BRANDING THE IRISH NATION: MARTIN MCDONAGH’S THE ARAN TRILOGY

Nataša Antonijević, Biljana Vlašković Ilić

Abstract


The paper analyses the representation of the Irish national identity in Martin McDonagh’s The Aran Trilogy with regards to the definition of the term brand, which originally denotes an act of labelling or marking with a hot iron. In McDonagh’s incomplete trilogy, the state apparatuses of family relationships, political views, and the Catholic Church can be observed as the social institutions within which the Irish are labelled as uncontrollably violent. In order to specify that the primary target of The Aran Trilogy is the Irish nation, McDonagh eases the process of the audience’s identification with the plays by using contemporary brands of food, as well as music, films, and television programmes. The paper aims to demonstrate that the described procedures reveal McDonagh’s intention to make the Irish aware of their faults as a nation, which is in line with the tradition established by John Millington Synge’s The Playboy of the Western World.


Keywords


brand, Ireland, identity, state apparatuses, repression, violence, family, politics, Martin McDonagh, The Aran Trilogy

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References


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Sources

MCDONAGH 2013a: McDonagh, Martin. Plays: 1, The Leenane Trilogy: The Beauty Queen of Leenane, A Skull in Connemara, The Lonesome West, London: Bloomsbury Methuen Drama.

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SYNGE 1995: Synge, John Millington. Riders to the sea; The shadow of the Glen; The tinker's wedding; The well of the Saints; The playboy of the Western world; Deirdre of the Sorrows. Oxford; New York : Oxford University Press.


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