Changeling Cattle and Magical Cows: Traditional Ecological Knowledge in Irish Folklore
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Irish Children's Literature and the Poetics of Memory, 1892-2016
Irish Children’s Literature and the Poetics of Memory, 1892-2016 A Thesis submitted to the School of English at the University of Dublin, Trinity College, for the Degree of Doctor of Philosophy. February 2019 Rebecca Ann Long I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the Library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. _________________________________ Rebecca Long February 2019 TABLE OF CONTENTS SUMMARY………………………………………………………………………………..i ACKNOWLEDGEMENTS……………………………………………………………....iii INTRODUCTION………………………………………………………………………....4 CHAPTER ONE: RETRIEVING……………………………………………………………………………29 CHAPTER TWO: RE- TELLING……………………………………………………………………………...…64 CHAPTER THREE: REMEMBERING……………………………………………………………………....106 CHAPTER FOUR: RE- IMAGINING………………………………………………………………………........158 CONCLUSION…………………………………………………………………..……..210 WORKS CITED………………………….…………………………………………………….....226 Summary This thesis explores the recurring patterns of Irish mythological narratives that influence literature produced for children in Ireland following the Celtic Revival and into the twenty- first century. A selection of children’s books published between 1892 and 2016 are discussed with the aim of demonstrating the development of a pattern of retrieving, re-telling, remembering and re-imagining myths -
Nostalgia and the Irish Fairy Landscape
The land of heart’s desire: Nostalgia and the Irish fairy landscape Hannah Claire Irwin BA (Media and Cultural Studies), B. Media (Hons 1) Macquarie University This thesis is presented for the degree of Doctor of Philosophy in Media and Cultural Studies. Faculty of Arts, Department of Media, Music, Communication and Cultural Studies, Macquarie University, Sydney August 2017 2 Table of Contents Figures Index 6 Abstract 7 Author Declaration 8 Acknowledgments 9 Introduction: Out of this dull world 1.1 Introduction 11 1.2 The research problem and current research 12 1.3 The current field 13 1.4 Objective and methodology 14 1.5 Defining major terms 15 1.6 Structure of research 17 Chapter One - Literature Review: Hungry thirsty roots 2.1 Introduction 20 2.2 Early collections (pre-1880) 21 2.3 The Irish Literary Revival (1880-1920) 24 2.4 Movement from ethnography to analysis (1920-1990) 31 2.5 The ‘new fairylore’ (post-1990) 33 2.6 Conclusion 37 Chapter Two - Theory: In a place apart 3.1 Introduction 38 3.2 Nostalgia 39 3.3 The Irish fairy landscape 43 3 3.4 Space and place 49 3.5 Power 54 3.6 Conclusion 58 Chapter Three - Nationalism: Green jacket, red cap 4.1 Introduction 59 4.2 Nationalism and the power of place 60 4.3 The wearing of the green: Evoking nostalgia for Éire 63 4.4 The National Leprechaun Museum 67 4.5 The Last Leprechauns of Ireland 74 4.6 Critique 81 4.7 Conclusion 89 Chapter Four - Heritage: Up the airy mountain 5.1 Introduction 93 5.2 Heritage and the conservation of place 94 5.3 Discovering Ireland the ‘timeless’: Heritage -
Fairy Paths in Ireland & Wales
FAIRY PATHS IN IRELAND & WALES A Literature and Field Study of Cognised Landscapes in Two Celtic Countries Paul Devereux International Consciousness Research Laboratories Report 2004 CONTENTS Acknowledgements Introduction Glossary & Chronological Guide Fairies and their Paths Field Examples of Fairy Paths in Ireland and Wales 1 ACKNOWLEDGEMENTS I owe an enormous debt of gratitude to traditional storyteller, author, and folklorist Eddie Lenihan of Clare, Ireland, for providing me with so much information and insight, not to mention for his valued companionship on field trips in Clare and Kerry. I am similarly indebted to author, storyteller, teacher, musician, and folklorist Bob Curran of Northern Ireland for his tremendous help and for his delightful company during a field trip in and around Fermanagh. I am further grateful to Frank Olding of Wales for going out of his way to provide me with key information, and also to Laurence Main in Wales. It has been a delight meeting so many friendly and helpful people during the fieldwork for this study. I thank them all, whether met in rural homes, country pubs, or highways and byeways, and my gratitude is not diminished because they are anonymous to me. However, I do have the names of the following people to whom I am grateful for special kindnesses, information, and other help in Ireland – Francis Carson and his mother Kathleen at Moneygashel; John Codd of Kilcowan; the Curtin family in Kerry; Mick O’Dwyer of Drumline; Margaret Gallagher of the Belcoo and District Historical Society; Sean Haran of Cloonagh, Mayo; Timmy Scanlon of Kerry, and Jimmy Walsh in Clare. -
Transcript of Don't Mess with the Fairies
1 There was a well-known news report from the BBC in the 1960s. A roadway was being built in Ireland. People who lived nearby were upset because the road would go a bush that had long been claimed by the fairies. And the reporter does the whole thing with a straight face, but he clearly thinks this is fascinating and absurd. At one point, he asks a woman: Have you seen a fairy yourself? No I didn’t but my mother did so, she’s a woman 80 years of age, tells us she was working in this house and her master was an invalid, she saw little body up the road dressed in red. She hid behind a door. She was frightened by it. That was 50 years ago. In 2017, a member of Irish parliament named Danny Healy-Rae told the Irish Times that continual problems on the roads in County Kerry were due to the fact that the roads went through fairy forts. He was widely mocked but in his defense, he said, quote “if someone told me to go out and knock a fairy fort or touch it, I would starve first.” Eddie Lenihan is a professional storyteller who lives on the West coast of Ireland. I reached him at his home. As you’ll hear we did not have a great connection but you can still make out what he’s saying. Eddie has dedicated his life to collecting fairy stories and beliefs because he’s worried that they’re dying out. EDDIE: And I will say due to America. -
The Dialectic of Myth: Creating Meaning in the Anthropocene
THE DIALECTIC OF MYTH: CREATING MEANING IN THE ANTHROPOCENE Moira Marquis A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the College of Arts and Sciences. Chapel Hill 2020 Approved by: Priscilla Wald Matthew Taylor Pamela Cooper Aarthi Vadde Patrick O’Neill © 2020 Moira Marquis ALL RIGHTS RESERVED ii ABSTRACT Moira Marquis: The Dialectic of Myth (Under the direction of Priscilla Wald and Matthew Taylor) This dissertation interrogates the ecological purposes behind representations of indigenous and traditional myths in contemporary Anglophone novels, specifically David Mitchell’s Cloud Atlas (2004), Margaret Atwood’s MaddAddam trilogy (2004-2014), Nnedi Okorafor’s Lagoon (2014), Alexis Wright’s Carpentaria (2010) and Susanna Clarke’s Jonathan Strange and Mr. Norrell (2006). These novels, I contend, use myths to argue that climate change is not an inevitable result of human nature but rather the product of one cultural story — what I call the Enlightenment myth — which asserts humanity’s need to dominate nature. Conversely, the Yorùbá, Waanyi Aboriginal, Celtic and new age science/spiritualist myths depicted in these novels understand humanity as incapable of mastering nature without dire consequences for both the world and ourselves. Challenging the longstanding—and frequently racist— dichotomy between civilized science and irrelevant or mystifying folk belief, my project illustrates how myths are increasingly employed as a rhetorical tool to foster ideas of human interdependence with nature. My work challenges the definition of myth as “false supposition” and instead asserts myths are always cultural stories whose merit should not be measured through claims of objectivity but rather by the cultural practices they manifest. -
Tales of the Fey: the Use of Traditional Faerie Folklore in Contemporary Young Adult Fantasy Novels by Caralyn Andersen B.A
Tales of the Fey: The use of traditional Faerie folklore in contemporary young adult fantasy novels by Caralyn Andersen B.A. Simon Fraser University, 1992 B.Ed. University of British Columbia, 1996 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Children's Literature) The University of British Columbia (Vancouver) June 2008 © Caralyn Andersen 2008 Abstract There are many examples of novel-length renditions of traditional fairy tales to be found in young adult fantasy literature. Although there is a significant amount of research on the evolution of the fairy tale into novel length narratives, there is little focused on the use of the folklore of Faerie in fantasy novels. This thesis examines the Faerie-related folkloric themes and motifs to be found in four examples of contemporary young adult fantasy novels: An Earthly Knight, Thomas the Rhymer, Tithe, and The Hunter's Moon. Each of these narratives is rich in Faerie folklore. The authors, Janet McNaughton, Ellen Kushner, Holly Black, and O.R. Melling, have gone beyond the pop-culture image of the fairy and explored the many aspects of Faerie to be found in folklore. In their unique ways, these authors each explore Faerie as a realm full of marvels and contradictions, while remaining true to the nature of Faerie found in folklore. This strong base in traditional sources strengthens and adds depth to these narratives. Table Of Contents Abstract ii Table Of Contents iii Acknowledgements v Chapter 1: Introduction -
The Fairy-Faith in Celtic Countries
The Fairy−Faith in Celtic Countries W.Y. Evans Wentz The Fairy−Faith in Celtic Countries Table of Contents The Fairy−Faith in Celtic Countries.......................................................................................................................1 W.Y. Evans Wentz.........................................................................................................................................1 Preface............................................................................................................................................................1 Dedication......................................................................................................................................................3 Introduction....................................................................................................................................................4 Environment (section I, chapter I)...............................................................................................................11 Taking of Evidence (Section I Chapter II part 1).........................................................................................19 Taking Evidence (Section I, Chapter II, part 2)...........................................................................................63 Taking Evidence (Section I, Chapter II, part 3)...........................................................................................83 Taking Evidence (Section I, Chapter II, part 4)...........................................................................................96 -
Abducted-By-The-Fairies.Pdf
Ireland’s most sinister superstition: The changeling POSTED ON JULY 20, 2014 BY ROISIN This appeared in The North Clare Local in April. A changeling Cor Hendriks, Abducted by the Fairies – info (PDF maart ’16) 1 “Are you a witch, or are you a fairy? Or are you the wife of Michael Cleary?” (Irish children’s rhyme) When you scratch the surface, most human beings share the same common, primal fears. Chief among them is the loss of a loved one, especially a child. The idea of the changeling – that fairies could steal a child away, possibly forever, and leave a horribly altered substitute in its place – is one of the most sinister traditions in Irish folklore. Why would a fairy steal a human child? Many believed that fairy babies were ugly and troublesome, whereas human infants were docile and beautiful. Fairies were always attracted to beauty and music; it wasn’t just babies that were at risk, but good-looking young men and women. In Ireland it common to exchange an elderly, dying fairy with a baby. Others believed that a fairy infant needed mortal food to thrive. Perhaps the most sinister purpose for stealing away a human child comes from the Scottish tradition. The Scots believed that the fairies had done a deal with the devil, and every seven years they owed him a tithe. The devil demanded a blood sacrifice, but the fairies’ high self-regard would prevent them killing one of their number. The fairies abducted a child in order to pay their blood dues. Cross-breeding was another motive for kidnap. -
Storytelling, Spooks and the Sidhe How the Irish Created Legends: Paganism, Christianity and Alcohol by Jerry James
Storytelling, Spooks and the Sidhe How the Irish Created Legends: Paganism, Christianity and Alcohol by Jerry James “Storytelling is the only therapy Ireland believes in—it helps to deal with the demons.” — Jim Norton, the original Jack in The Weir Conor McPherson’s play, The Weir, takes place one night in a pub in “a rural part of Ireland, Northwest Leitrim or Sligo.” This part of Ireland—the Land of Heart’s Desire for William Butler Yeats—seems particularly amenable to tales of another world, whether those of the fairy folk or those of visitors from the world beyond. There are no tales told in this pub of the heroes of Irish mythology so beloved by Yeats, no Queen Maeve or Finn McCool. But even so, the written versions of old Irish tales of spirit worlds often use a modern transliteration of Gaelic. In this way, the Irish revenge themselves on the English by making the names unpronounceable. Finn McCool, for example, becomes Fionn mac Cumhail. The fairy folk are known as the Sidhe (pronounced “shee”). In this land where the past interpenetrates the present, Irish tales and legends are inevitably filtered through the mesh of Roman Catholicism, present in Ireland since the fifth century. It is this brew, more potent than Guinness or Bushmill’s, that combines with the eons-old condition of the rural Irish to produce their own particular form of relating a tale, the way they tell a story. And so, we ask, what are the origins of these twin streams? How did they get to Ireland? How did they combine? And what was that about alcohol? All in good time, as the Irish say. -
Lavinia Roberts Big Dog Publishing
Lavinia Roberts Big Dog Publishing Fairy Fort 2 Copyright © 2016, Lavinia Roberts ALL RIGHTS RESERVED Fairy Fort is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play. The program must also contain the following notice: “Produced by special arrangement with Big Dog/Norman Maine Publishing LLC, Rapid City, SD.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog/Norman Maine Publishing LLC, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1401 Rapid City, SD 57709 Fairy Fort 3 Fairy Fort SPOOF. In this fairytale spoof of the reality TV show “Shark Tank,” fairytale characters present business proposals to judges with the hope of achieving happily ever after. -
By Director Tomm Moore for Song of the Sea I Wished to Craft a Modern
Foto: SF Film By director Tomm Moore For Song of the Sea I wished to craft a modern fairytale borrowing characters and themes from the ancient tradition of the Seanachai – traditional storytellers. The tradition is an oral one, with each seanachai having his own take on the ancient stories and often inventing new stories, riffing on themes and events from earlier traditional tales. As a living tradition, the stories need to evolve and grow to suit the audiences they are being created for, and it is in this spirit that Will Collins and I borrowed and referenced the old stories to create a modern one for today’s audiences. It is in reference to these storytellers such as Eddie Lenehan and Eamon Kelly that we created The Great Seanachai who has to keep all the stories in his hair to prevent him from forgetting them. At one point we developed an overarching fairytale structure and background to how all the characters ended up where they are when Ben and Saoirse encounter them, but we felt as we worked thru various darfts of the script that we didn’t want to be overly literal and explain everything about this fairyworld and leave plenty for the audience to ponder and invent for themselves afterwards. Much like Hayao Miyazaki's work focuses on characters we can all relate to, who inhabit a world often inspired by Japanese animist traditions we wanted to hint at the ancient stories that had inspired our world without losing the focus on our central characters. Throughout the film there are visual and aural references to the old stories and traditions. -
Fairy Forts and the Banshee in Modern Coastal Sligo, Ireland: an Ethnography of Local Beliefs and Interpretations of These Traditions
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2010 Fairy Forts And The Banshee In Modern Coastal Sligo, Ireland: An Ethnography Of Local Beliefs And Interpretations Of These Traditions Brian Tillesen University of Central Florida Part of the Anthropology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Tillesen, Brian, "Fairy Forts And The Banshee In Modern Coastal Sligo, Ireland: An Ethnography Of Local Beliefs And Interpretations Of These Traditions" (2010). Electronic Theses and Dissertations, 2004-2019. 4409. https://stars.library.ucf.edu/etd/4409 FAIRY FORTS AND THE BANSHEE IN MODERN COASTAL SLIGO, IRELAND AN ETHNOGRAPHY OF LOCAL BELIEFS AND INTERPRETATIONS OF THESE TRADITIONS by BRIAN ROBERT TILLESEN B.A. University of Central Florida, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2010 © 2010 Brian Tillesen ii ABSTRACT This thesis examines issues of cultural identity and modernity, and the anthropology of spirituality and sacred sites by conducting ethnographic research on fairy beliefs in contemporary Ireland. Irish folk belief has traditionally identified a spirit world intertwined with our own which is inhabited by spirits, often collectively referred to as fairies.