireland during the early 20th century. The story revolves around a family who is preparing for the wedding of their son, Michael, and his fianc�����e, Delia. However, their plans are interrupted when a mysterious woman named Cathleen Ni Houlihan arrives at their door seeking their help.Cathleen is a symbol of Ireland and her struggle for independence from British rule. She tells the family of her sons who have died fighting…
Discovering Joyce in my youth was a revelation. In this fictionalised autobiography, Joyce rejects Yeats’s Irish folk models, seeking to emancipate the individual from the nets of family, religion, and nationality.
Whereas the early Yeats romanticises the idea of blood sacrifice for Mother Ireland, Joyce has his hero, Stephen Dedalus, declare Ireland is the old sow that devours her own farrow. Stephen flees Dublin for Europe, choosing the vocation of the cosmopolitan artist who, from exile, will liberate his benighted nation.
Like Yeats, Joyce remains obsessed with Ireland and the tension between the national and the universal.
A masterpiece of modern fiction, James Joyce's semiautobiographical first novel follows Stephen Dedalus, a sensitive and creative youth who rebels against his family, his education, and his country by committing himself to the artist's life.
"I will not serve," vows Dedalus, "that in which I no longer believe...and I will try to express myself in some mode of life or art as freely as I can." Likening himself to God, Dedalus notes that the artist "remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails." Joyce's rendering of the impressions of…
This is the major book of my teacher, Anthony D. Smith, which seeks to explain why nationalism has become the dominant ideology of much of humanity.
In it, he argues that nationalism seeks to answer profound questions of identity arising from the crises generated by the global secular, political, and economic revolutions of modernity. Although nationalism is a predominantly modern phenomenon, its power rests on its ability to evoke and renovate the myths, symbols, and memories of older ethnic communities to legitimise political demands for autonomy.
Smith takes the symbolic world of nationalists seriously, particularly their preoccupation with national golden ages that are evoked to inspire a drive for a glorious future.
This book is an excellent, comprehensive account of the ways in which nations and nationhood have evolved over time. Successful in hardback, it is now available in paperback for a student audience.
Kedourie passionately hates nationalism, which he sees as an irrational millenarian movement born of Enlightenment intellectuals who debunk religion and tradition. He disparages it as a "children’s crusade" on the part of a new group of educated young excluded from power that they see as their right. They promise that the overthrow of the existing order will deliver liberation and earthly salvation but this produces only revolution, war, and tyranny.
It is vividly written, with brilliant characterisations of individual nationalists. This unbalanced critique proposes that wrong ideas, such as national self-determination, have disastrous consequences. But it contains important insights into the "dark side" of nationalism.
This edition of Elie Kedourie's Nationalism brings back into print one of the classic texts of our times. With great elegance and lucidity, the author traces the philosophical foundations of the nationalist doctrine, the conditions which gave rise to it, and the political consequences of its spread in Europe and elsewhere over the past two centuries. As Isaiah Berlin wrote of the original edition, "Kedourie's account of these ideas and their effect is exemplary: clear, learned and just."
In a new introduction the author reflects upon the origins of the book and the relationship of his argument to contemporary nationalist…
Gellner is, for me, one of the most original social thinkers of our time and shocks you out of your assumptions.
In this book, among much else, he offers the most incisive version of his theory of nationalism. Turning Kedourie on his head just as Marx did to Hegel, he argues that nationalist ideas are so much froth and are a product of larger structural forces. They arise in the transition from agro-literate to industrial societies.
Nationalism’s real significance is not a return to a folk past, but its creation of high cultures in the language of the people propagated in national educational systems that provide the basis of scientific modernity. So far from being a cause of war, nationalism makes a liberal international order possible.
Brilliantly written, this is an iconoclastic counter to both Smith and Kedourie.
I grew up on a family farm surrounded by larger vegetable and dairy operations that used migrant labor. From an early age, my siblings and I were acquainted with the children of these workers, children whom we shared a school desk with one day and were gone the next. On summer vacations, our parents hauled us around in a station wagon with a popup camper, which they parked in out-of-the-way hayfields and on mountainous plateaus, shunning, much to our chagrin, normal campgrounds, and swimming pools. Thus, I grew up exposed to different cultures and environments. My writing reflects my parents’ curiosity, love of books and travel, and devotion to the natural world.
After her mother is killed in a rare Northern Michigan tornado, Sadie Wixom is left with only her father and grandfather to guide her through young adulthood. Miles away in western Saskatchewan, Stefan Montegrand and his Indigenous family are displaced from their land by multinational energy companies. They are taken in temporarily by Sadie’s aunt, a human rights activist who heads a cultural exchange program.
Stefan promptly runs afoul of local authority, but Sadie, intrigued by him and captivated by his story, has grown sympathetic to his cause and complicit in his pushback against prejudiced accusations. Their mutual attraction is stymied when Stefan’s older brother, Joachim, who stayed behind, becomes embroiled in the resistance, and Stefan is compelled to return to Canada. Sadie, concerned for his safety, impulsively follows on a trajectory doomed by cultural misunderstanding and oncoming winter.
After her mother is killed in a rare Northern Michigan tornado, Sadie Wixom is left with only her father and grandfather to guide her through the pitfalls of young adulthood. Hundreds of miles away in western Saskatchewan, Stefan Montegrand and his Indigenous family are forced off their land by multinational energy companies and flawed treaties. They are taken in temporarily by Sadie's aunt, a human rights activist who heads a cultural exchange program. Stefan, whose own father died in prison while on a hunger strike, promptly runs afoul of local authority, but Sadie, intrigued by him and captivated by his…
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