By Paula Maher Martin, Gale Ambassador at NUI Galway Paula Maher Martín is a third-year student of English and Classics at the National University of Ireland, Galway. Interested in language as a means of simultaneously reflecting and transcending human experience, she plans to do postgraduate research in English, with a focus on the metaphysical construction of reality in Modernist literature. She enjoys reading Nancy Mitford, Leo Tolstoy, Evelyn Waugh or Gustavo Adolfo Bécquer, the wind, the music of the world, wandering immersed in philosophical abstractions, writing poetry in lectures and falling in love with characters in paintings. Paula is blogging for Gale in both English and Spanish.
“What women are to women”, a symphony of thoughts and impressions, language polished delicately to reflect the “body,” resounding with a feminine “grasp” of reality… In a 1929 Times Literary Supplement review of Virginia Woolf’s A Room of One’s Own, Arthur Mc Dowall synthesises in these terms the female experience in literature, as intimated by Woolf.
Por Paula Maher Martin, Gale Ambassador en la Universidad NUI Galway Paula Maher Martín estudia su último año de Literatura Inglesa y Clásicas en la National University of Ireland, en Galway. Interesada en el lenguaje como un medio para reflejar y transcender de manera simultánea la experiencia humana, planea realizar investigación de posgrado en Literatura Inglesa, centrada en la construcción metafísica de la realidad en la literatura modernista. Disfruta leer a Nancy Mitford, Leo Tolstoy, Evelyn Waugh o Gustavo Adolfo Bécquer, del viento, de la música del mundo, de vagar inmersa en abstracciones filosóficas, de escribir poesía en clase y de enamorarse de los personajes de los cuadros.
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Germania, una descripción aparentemente inofensiva de los territorios, costumbres y tribus de los germanos por el historiador romano del siglo I Cornelio Tácito, fue ensalzada por los alemanes nazis como un estandarte: un retrato del ario primitivo; virtuoso, intrépido y fuertemente militarizado, cualidades que habían reverberado a lo largo de los siglos y que sustentaban la identidad racial del alemán moderno.
By Daniel Mercieca, Gale Ambassador at Durham University Daniel Mercieca is an English Literature finalist, and President of both the English Literature Society and Bede Film Society at Durham University. His main research interests are Film Aesthetics and Screen Adaptation, with further interests in twentieth-century poetry and Romantic poetry. Dan enjoys the independence of thought, interdisciplinary and experimental aspects of studying English and aims to achieve a Master’s in Film and/or Literature. Dan enjoys lyricism and landscapes in the works of Thomas Hardy, Virginia Woolf, Samuel Taylor Coleridge, Charlotte Smith and Toni Morrison. His favourite directors include Alfred Hitchcock, Darren Aronofsky, Martin Scorsese and Christopher Nolan for their suspense, soundtracks and cinematography. If he is not reading books or watching films then he is probably writing, running or trying something new.
Since the March 2018 Facebook and Cambridge Analytica controversies, censorship and data protection have come under an intense spotlight in today’s digitised society. While we become increasingly sceptical of surveillance, and cautious of what we post online, it is important to appreciate those who have struggled to be fully seen and heard. The efforts of writers and filmmakers to overcome issues of (in)visibility have consistently featured in my study of literature at university; Elizabeth Gaskell’s serialisation in Charles Dickens’ Household Wordsmagazine, 1850-51 (she was restricted from publishing independently because of her gender), the Brontë sisters’ use of male pseudonyms, and the 1918 posthumous publication of Gerard Manly Hopkins’s poetry due to his Jesuitical vow of obedience, are all examples of nineteenth-century censorship.
By Anna Sikora: Anna Sikora is a tutor, part-time teacher, and final year PhD student in the Discipline of English, National University of Galway, Ireland. She is examining the works of John Wyndham, author of over 60 short stories and 12 novels, including the famous The Day of The Triffids (1951) and The Midwich Cuckoos (1957). Anna is interested to see when and why science fiction authors began to show an awareness of environmental issues, and how this was demonstrated in their work. She is adopting some of the concepts of environmental criticism (ecocriticism) to ask how environmental concerns are articulated in fiction, and whether literature can, and should, influence our daily environmental choices or the ways in which we interact with the environment.
Ecocriticism (environmental criticism) is not exactly new to the humanities, as it has been around for nearly a quarter of a century, but it is the latest to join the set of lenses – such as Marxism, Postcolonial theory and Feminism – through which students are invited to read literature. Do these theoretical frameworks enhance our understanding of literature and the creative process behind writing? Perhaps yes; perhaps no.