Marisol Morales-Ladrón, Inés Praga, Asier Altuna-García De Salazar, Juan F. Elices And Rosa González-Casademont – Introduction: Home, Family and Dysfunction in the Narrative and Filmic Discourses of Ireland
← vi | 1 →MARISOL MORALES-LADRÃN, INÉS PRAGA, ASIER ALTUNA-GARCÍA DE SALAZAR, JUAN F. ELICES AND ROSA GONZÁLEZ-CASADEMONT
The family in its wider significance means an assemblage of individuals, dwelling in the same house under a common superior or head, and united by ties founded on the natural law. In this sense, the family is a composite society, which may be composed, at least potentially, in all or any of three ways – the union, namely, of husband and wife, of parents and children and of master and servants.
–REVEREND EDWARD CAHILL1
Institutionalized through nationalist, religious, moral and political discourses, the family has functioned as an icon of Irish culture. The engagement of Church and State to foster an idea(l) of the nuclear family, based on principles of Catholic morality, partriarchal authority, heterosexuality and hierarchy has historically contritbuted to construct an image of the Catholic family that would officially become a cornerstone of the Irish society and a metaphor of national, political and religious unity.2 With the legal support of the Irish Constitution of 1937, women’s roles within the household were reduced to the fulfillment of domestic standards of motherhood and subservience. It was not until the last quarter of the ← 1 | 2 →twentieth century, with the introduction of liberal policies, the advance in the recognition of women’s rights, the secularization of society, and the effects of immigration, transnational forces and globalization, when such an understanding of the family cell3 – as it...
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