No description available.

This thesis seeks to explore the influence of Henry Jenner as one of the most prominent figures of the Celtic Revival in Cornwall and in the wider Celtic community. To contextualise this, it will examine the image of the Celts as a people in the first half of the twentieth century and the assertion of Celtic identity in that period through the Celtic Revival. The opening chapter examines the concepts of nations and nationalism, particularly Celtic nationalism. The second chapter focuses on the Victorian era as a motivating force for Henry Jenner and others to ‘write back’ against a long and insidious discourse of discrimination. Chapter Three goes on to look at how the political situation in both Britain and Ireland came to influence the nature of Celtic identity assertion and also the extent to which Jenner’s own political views impacted on the nature of Cornwall’s Celtic Revival. In Chapter Four the impact of tourism on Cornwall, and on Cornish identity, is examined, particularly how the image of Cornwall as a Celtic nation created by Jenner and others was embraced and manipulated by that industry. Chapter Five looks at the consequences of image manipulation on tourist-dependent regions. The final chapter concentrates more specifically on the work of Jenner and the Old Cornwall Societies, and the thesis concludes by appraising the influence of the ideas and beliefs of Henry Jenner on our contemporary vision of Cornwall. It focuses particularly on how the predominance of memory created a haunted identity which was embraced by the burgeoning tourist industry and examines how this identity has subsequently impacted on the economic well-being of the region. But it also concludes that Jenner’s legacy endures in so many of the positive images of, and statements about, Cornwall today.

Depuis les débuts de W. B. Yeats en tant que dramaturge dans les années 1890, le personnage de théâtre irlandais semble pris dans une tempête de mémoire, chavirant entre deux écueils également mortifères, l’impossibilité d’oublier (hypermnésie) et celle de se souvenir (amnésie). Cette crise de la mémoire et par conséquent de l’identité entraîne une prolifération de troubles mentaux chez les personnages et une utilisation métaphorique croissante et peut-être inconsciente de la maladie mentale par les dramaturges comme théâtralisation des bouleversements de la société contemporaine. W. B. Yeats (1865-1939) et J. M. Synge (1871-1909) font de la mémoire dysfonctionnelle non seulement l’un des thèmes centraux de leur œuvre théâtrale, mais plus encore la matière même de leur écriture, alors que la mémoire désacralisée et déstabilisée est réécrite, remodelée par une prolifération de récits mensongers et contradictoires (paramnésie). Ce travail veut alors définir le rapport entre mémoire, maladie mentale et Modernisme sur une période relativement longue (1892-1939) afin d’observer l’évolution des modes d’inscription de la mémoire à l’intérieur du texte en se centrant sur les trois troubles de la mémoire identifiés à l’époque et à la lumière desquels seront étudiées successivement les pièces. Il s’agit de faire un aller-retour entre la perception intuitive de la mémoire par la littérature et les théories psychiatriques contemporaines, l’hypothèse centrale étant que le texte théâtral intègre certaines notions cliniques dans l’étude de la mémoire, ce qui permettrait de voir dans cette relation entre texte médical et texte théâtral l’un des éléments d’un (pré-)Modernisme irlandais. / Ever since Yeats started writing plays in the 1890s, the Irish character seems to be struggling between two opposite pitfalls of memory: on the one hand an impossibility for him to forget, and the other hand an impossibility to retain memories. This memory crisis, which entails an identity crisis, leads to an increasing staging of mental disorders by the playwrights to represent, perhaps involuntarily, a destabilised contemporary society. W. B. Yeats (1865-1939) and J. M. Synge (1871-1909) use mental disorder not only as a theme, but also as a literary ploy as memories in their plays are relived and reconstructed in misleading and contradictory tales. This work focuses on the relationship between memory, mental disorder and Modernism in a long period (1892-1939) in order to underline the evolutions of the representation of dysfunctional memory in the texts. It successively examines the plays in the light of the three major memory disorders identified by psychiatrists at the time: amnesia, hypermnesia and paramnesia. This work relies on a parallel reading of the intuitive perception of memory by literature and the contemporary psychiatric theories, the underlying hypothesis being that some clinical notions of memory dysfunctions have been integrated to the theatrical corpus, which could be a feature of an Irish (early) Modernism.