The article examines the figure of the spy—alongside themes related to espionage—as employed in two books by the Northern Irish writer Ciaran Carson : the volume of poems For All We Know and the novel Exchange Place. Carson’s oeuvre is permeated with the Troubles and he has been hailed one of key writers to convey the experience of living in a modern surveillance state. His depiction of Belfast thematizes questions of terrorism, the insecurity and anxiety it causes in everyday life, (...) as well as the unceasing games of appearances and the different ways of verifying or revising identities. In Carson’s later work, however, these aspects acquire greater philosophical depth as the author uses the themes of doubles, spies, and makeshift identities to discuss writing itself, the construction of subjectivity, and the dialogic relationship with the other. Taking a cue from Paul Ricoeur’s and Julia Kristeva’s conceptions of “oneself as another,” the article examines how Carson’s spy-figures can be read as metaphors for processes of self-discovery and identity-formation, tied to the notion of “self-othering.” Carson employs the figure of the spy—who juggles identities by “donning” different clothes or languages—to scrutinize how one ventures into the dangerous territory of writing, translation and love, as well as to reconsider notions of originality and self-mastery. Ultimately, Carson conceptualizes literature as specially marked by deceptions and metamorphoses, defining in these terms the human condition. (shrink)

This article attempts to investigate the potential resonances between Paul Ricoeur’s and Julia Kristeva’s theories of otherness as applied to the study of poetry by the Northern-Irish poet Sinéad Morrissey. In all of her five poetry books she explores various forms of otherness and attempts to sketch them in verse. She confronts alterity in many ways, approaching such subjects as the relationship with the body and children, encounters with foreigners, and coming to terms with what is foreign within us. This (...) article engages primarily with her experiences of China, which she recorded in the long poem “China” from her third collection, The State of Prisons. Firstly, this article tackles the question of the body, which is interpreted on the basis of Morrissey’s “post-mortem” poems. Their reading prepares the ground for further explorations of otherness, which Morrissey locates at the very heart of human subjectivity. In this way, she also manages to establish a poetic framework for an ethical consideration of otherness. By investigating the working of the human psyche, Morrissey seems to go along the lines of Kristeva and Ricoeur, who claim that otherness is inextricably linked with the formation of human subjectivity. Taking a cue from their philosophical enquiries, the article also attempts to establish where Kristeva’s and Ricoeur’s philosophies overlap. (shrink)

I can’t say that I resent the Germans, nor that I expect or demand anything from them. I would only like them to know what they have done to me. They have destroyed my childhood and ruined my eight-year-old imagination, leaving only a pile of rubble, heap of corpses, great cesspool—gigantic hole filled with black blood. (K 53).

The paper describes the model shape of fanaticism. It defines fanaticism as a willing enslavement of personality and analysed the following features of it: intentionality, missionary attitude, being in love, intolerance, ability to satisfy ambivalent desires for objectivization and for subjectivization, and ability to evoke ambivalent feelings: moral condemnation and the feeling of admiration.