• Nataša Antonijević
  • Biljana Vlašković Ilić


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


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.


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