"Los escolares no estarían protestando actualmente de no haber sido por la postura de Greta Thunberg. Los escritores y las escritoras han empezado a tomar nota". Entrevista a Celia de Fréine

Autores/as

DOI:

https://doi.org/10.24162/EI2020-9750

Palabras clave:

Celia de Fréine, literatura irlandesa, lengua irlandesa, traducción, ecología, paisaje, cuerpo, Covid-19

Resumen

En esta entrevista con Celia de Fréine, la escritora irlandesa nos habla de su prolífica producción literaria en diversidad de géneros, con especial atención a los problemas ecológicos y su impacto en la creación literaria. Esta preocupación ecológica se abre paso en un sistema literario, el irlandés, en el que los debates sobre la frontera y el lugar de las mujeres en la nación no están aún resueltos. Además de en la diversidad biológica, la escritora indaga en la diversidad cultural y lingüística, en la situación actual de la lengua irlandesa, el papel de la traducción y su efecto en la recepción literaria, los temas consentidos pasados y presentes, los sutiles vínculos entre lenguaje, localización y tema, y otros asuntos relativos a la elección de la lengua. Entre otras cuestiones de relevancia ecológica, Celia de Fréine valora las siguientes: la creciente imprecisión de la frontera entre lo rural y lo urbano debido a la expansión de las ciudades, las dolencias del cuerpo social y el cuerpo humano, las interconexiones entre la corporeidad humana y no humana, la celebración de los espacios naturales bien conservados y las asociaciones de ciertos paisajes con tradiciones literarias concretas tanto dentro como fuera de Irlanda. La entrevista finaliza con una reflexión sobre el impacto de la pandemia Covid-19 en la creación literaria.

Biografía del autor/a

Manuela Palacios-González, Universidade de Santiago de Compostela

Manuela Palacios-González is Senior Lecturer of English at the University of Santiago de Compostela in Spain. She has directed five research projects on contemporary Irish and Galician literature that have been funded by the Spanish Ministry of Science, and has edited and co-edited several books in relation to this topic: Pluriversos (2003), Palabras extremas (2008), Writing Bonds (2009), Creation, Publishing and Criticism (2010), To the Winds Our Sails (2010), Forked Tongues (2012), Six Galician Poets (2016), Migrant Shores (2017) and Ανθολογία Νέων Γαλικιανών Ποιητών – Antoloxía De Poesía Galega Nova (2019). Her other publications include translations of European and Arabic poetry and fiction, a monograph on Virginia Woolf’s pictorial imagery, Shakespeare’s Richard III, and articles on ecocriticism.

Luz Mar González-Arias, Universidad de Oviedo

Luz Mar González-Arias is Senior Lecturer in the English Department, University of Oviedo. Her research is primarily in the areas of body theory and Medical Humanities, as applied to the work of contemporary Irish women poets and visual artists. Her recent publications include essays on eating disorders, PTSD, cancer, hepatitis C, disability, ageing, and death in Irish University ReviewRISE: Review of Irish Studies in EuropeEire-IrelandThe Nordic Irish Studies Journal and the Palgrave volume Animals in Irish Literature and Culture. She has edited National Identities and Imperfections in Contemporary Irish Literature (Palgrave, 2017), and co-edited (with Monika Glosowitz) the special issue of The Polish Journal of Aesthetics on “The Affective Aesthetics of the Body in Pain” (51-4/2018). In 2016 and 2017 she curated the performances and exhibition of Amanda Coogan at the Niemeyer Centre (Avilés, Asturias). She is the coordinator of the Research Group HEAL: Health, Environment, Arts and Literature [www.unioviedo.es/heal] and PI of the research project “END: Illness in the Age of Extinction. Anglophone Narratives of Personal and Planetary Degradation (2000-2020)”, financed by the Spanish National Research Programme. She is currently curating artistic and performative interventions along the Atlantic coast and writing a book on the life and poetry of Dorothy Molloy.

Citas

Agualusa, José Eduardo. The Book of Chameleons. London: Arcadia Books, 2006.

Cohen, Leonard. The Flame. Edinburgh: Canongate Books Ltd, 2018.

De Fréine, Celia. Faoi Chabáistí is Ríonacha. An Spidéal, Co. Galway: Cló Iar-Chonnacht, 2001.

_______. “Ocras”. Faoi Chabáistí is Ríonacha.  Indreabhán: Cló Iar-Chonnacht, 2001. 13. Translated as “Hunger”. Scarecrows at Newtownards. Dublin: Scotus Press, 2005. 55.

_______. “Seal dá saol”. Faoi Chabáistí is Ríonacha.  Indreabhán: Cló Iar-Chonnacht, 2001. 71. Translated as “A time in her life”. Scarecrows at Newtownards. Dublin: Scotus Press, 2005. 72.

_______. Fiacha Fola. An Spidéal, Co. Galway: Cló Iar-Chonnacht, 2004.

_______. Scarecrows at Newtownards. Dublin: Scotus Press, 2005.

_______. Lorg: Quest. Film-poem. Dir. Biju Viswanath. 2007. 16 June 2020.  https://vimeo.com/71731670.

_______. Seal: Sojourn. Film-poem. Dir. Biju Viswanath. 9 February 2019. 16 June 2020. https://www.youtube.com/watch?v=v5fY_6VkNko.

_______. Mná Dána. Dublin: Arlen House, 2009.

_______. “Cóirín na dTonn”. Mná Dána. Dublin: Arlen House, 2009. 77-158.

_______. “Casadh”, in Gach Áit Eile. Rehearsed reading. Peacock Theatre. Abbey Theatre production. 2009.

_______. imram: odyssey. Dublin: Arlen House, 2010.

_______. Aibítir Aoise: Alphabet of an Age. Dublin: Arlen House, 2011.

_______. “Boladh an Mhismín Fhiáin: The Scent of Wild Mint”. Aibítir Aoise : Alphabet of an Age. Dublin: Arlen House, 2011. 20-21.

_______. “Lorg: Quest”.  Aibítir Aoise: Alphabet of an Age. Dublin: Arlen House, 2011. 68-71.

_______. “Seal: Sojourn”. Aibítir Aoise: Alphabet of an Age. Dublin: Arlen House, 2011. 92-95.

_______. Present. Rehearsed reading. Pavilion Theatre. Pavilion Playwrights 8×10, 2012.

_______. Brian Merriman’s The Midnight Court. Dublin: Arlen House, 2012.

_______. Cruachás: Plight. Dublin: Arlen House. 2013.

_______. Meanmarc: Desire. Dublin: Arlen House. 2013.

_______. “Na Deoraithe”. Blúiríní, by Celia de Fréine and Fidelma Ní Ghallchobhair. Dublin: COGG. 2013. 5-13.

_______. cuir amach seo dom: riddle me this. Dublin: Arlen House, 2014.

_______. “An Bhean Uasal is an tAonadharcach: The Lady and the Unicorn”. cuir amach seo dom: riddle me this. Dublin: Arlen House, 2014. 70-85.

_______. “An Bhó Dheireanach: The Last Cow”. cuir amach seo dom: riddle me this. Dublin: Arlen House, 2014. 90-91.

_______. “An Bóthar Rómhánach: The Roman Road”. cuir amach seo dom: riddle me this. Dublin: Arlen House, 2014. 98-99.

_______. “Obair na mBan: Women’s Work”. cuir amach seo dom: riddle me this. Dublin: Arlen House, 2014. 96-97.

_______. A Lesson in Can’t. Dublin: Scotus Press, 2014.

_______. Blood Debts. Dublin: Scotus Press, 2014.

_______. Seamstress. Umbrella Theatre Company. National Gallery of Ireland, part of an 8×10 production, 2014, 2015. Seamstress renamed Beth, produced as part of Katie & Beth (Katie by Lia Mills), Two Cities One Book Festival; Dalkey Book Festival; Maureen O’Hara Studio, Mill Theatre, 2016.

_______. Safe. Umbrella Theatre Company. Maureen O’Hara Studio. Mill Theatre, 2015.

_______. Luíse. Umbrella Theatre Company. Scoil Bhríde Ranelagh. 2016, 2017 (Ranelagh Arts Festival); (IMRAM Féile Litríochta Gaeilge / Irish Language Literature Festival, 2017).

_______. “Doth Suffer a Sea-Change”. Migrant Shores. Irish, Moroccan & Galician Poetry. Ed. Manuela Palacios. Cliffs of Moher: Salmon Poetry, 2017. 100-101.

_______. “On the Bull Wall”, in Eight of Hearts. Umbrella Theatre Company. Players TCD. 2015; Theatre &36. 2018.

_______. Luíse Ghabhánach Ní Dhufaigh. Ceannródaí. Dublin: LeabhairCOMHAR, 2018. Shortlisted for Love Leabhar Gaeilge Award; An Post Irish Book Awards 2018. Winner of ACIS Leabhar Taighde na Bliana, 2019.

_______. Cur i gCéill. Dublin: LeabhairCOMHAR, 2019.

_______. I bhFreagairt ar Rilke: In response to Rilke. Dublin: Arlen House, 2020.

_______. “Comhairle / Advice”, “Léaslíne á Lorg: In Search of a Horizon”. Forthcoming.

De Fréine, Celia and Fidelma Ní Ghallchobhair. Blúiríní. Dublin: COGG. 2013.

Gleeson, Sinéad. Constellations. London: Picador, 2019.

McKee, Mark Gerard and Celia de Fréine. Threshold. Visual and poetic installation. MS17 Art Project. 2017. 16 June 2020. https://ms17artproject.com/threshold-mark-gerard-mckee-celia-de-freine/

Merriman, Brian. The Midnight Court / Cúirt an Mheán Oíche. Ed. Brian O’Conchubhair. Syracuse, N.Y.: Syracuse University Press, 2011.

Mills, Lia. In Your Face. Dublin: Penguin Ireland, 2007.

Rilke, Rainer Maria. Migration des Forces. In The Complete French Poems. Poulin. J. R. Jr. (Translator). Minneapolis: Graywolf Press, 2002.

Wade, Jennifer. “Census 2011: 1.77m Say They Are Able to Speak Irish”. The Journal.ie. 29 March 2011. 16 June 2020. https://www.thejournal.ie/census-2011-1-77m-say-they-are-able-to-speak-irish-400442-Mar2012/

Williams, Tennessee. The Rose Tattoo. New York: New Directions Publishing, 2010 (1951).

Publicado

31-10-2020

Cómo citar

Manuela Palacios-González, & Luz Mar González-Arias. (2020). "Los escolares no estarían protestando actualmente de no haber sido por la postura de Greta Thunberg. Los escritores y las escritoras han empezado a tomar nota". Entrevista a Celia de Fréine. Estudios Irlandeses, 15(2), 102–116. https://doi.org/10.24162/EI2020-9750