ABSTRACT
In the marginal culture, orthodox metropolitan ideas of literary "success" and "failure" were, perforce, rigorously reexamined, producing a Jaussian reification of literary convention which, in the hands of certain authors, could suggest new and dissenting aesthetic practices. The belated, imitative character of colonial culture was evident in the aforementioned ambition of the DUM to reproduce a periodical model already patented in London and Edinburgh. Nevertheless, post-Emancipation Catholic magazinists such as Francis Sylvester Mahony and James Clarence Mangan pushed centralized literary models in new and interesting directions, even if, inevitably, their ironic cosmopolitanism and contrasting perspectives on aesthetic displacement would produce distinct interpretations of Irish history. Allegorizing market forces helped Mangan to establish a figurative target for his frustrations, but one which, in reality, was little more than a negative definition of a still obscure entity.
