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2016 PG Symposium Programme

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2016 PG Symposium Programme IAASPG16 The Organising Committee wishes to gratefully acknowledge the assistance of Prof Claire Connolly and Ms Anne Fitzgerald of the School of English, Ms Karen Coughlan of CACSSS, and Dr Alan Gibbs, Associate Dean for Graduate Studies and Chair of the IAAS. TABLE OF CONTENTS SCHEDULE 3 ABSTRACTS & ACADEMIC BIOS 5 Panel 1 5 Make America Again Panel 2 6 America Under Surveillance Panel 3 8 Make America Play Again Panel 4 9 Mapping Masculinity Panel 5 10 Boundaries of Choice Panel 6 12 Whose Lives Matter? Panel 7 13 Heteronormativity Threatened !2 IAASPG16 SCHEDULE 9:00 – 9:30 Registration Conference Opening, 9:30 – 9:40 with remarks by Dr. Alan Gibbs, chair of the IAAS. Panel 1 Make America Again 9:40 – 10:45 Chair: Eoin O'Callaghan Loretta Goff, UCC, The Alienisation of the ‘American Dream’ in In America (2002) and Irish Jam (2006) Sean Travers, UCC, ‘Who is the villain?: Perpetrator trauma and the role of the reader in American Aiction’ Clair Sheehan, UL, “My Country or Yours – Make America Aware Again” 10:45 – 11:00 Tea/Coffee Panel 2 America Under Surveillance 11:00 – 12:05 Chair: Miranda Corcoran Jaime Harrison, QUB, The Authorship of Laura Poitras’s Citizenfour: Reclaiming Subjectivity in an Era of Algorithmic Governmentality. James Cronin, UCC, A Nation under Judgement: Congressman Frank Kowalski’s rhetorical deployment of Thomas Merton’s Prayer for Peace, 18 April 1962 William O'Neill, UL, Wikileaks and the Pentagon Papers: The Editorship and Historical Signiicance of Leaked Material 12:05 – 12:20 Break Panel 3 & 4 Make America Play Again Mapping Masculinity 12:20 – 1:10 Chair: Rosemary Gallagher Chair: Dara Downey Catherine Casey, UCD, Tricksters Eva Burke, TCD, Nowhere to Go: and Traitors: the Con Game as a Masculinity, Mobility and the Death Drive in Trope of American Post-War Culture Dorothy Hughes' In a Lonely Place in Films of David Mamet Lucy Cheseldine, TCD, Theatrical Leona Blair, QUB, Ever-so-mucho-macho’: Society: Class, Race and Circus Tricks Gender Politics in Ana Castillo’s Peel My in Mark Twain’s Huckleberry Finn Love like an Onion and The Guardians. 1:10 – 2:25 Lunch !3 IAASPG16 Panel 5 & 6 Boundaries of Choice Whose Lives Matter? 2:25 – 3:15 Chair: Ciaran Kavanagh Chair: Caroline Schroeter Jennifer Gouck, QUB, “They’re good Sarah Cullen, TCD, “[K]eep at a distance boys really. This all just got out of from every murderous weapon, on hand.” Representing (American) occasions when rage is likely to take place of Rape Culture and Trauma in Louise reason:” Charles Brockden Brown and the O’Neill’s Asking for It. Second Amendment. Sarah Ann Elizabeth McCreedy, Patricia Malone, QUB, My Dream or Yours: UCC, ‘Rethinking decisions they’d Make America Grrreat Again: Riot Girl, already made’: New naturalism and Identity Politics and the ‘Great Feminist Sell Neoliberal identity in ZZ Packer’s Out’. Drinking Coffee Elsewhere 3:15 – 3:30 Break Panel 7 Heteronormativity Threatened 3:30 – 4:25 Chair: Jenny Daly Emily Bourke, TCD, "The Town is Dying": Ecosystems, Economy, and Ecohorror in Peter Benchley's Jaws Jordan Markey, NUIG, Conscientious Enthusiasm: The Reshaping of Identities on the American Home Front During the First World War 4:25 – 5:00 W.T.M Riches Prize Awarding & Closing Remarks Conference Dinner,* 6:30 Curran's Resaturant, Adelaide St. * Registration for the conference dinner is processed online. If you have not registered for the conference dinner but wish to attend, please alert a member of the organising committee as soon as possible, as there may still be limited seating available. !4 ABSTRACTS & ACADEMIC BIOS PANEL 1 MAKE AMERICA AGAIN The Alienisation of the ‘American Dream’ in In America (2002) and Irish Jam (2006) Loretta Goff, University College Cork This paper links the “alien” experiences of the American immigrant and emigrant protagonists of In America and Irish Jam, interrogating the failure of the economically focussed “American Dream” addressed in these Ailms, along with their suggested reconceptualisation of it. An “alien” theme runs throughout In America, from the Irish Sullivan family’s status as “illegal aliens” in New York to radio and television voices we diegetically overhear discussing the existence of (space) aliens and the inclusion of numerous references to, and metaphorical uses of, E.T. (1982). Amidst this, as an immigrant narrative, the Ailm also includes direct interaction with the “American Dream” by both the parents and young children of the family, contrasting economic and social perceptions of it. Examples of this address various approaches to (and deinitions of) success: hard work paying off versus gamble and risk, caring and helping versus threatening or demanding, and social inclusion versus difference. Though not directly referenced in Irish Jam, the idea of “being alien” is similarly present in this Ailm, embodied in the African-American protagonist who comes to a small Irish village after winning a contest. He is initially cast as an Other, in a culture that is alien to him, before eventually Ainding himself at home there. As is the case in numerous other Ailms with American protagonists who ultimately move to Ireland, the suggestion made here is that he has traded in the capitalist “American Dream” for a more socially centred Irish one. Ultimately, the economic struggles and failures of the protagonists in both Ailms are cast aside in favour of the successful familial healing which results in each, implying that this is the real dream. Loretta Goff is an Irish Research Council PhD candidate in Film and Screen Media at the University College Cork where she is also a tutor in the School of English. Her research interests include Kilm and identity, representations of Irish-America, and the exportation of culture through Kilm and new media. ‘Who is the villain?: Perpetrator trauma and the role of the reader in American Yiction’ Sean Travers, University College Cork The trauma narrative is a staple of American literature. From the Aiction of Kurt Vonnegut to Hollywood cinema, texts that centre on traumatic events and experiences have assumed a lasting role in American culture. However, according to dominant trauma theory, trauma confounds narrative knowledge, and texts should therefore aim to ‘transmit’ rather than represent directly the suffering of their protagonists. To make the reader ‘feel’ the symptoms of characters in the narrative then, traumatic events in American Aiction are usually represented through indirect and experimental aesthetic forms. However, while this aesthetic supposedly transmits to the reader symptoms of trauma victims, what critics overlook is how trauma Aiction may transmit to us symptoms of perpetrator trauma, that is, symptoms speciAic of characters that have committed wrongdoings or acts of violence such as feelings of culpability and guilt. This paper argues that a way texts can achieve this is through a particular evolution found in contemporary Aiction: since the emergence of postmodernity, an age of fragmentation, pluralism and subjective truth, the position of the reader has gradually evolved from passive recipient unquestioningly receiving the narrative, to a more active participant with varying degrees of control over the text. From American postmodern literature to contemporary Ailm, popular television series and video games, there has been a gradual increase in the level of ‘audience IAASPG16 participation’ in iction, with texts giving audiences increasing opportunities to interpret and engage with them, and thereby enabling us to shape their content and meaning. This paper explores how this shift in the reader’s position imparts on the reader a degree of responsibility for traumatic events that occur in trauma narratives and produces in us feelings of culpability and guilt, thereby positioning the reader as trauma perpetrators rather than trauma victims, and transforming us into the ‘villain’ of the narrative. My name is Sean Travers. I am a second year PhD student in the School of English in University College Cork (UCC). My PhD thesis, entitled ‘Innovative Representations of Trauma’, examines representations of trauma in popular culture and postmodern literature. My research interests include American literature, postmodernism, popular culture, trauma Kiction, reader-response studies and narratology. “My Country or Yours – Make America Aware Again” Dr Clair A. Sheehan, University of Limerick “The thing that is interesting about living in another country is that it is difAicult to forget you’re American. The actions of the American Government won’t let you,” Don DeLillo reAlected in a 2005 interview (Harris 18). These words ring true for many Americans living abroad who love their country but Aind it difAicult to justify U.S. foreign policy. For those citizens, national-consciousness, or even self-awareness, can become almost instinctive thus creating a sense of “disconnect” from the homeland which virtually obliges expatriated Americans to critically view both their country’s “self- image and its image in the eyes of the world” (Kauffman 353). In many cases the sight seems less than perfect. These American imperfections are deeply imbedded into the fabric of Don DeLillo’s work. Through it he has explored the American experience by examining many of the nation’s interactions with the rest of the world. Indeed, no other contemporary American author has captured the reality of political America as adeptly as Don DeLillo. Using a DeLillo novel from each of the last four decades as an example, this paper will look critically at The Names (1983), Mao II (1991), Point Omega (2010) and his most recent work Zero K (2016). The study will then seek to trace the perceived need to “disconnect” from the actions of the American Government as it is experienced by DeLillo’s characters (Kauffman 353). It will argue that his temporarily move to Greece when writing The Names afforded DeLillo the opportunity to observe America with fresh eyes.
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