• Journal of English Language & Literature
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• v.60 no.2
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• pp.315-338
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• 2014

In The Great Hunger (1942) Patrick Kavanagh opens an Irish postnationalist discourse. Taking advantage of historical revisionism and postcolonialism, he not only demystifies a romantic nationalist ideology rooted in rural Ireland but also searches for an autonomous literary tradition free of the Irish Literary Revival, supposedly an outcome of a colonial influence. As a farmer-poet, Kavanagh deconstructs in two ways myths of rural areas, to which the Revivalists aspire. Contrary to Revivalism, he reveals that rural Ireland is not an idealized place where national identity arises and individual spirits are restored. It is instead a cruel place where farmer Maguire, deprived of health, wealth, and love, is tortured by hard labor in the field, moral regulations imposed by the Church, and his mother's domestic authority, all of which leave him unmarried until age sixty-five. Kavanagh also challenges the Revivalist tradition, led by W. B. Yeats commonly referred to as the poet of the nation, by indicting its reliance on former colonial authority and its lack of a sense of communal autonomy, both of which are diagnosed as "provincialism" by Kavanagh. Given that modern Irish literature has been strongly colored as nationalistic during the course of anticolonial resistance, Kavanagh's critique of the Revival in The Great Hunger, whose proponents blindly beautify the lives of farmers, runs directly against the grain of the founding ideology of the Irish nation-state. His voice, like that of a whistle-blower, disclosing the harsh realities of rural Ireland, ushers in a "post"-nationalist perspective on nation and national myths in Irish poetics.

• Review of Culture and Economy
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• v.20 no.3
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• pp.61-85
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• 2017

It is recognized universally that international cultural exchanges have the potential to weaken ethnic rivalries and conflicts and promote cultural diversity rather than commercial interests. However, there are often cases in which these exchanges are transformed into private businesses with a great success in markets due to changes in cultural consumption patterns. This research aims to analyze the performance of international cultural exchanges and to develop a policy model that can guide the overseas market performance for Korean traditional performing arts. This study analyzes domestic and foreign cases for comparison. The domestic case is drawn from the research report published by Korea Arts Management Service and the foreign case is Ireland's Riverdance. The results of this study indicate that the policy political model in which a traditional culture may be translated globally with innovative performing activities has the potential to raise market performance overseas.