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ABSTRACT Title of Dissertation: “WE HAVE COME of AGE”: GROWING BODIES in the TWENTIETH-CENTURY IRISH NOVEL Kelly Jayne Steen

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ABSTRACT Title of Dissertation: “WE HAVE COME of AGE”: GROWING BODIES in the TWENTIETH-CENTURY IRISH NOVEL Kelly Jayne Steen ABSTRACT Title of Dissertation: “WE HAVE COME OF AGE”: GROWING BODIES IN THE TWENTIETH-CENTURY IRISH NOVEL Kelly Jayne Steenholdt McGovern, Ph.D. 2012 Directed by: Professor Brian Richardson, Department of English Twentieth-century Irish culture — shaped by, for instance, the Catholic Church, nationalist narratives of blood sacrifice for “Mother Ireland,” and the experience of emergence from colonialism—put special pressure on the meanings attached to bodies in narratives of both individual and national maturation. This dissertation examines the human body’s role in Irish novels of development, tracing specifically how Irish authors deploy the growing body in relation to the self-cultivating subject of a Bildungsroman (or “coming of age” novel). This project shows that Irish social conditions provoked urgent reworkings of generic conventions, and impelled Irish authors to develop sophisticated strategies for representing growing bodies in narrative. Through close examinations of four novels, this project identifies four facets of the role the growing body can take in fictions of development. The introduction provides an overview of the absent body, the body that grows in passing, the body growing sideways, and the unnarratable body. Individual chapters examine these respective facets as they manifest in James Joyce’s highly influential Portrait of the Artist as a Y oung Man (1916), John McGahern’s The Dark (1965), Éilís Ní Dhuibhne’s The Dancers Dancing (1999), and Anne Enright’s The Wig My Father Wore (1995). Chapter one describes how Joyce largely reserves Stephen Dedalus’s body from representation so that other developmental aspects feature more prominently. Chapter two examines McGahern’s representations of the real, material growing body’s volatility and entanglement with forces beyond the subject’s autonomous control as a strategic response to the post-Independence Irish social environment. Chapter three asserts that Ní Dhuibhne depicts a female protagonist filling out and experiencing lateral, or “sideways” modes of growth to expand the possibilities for narrating Irish female identity and to denaturalize nationalist representational strategies, while chapter four identifies the protagonist’s growing body as an unsayable and indeterminate thing at the center of Enright’s experimental text. The coda considers the contemporary moment of instability and recession against claims that Ireland “came of age” in the 1990s, taking stock of the growing body in the “Celtic Tiger” literary moment and grounding this stock-taking in earlier representations of development that mobilized bodily growth to tell stories. ! ! ! ! “WE HAVE COME OF AGE”: THE GROWING BODY IN THE TWENTIETH-CENTURY IRISH NOVEL ! ! "#! ! $%&&#!'(#)%!*+%%),-&.+!/01-2%3)! ! ! ! 4566%3+(+5-)!67"85++%.!+-!+,%!9(07&+#!-:!+,%!13(.7(+%!*0,--&!-:!+,%! ;)52%365+#!-:!/(3#&().<!=-&&%>%!?(3@!5)!A(3+5(&!:7&:5&&8%)+! B:!+,%!3%C753%8%)+6!:-3!+,%!.%>3%%!-:! 4-0+-3!-:!?,5&-6-A,#! DEFD! ! ! ! ! ! ! ! ! ! ! ! G.256-3#!=-885++%%H! ?3-:%66-3!I35()!J50,(3.6-)<!=,(53! G6656+()+!?3-:%66-3!*+%A,%)!GK!I35>,+-)! ?3-:%66-3!L&5M("%+,!I%3>8())!N-5M%(7O! G66-05(+%!?3-:%66-3!'(8%6!/K!*85+,! G6656+()+!?3-:%66-3!=,356+5)(!P(&+%3!! G66-05(+%!?3-:%66-3!=(3-&5)%!L(.%6<!4%()Q6!J%A3%6%)+(+52%! ! ! ! ! ! ! ! © Copyright by Kelly Jayne Steenholdt McGovern 2012 ! ""! !! ! ! DEDICATION ! ! ! #$%!&'!()*+!&'!,-%.*)%!"*!/"0)+!12-*3)+!-*4!3%$5.2+!! -*4!0$%!&'!12"/4%)*+!52$!2)/,)4!&'!2)-%.!3%$5!6,+!$6.+!7"4)5-'7!-*4!06//8! !! ! ! """! !! ! ACKNOWLEDGEMENTS ! #$%!&'(")*!+%,+"'-!%./$,%+./!'0'"-'1-.2!3!45')(!45.!6)"0.%/"47!$8!9'%7-'):! ;"1%'%"./2!45.!<$5)!<=!>,%)/!;"1%'%7!$8!?'%.!>$$(/2!@%-")*4$)!A,1-"+!;"1%'%"./2!45.! <$5)!?7-'):/!6)"0.%/"47!;"1%'%7!'4!45.!6)"0.%/"47!$8!9')+5./4.%2!45.!9')+5./4.%! ;"1%'%"./2!45.!>%"4"/5!;"1%'%72!'):!B"$,C!#'--/!A,1-"+!;"1%'%"./=!!D5"/!:"//.%4'4"$)! 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G./)"(0!.(!"%!G&2(!*+!,'*"-+!-"#21!'5/.'1;!%/'#2-21;!'(1!/2%4/(21!&.*29!!C/.*! 6%'/%!%.!,"("6&;!?2(8'*"(!@3A.#2/(!646%'"(21!*2!G"%&!&"6!7'%"2(%!3.(,"12(32!'(1! -.#29! H"%&.4%!2'3&!.,!+.4;!%&"6!7/.823%!G.4-1!(.%!&'#2!3.*2!"(%.!"%6!.G(9! ! ! ! ! ! ! ! 9! !! TABLE OF CONTENTS !"!#$%&#'() **) %$+(',-"!."/"(&0) ***) ) #(&1'!2$&#'()—)3,4)5674)$894)8:)%;4<=).>8?*@;)A8B*4C)*@)DE4)) &?4@D*4DEF$4@DG>H)#>*CE)(874I) J) I: THE GROWING BODY IN THE NOVEL OF DEVELOPMENT! :! II: LITERARY COMING OF AGE IN THE IRISH CONTEXT! ;<! III: OVERVIEW OF CHAPTERS! =;! ) $5%K&"1)'(")—)3A46>BC)6@B)#@LE4C<=)%B8I4CL4@D).>8?DE)6@B)DE4)) %MC4@D)A8BH)*@)N694C)N8HL4OC)!"#$%&%'(&"$)"&*+"!%&(,&"',"'"-$./0"1'/) PQ) I: THE RISE OF ADOLESCENCE AND THE NARRATABLE BODY IN JOYCE’S BILDUNGSROMAN! >?! II: ADOLESCENT PORTRAITS AND PSYCHOLOGICAL CURVES! ?@! III: THE ABSENT BODY IN PORTRAIT! :@! IV: MALE AND FEMALE ADOLESCENT BODIES IN PORTRAIT! AB! V: STEPHEN’S DOGSBODY AND JOYCE’S EPIC OF THE BODY! @>! ) $5%K&"1)&,')—)3(8M8BHOC)-*:4)?6C)/8>4)&E6@)6)!*>4LD*8@<=)) )A8B*4C).>8?*@;)*@)K6CC*@;)*@)N8E@)/L.6E4>@OC)2*+"3'%4) RS) I: OPENING THE DARK’S UNSTABLE SUBJECT AND INCONSISTENT PERSPECTIVE! ;<>! II: THE GROWING BODY IN DE VALERA’S IRELAND! ;;>! III: THE UNFINISHED IRISH BODY AND THE INTERMINGLED FATHER AND SON! ;=>! IV: CONFESSING BODILY VOLATILITY IN THE DARK! ;>:! V: FINDING “SOME LIMBO OF CONTROL” IN MCGAHERN’S IRELAND! ;?B! ) $5%K&"1)&51"")—)30E4)*C).8*@;)D8)M4)6)(8>96I),896@<=)T49*@*@4)/6D4>*6I*DHU)) !474I8V94@D)6@B)0*B4?6HC).>8?DE)*@)W*IXC)(X)!EG*ME@4OC)2*+"3'/5+%,"3'/5(/0) JYR) I: THE BILDUNGSROMAN AND THE ICONIC FEMININE ORDER IN IRISH CULTURE! ;B:! II: FEMALE EMBODIMENT IN “BLOOD AND WATER”! ;A?! III: FEMALE MATERIALITY IN NÍ DHUIBHNE’S EARLY CELTIC TIGER WORK! ;@B! IV: IRISH GIRLHOOD AND QUEER TIME IN THE DANCERS DANCING! ;CC! V: THE REPRODUCTIVE BODY GROWING UP! =;>! ) $5%K&"1)T'21)—)3#)%9)DE4),6H)#)%9)A4L6GC4)/H)T6DE4>),46>C)6),*;<=))) &E4)2@@6>>6D6MI4).>8?*@;)A8BH)*@)%@@4)"@>*;EDOC)2*+"6(0"17"8'&*+%"6$%+) PPP) I: GROWING THE BODY IN THE W IG MY FATHER W ORE! ==C! II: BODILY GROWTH AND IRISH SOCIAL CONVENTIONS IN W IG! =?B! III: ANGELS AND ATTICS IN THE 1990S IRISH FEMALE BILDUNGSROMAN! =B>! IV: NARRATING THE UNSAYABLE BODY IN W IG! =A=! V: THE GROWING BODY AND SELF-AUTHORSHIP IN ENRIGHT’S BILDUNGSROMAN! =@?! ) $'!%)—)3%)A8H)AG*ID)D8)$6>>H)DE4),4*;ED)8:)DE4),8>IB<=).>8?*@;)A8B*4C)*@)) #>*CE)$89*@;F8:F%;4)0D8>*4C)6D)DE4)&G>@)8:)DE4)/*II4@@*G9) PZ[) ) ,'1+0)$#&"!) PRP) ! ! ;! !! ! ! INTRODUCTION “We Have Come of Age”: Growing Bodies in the Twentieth-Century Irish Novel This is a study of the dynamic role that growing human bodies play in twentieth- century Irish fiction, specifically in narratives concerned with human development from youth to maturity. The biologically growing body and literary plots of maturation correlate in numerous ways, for we broadly understand both to predicate a mature subject. While plots concerning an individual’s maturation (often referred to as “coming of age” stories or “Bildungsromane”) are among the most well-known literary novels, the maturing body in these literary works has received little critical attention, perhaps because we generally think bodily growth is an ordinary, straightforward, familiar, and even mundane part of stories about people growing. Compared to the soul or individual consciousness, for example, the growing body can seem a relatively simple matter. In fact, one of the protagonists examined in this study, Stephen Dedalus of James Joyce’s A Portrait of the Artist as a Y oung Man (1916), voices this assumption when he says that the soul “has a slow and dark birth, more mysterious than the birth of the body” (220). However, Joyce’s reputation as a major literary modernist is in fact largely founded on his use of the body in literary narrative. While the protagonist of the twentieth century’s seminal Irish novel of development may suggest that bodily development is less mysterious—and therefore less worthy of study and examination—than the processes producing the soul, bodily development complicates twentieth-century Irish maturation plots in highly meaningful ways.
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