Journal of War & Culture Studies Pub Date : 2021-02-16 , DOI: 10.1080/17526272.2021.1873535 Síobhra Aiken 1
For many female veterans of the Irish revolution (1916–1923), writing about the self was a difficult and even risky venture. In this context, did fiction grant more authorial agency than first-person testimony? This article considers the testimonial fiction of three female revolutionaries that addresses the practice of hunger striking: Dorothy Macardle’s short story ‘The Prisoner’ (1924), Máiréad Ní Ghráda’s play Stailc Ocrais [Hunger Strike] (1966) and Máirín Cregan’s play Hunger-strike: A Play in Two Acts (1932). The article unpacks the conditions which governed the production of female ‘voice’ in the socially conservative post-revolutionary Free State and outlines the self-protective and enabling narrative strategies adopted by these authors in order to delve into one of the more contentious aspects of the period. The article thus highlights how revolutionary veterans exploited fiction to record and negotiate personal, affective past experience and also to produce counter-memories in opposition to official remembrance.
中文翻译:
“妇女的武器”:在多萝西·麦卡德(Dorothy Macardle),马里亚德·尼·加拉达(MáiréadNíGhráda)和马琳·克雷根(MáirínCregan)的小说中宣告饥饿
对于爱尔兰革命(1916–1923年)的许多女退伍军人来说,写自我是一项艰巨而冒险的冒险。在这种情况下,小说是否比第一人称证词更具有权威性?本文考虑了三位女革命家的口述小说,这些小说论述了绝食的作法:多萝西·麦卡德(Dorothy Macardle)的短篇小说《囚徒》(The Prisoner,1924年),马雷德·尼·格达(MáiréadNíGhráda)的戏剧《Stailc Ocrais [Hunger Strike](1966年)和马琳·克雷根(MáirínCregan)的戏剧《绝食》。:两幕戏(1932)。这篇文章揭露了在社会保守的革命后自由国家中统治女性“声音”产生的条件,并概述了这些作者采取的自我保护和有利的叙事策略,以期探究该理论更具争议性的方面之一。时期。因此,本文重点介绍了革命退伍军人如何利用小说来记录和协商个人的,有感情的过去经验,以及如何产生反对官方记忆的反回忆。