The End(s) of the Canon Minor Writing and Writing of Minorities
The End(s) of the Canon Minor Writing and Writing of Minorities By addressing the concept of "minor literature" in their study of Kafka, Deleuze and Guattari paved the way to new theoretical concepts.1 They interpreted Kafka's cultural marginality as the stimulus for a new mode of writing which resulted in what Kafka himself called a "minor literature" reflecting a polyvocality and heterogeneity that is central to contemporary minority literature. This concept of a small or minor literature, eine kleine Literatur, is seen as the collective and revolutionary literature of a minority writing in a major, dominant language. "A minor literature doesn't come from a minor language; it is rather that which a minority constructs within a major language" (Deleuze 16). Kafka believed himself to be creating a literature that is aware of the established literary works and genres but consciously creates itself a space outside of it. This literature does not imitate but situates itself in a distance to the canon in order to be cognizant of the differences that separate it from the position of established literary works. By this act the canon becomes a fragile construct and as David Lloyd exemplifies with Jean Genet's writing, eventually the canon ceases to exist when a writer refuses to write "literature" that is to say refuses to accept its major or in Genet's case minor status.2
"The British are bad news to the Irish" - "Explore critical views and explain your own viewpoint as to whether this is the point Brian Friel is making in his play Translations."
"Translations" By Brian Friel "The British are bad news to the Irish" "Explore critical views and explain your own viewpoint as to whether this is the point Brian Friel is making in his play Translations." The quote "The British are bad news to the Irish" is taken from the article "What's On in London" and it was the writer Kenneth Hurren who wrote the column. Kenneth Hurren also wrote in this column, "With Translations it transpires that Friel is not at all foolish and has shrewdly cottoned on to where he was making this mistake in pressing for the withdrawal of Britain and her troops from his country. Fundamentally he is still making the same points, he is still saying that the British are bad news to the Irish; but he is saying it subtly and persuasively in terms of a marvellously eloquent and ostensibly fair - minded play, full of humour and humanity, instinct with grace and understanding." Brian Friel was born in 1929 and has had a successful career as a play-writer he is known for his famous plays "Philadelphia here I come", "Lovers", "Freedom of the city", "Faith Healer" and many more excellent plays. All of Friel's work has had something to do with Ireland and Irish themes. Brian Friel's "Translations" is a play, which is an interpretation of Ireland in the 1830s and the play shows a great change in the society at that time. At the time "Translations" was
Commentary on Act 1 of the book Translations by Brian Friel.
Commentary on Act 1 of the book Translations by Brian Friel The opening paragraph of the play Translations tells us in great detail about where the play is set. It is set in a hedge-school, which was a disused barn or hay-shed. The opening of the play makes us see that there are two means of isolation. The language binds together the community and in this play we will see how differences in language split society. Manus is teaching Sarah to speak as the play begins. He is being very patient with her and he thinks that it is important to teach her to articulate, 'Come on, Sarah. This is our secret'. When you see how Sarah is finding it hard to speak English it makes you feel that she is the symbol for Ireland's backward position. Jimmy on the other hand represents the educated civilised tradition of old Ireland. He is a scholar, however Sarah is the opposite. She is a contemporary Ireland, as she has no voice to speak out. She has no capacity for taking part in the modern world. Sarah just wants to become part of the society. The way Manus is pushing Sarah to speak, for example, 'Raise your head. Shout it out. Nobody's listening'. You feel that Manus does not want Sarah to be a nobody in the community, so he is helping her. The way that Sarah acts around Manus makes you feel that she fancies him, 'Manus hugs Sarah. She smiles in shy, embarrassed pleasure'.
How are the characters and their relations established in Act one of Brian Friel's " Translations".
How are the characters and their relations established in Act one of Brian Friel's " Translations" Characters and their relations are effectivelly established in different ways by Brian Friel in his play " Translations". Friel uses the relations of characters to emphasise certain characteristics. By being subjected to the interpretation of a character through the opinions of other characters allows the reader to form a judgement of the character. Friel uses stage directions to build-up a character. Once the character is present on stage, if the character lives up to the characteristics mentioned in the stage directions the reader or audience can easily focus on these flaws or assets and therefore get a better understanding of the character. Manus is one of the first characters that is introduced in Act one. He is described to be in his late/early thirties, shabbily dressed aswell as, ' pale-faced, lightly built' This description shows Manus to be a weak and feeble figure and this physial description suits his character well as when reading Act one, one learns that he is a very lame character who is easily manipulated by his father. Manus' weakness is shown through his relations with three characters, his father Hugh, Maire and his brother Manus. Although Hugh is an extremely able man, Manus accepts being ordered out by his father as though he were his servent. An example
Compare the presentation of the colonial situation in 'A Passage to India' and 'Translations', paying particular attention to the use of form, structure and language, and evaluate the significance of the contexts to the meanings of the texts.
Compare the presentation of the colonial situation in 'A Passage to India' and 'Translations', paying particular attention to the use of form, structure and language, and evaluate the significance of the contexts to the meanings of the texts. 'Translations' is influenced by Brian Friel's own experience of the troubles in Ireland in the 1980s, and strongly focuses on the colonial aspect of Ireland in the 1830s. In comparison, 'A Passage to India' represents something more philosophical, concentrating less on colonialism and more on individuals' spiritual journeys. Through the use of specific language, form and structure, the authors evoke diverse responses in their readers or audiences. The context of both 'A Passage to India' and 'Translations' is extremely important when comparing their presentations of colonialism. Noticeably, where 'A Passage to India' was written about events in India during Forster's own life, Friel is more inspired by events, which occurred during the 1830 in Ireland, as well as during his own lifetime. Forster greatly celebrates relationships, love, and the importance of the individual over bureaucracy, Imperialism, and the exercise of public power, not surprisingly all of the factors, which 'A Passage to India' condemns. Despite these factors, Forster himself insists " the book is not really about politics...it's about something wider than politics,
What do you find of significance in Friel's presentation of the world of the play?
What do you find of significance in Friel's presentation of the world of the play? In Brian Friel's " Translations" many different places are mentioned such as the hedge-school, Baile Beag, Ireland, England, America and India. However, the play is mainly set in the hedge-school and there is only one scene outside of the hedge-school which is set in a ' vaguely outside area'. Therefore one may question why Friel has mentioned such various places if they have no direct relevance to where the play is set and if these places are of great importance to the play and its characters. The hedge-school is the main setting of the play. The hedge-school is held in a disused barn or hay-sed and is described to be, ' comfortless and dusty and functional' This description of the classroom, is very contrasting to an average classroom as it is not clean,organised and suited for working conditions. It is appropriate for the classroom to be in such poor condition as hedge-schools were forbidden due to penal laws and education for Irish Catholics had to be held in secrecy so classrooms had to be hidden away in unusual places. Hedge-schools were therefore a lot of hassle for the Irish but still many Irish people attended these schools. It was therefore appropriate for Friel to have chosen the hedge-school for the main setting of the play as it emphasises several different points. The first
How does the opening sequence to Translations prepare the audience for what is to come?
Oliver Towle How does the opening sequence to ‘Translations’ prepare the audience for what is to come Right from the beginning of the text, Friel’s ‘Translations’ submerges the audience within a slowly decaying Irish cultural society surrounded by surprisingly exuberant pupils of a hedge-school. Through his exploration of themes such as the importance of language and Gaelic history to the development of colourful characters such as the “infant prodigy” Jimmy Jack and the apparently ‘waiflike’ mute Sarah, Friel underlines the nature of the British imperialist takeover of Ireland and the subsequent Irish reaction. This essentially leaves the audience prepared for potential conflicts and issues to arise between not only either country, but between the interests of the people of Baile Beag. Friel first ensures the audience is familiar with the importance of agriculture on the rural town of Baile Beag. He notes the school as being held in a ‘disused barn’, notes objects such as a ‘cart-wheel’ and a ‘churn’ and soon describes the ‘shabby’ clothed Manus as well as recognising that Maire makes an entrance carrying a milk bucket. All of these images when combined draw up a sense of reliance on the land for these people, as it is clear that they are by not means an industrial community and work with fields and animals. As well as this, the damaged
How does Friel explore the concept of identity in Making History, looking at alternative viewpoints in your answer?
How does Friel explore the concept of identity in Making History, looking at alternative viewpoints in your answer? Throughout Making History, Brian Friel presents the audience with ideas that question history, its accuracy and its reliability through the momentous and crucial times of Hugh O'Neill post and prior to the Battle of Kinsale. One of the key ways in which Friel succeeds in doing this is by implementing the theme of Identity and O'Neill's struggle with this issue throughout the play. Other characters are also shown to have split identities, which reinforces Friel's idea of how history will portray them. The play is set in the late 1500s during the renaissance period of Ireland - a regular battle zone where the English fight to gain ownership of land in Gaelic Ireland, under the reign of Elizabeth I. Using the genre of drama, Friel loosely documents the events of O'Neill, Earl of Tyrone as he attempts to secure a deal with Spain that will drive the last of Elizabeth's English forces from Ulster. Defined as a 'dramatic fiction', Friel has played on the events of the Battle of Kinsale in order to convey his own ideas and messages as opposed to sticking to the absolute facts - this ironically and supports Friel's interests in how the 'facts' of history are interpreted and documented. Act 1 Scene 1 importantly begins with the discussion of a Christening, most
Translations was written in 1980 as the first play to be produced by Brian Friels theatre company, Field Day. The companys aims were to reinvigorate discussion about Irish history and culture.
Translations Translations was written in 1980 as the first play to be produced by Brian Friel's theatre company, Field Day. The company's aims were to reinvigorate discussion about Irish history and culture. The play set the tone for future Field Day productions, which continued to explore notions of language, community and cultural identity through looking at the myths and stereotypes that exist about Ireland and its people. Rather than producing dry, political tracts on the concept of what Ireland is and was, the members of Field Day chose to address these questions through literature, concentrating on the reactions of people normally forgotten by history. The play is set in Baile Beag, in 1833, at a time when the British Empire was expanding throughout the world. The play uses the concept of translation as its central focus, dealing with language translation and the crossing over of national boundaries. Language is the main area of attention, with everything spinning off from its difficulties and possibilities. It is the main means through which people mediate their experience of the world, and how they define what they are and what they see. To deprive a nation of its mother tongue is, essentially, to deprive the culture of its individuality and distinctiveness. The English renaming of places, and introduction of English as the main language used threatened Ireland and
In Act 1 of 'Translations' Friel presents us with an 'intellectual Irish Arcadia'. How far do you agree?
In Act 1 of 'Translations' Friel presents us with an 'intellectual Irish Arcadia'. How far do you agree? 'Translations', by Brian Friel, presents us with an idyllic rural community turned on its head as the result of the recording and translation of place names into English; an action which is at first sight purely administrative. In Act 1 of the play, Friel brings together the inhabitants of this quaint Irish village in what can only be described as a gathering of minds - minds which study the classics, yet minds which study dead languages. In the same way, while this community is rich in culture and togetherness, it is also trapped in what is later described as a "contour which no longer matches the landscape of...fact". Thus, in expressing his ambivalence, Friel presents the reader with a question - is Baile Beag an intellectual Irish Arcadia? There is no denying that Baile Beag is an intellectual community. At the beginning of the play, Jimmy Jack Cassie, one of the central characters, is in the process of reading Joyce's 'Ulysses'. He is capable of reading the text fluently and understands it, despite it being in another language (although he later reveals that, while he is fluent in Latin and Greek, he knows only one word of English). He even relates his own life to that of characters in the book, posing the question, "if you had the picking between them [Athene,
