ESSAY Nazis on the State Payroll in 1930S Ireland
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Government's Executions Policy During the Irish Civil
THE GOVERNMENT’S EXECUTIONS POLICY DURING THE IRISH CIVIL WAR 1922 – 1923 by Breen Timothy Murphy, B.A. THESIS FOR THE DEGREE OF PH.D. DEPARTMENT OF HISTORY NATIONAL UNIVERSITY OF IRELAND MAYNOOTH HEAD OF DEPARTMENT: Professor Marian Lyons Supervisor of Research: Dr. Ian Speller October 2010 i DEDICATION To my Grandparents, John and Teresa Blake. ii CONTENTS Page No. Title page i Dedication ii Contents iii Acknowledgements iv List of Abbreviations vi Introduction 1 Chapter 1: The ‗greatest calamity that could befall a country‘ 23 Chapter 2: Emergency Powers: The 1922 Public Safety Resolution 62 Chapter 3: A ‗Damned Englishman‘: The execution of Erskine Childers 95 Chapter 4: ‗Terror Meets Terror‘: Assassination and Executions 126 Chapter 5: ‗executions in every County‘: The decentralisation of public safety 163 Chapter 6: ‗The serious situation which the Executions have created‘ 202 Chapter 7: ‗Extraordinary Graveyard Scenes‘: The 1924 reinterments 244 Conclusion 278 Appendices 299 Bibliography 323 iii ACKNOWLEDGEMENTS I wish to extend my most sincere thanks to many people who provided much needed encouragement during the writing of this thesis, and to those who helped me in my research and in the preparation of this study. In particular, I am indebted to my supervisor Dr. Ian Speller who guided me and made many welcome suggestions which led to a better presentation and a more disciplined approach. I would also like to offer my appreciation to Professor R. V. Comerford, former Head of the History Department at NUI Maynooth, for providing essential advice and direction. Furthermore, I would like to thank Professor Colm Lennon, Professor Jacqueline Hill and Professor Marian Lyons, Head of the History Department at NUI Maynooth, for offering their time and help. -
Original Song Settings of Irish Texts by Irish Composers, 1900-1930
Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song. -
Keeping Child Protection on HSE Radar
HM_April09_p6-7:HM_issue4_07-template 09/04/2009 11:10 Page 6 Keeping child protection on HSE radar Minister for Children & Youth Affairs, Barry Andrews tells Maureen Browne that he wants the HSE to appoint a National Director for Child Protection and Welfare Minister for Children & Youth Affairs, where I can pick up the ‘phone to the be life-threatening. Barry Andrews T.D., wants the HSE to HSE and be able to speak to some- “I think the HSE needs a whole- appoint a National Director for child body whose sole job and responsibili- time National Director of Child protection and welfare. ty is childcare.” Services who can ensure that there is a He has already had discussions on The Minister is also seriously con- concentration on the central issues of Mthis with both the HSE Board and his cerned that child protection and wel- child protection and welfare. I believe Cabinet and is confident that the post fare can slip down the radar when this would result in an improvement in will be established as part of the there is nobody to drive it on the the focus on these issues. forthcoming re-structuring of the HSE’s senior management team. “I also want to look at the situation HSE. (Andrews is the only Minister of social workers. As a group of staff, of State to have a seat at Cabinet) Seriousness I don’t think they are given due He is concerned that at present “I don’t think there is anything delib- recognition for the difficult work they there is nobody in the HSE who has erate in this on the part of health do. -
PDF (All Devices)
Published by: The Irish Times Limited (Irish Times Books) © The Irish Times 2015. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior written consent of The Irish Times Limited, or under terms agreed with the appropriate reprographic rights organisation or as expressly permitted by law. Contents Introduction: ............................................................................................................................... 4 Beyond heroes and villains ........................................................................................................ 4 Contributors to Stories from the Revolution .............................................................................. 6 ‘Should the worst befall me . .’ ................................................................................................ 7 ‘A tigress in kitten’s fur’ .......................................................................................................... 10 Family of divided loyalties that was reunited in grief ............................................................. 13 Excluded by history ................................................................................................................. 16 One bloody day in the War of Independence ........................................................................... 19 Millionaire helped finance War of Independence ................................................................... -
Papers of the Kevin Barry Memorial Committee P278 Descriptive
Papers of the Kevin Barry Memorial Committee P278 Descriptive Catalogue UCD Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 © 2014 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical History iv Archival History v CONTENT AND STRUCTURE Scope and content v System of arrangement vii CONDITIONS OF ACCESS AND USE Access viii Language viii Finding Aid viii DESCRIPTION CONTROL Archivist’s Note viii ALLIED MATERIALS Allied Collections in UCD Archives viii iii CONTEXT Administrative History Kevin Barry (20 January 1902–1 November 1920) was a medical student at University College Dublin and a member of the 'H' Company of the Irish Volunteers. He was arrested by the British Army during the war of independence for his part in an ambush on a British Army vehicle which resulted in the deaths of three British officers. He was subsequently charged with murder for his part in the ambush and was executed by hanging on 1 November 1920 at eighteen years of age. Shortly after his death, the Student’s Representative Council of University College Dublin agreed that a memorial should be erected in his honor, funded by students and graduates of the university. A committee was formed to appeal to graduates of University College Dublin for funds to create the memorial. Through the collection of subscriptions and the sale of mortuary cards, the Kevin Barry Memorial Fund gathered the sum of £100 to pay for the project. Following this initial period, there was a lull in activities and the money already collected rested with the trustees of the fund. -
Musical Memories
~ ---- APPENDIX 1 MUSICAL MEMORIES Heneghan, Frank O'Grady, Dr Geraldine Andrews, Edward O'Reilly, Dr James]. Beckett, Dr Walter Keogh, Val O'Rourke, Miceal Bonnie,Joe King, Superintendent John Calthorpe, Nancy Larchet, Dr John F Roche, Kevin Darley, Arthur Warren Maguire, Leo Ronayne, john Davin, Maud McCann, Alderman John Rowsome, Leo Donnelly, Madame Lucy McNamara. Michael Sauerzweig, Colonel F C. Dunne, Dr Veronica Mooney, Brighid Sherlock, Dr Lorean G. Gannon, Sister Mary O'Brien, Joseph Valentine, Hubert O'Callaghan, Colonel Frederick Gillen, Professor Gerard Walton, Martin A. Greig, William Sydney O'Conor, Dr John 85 86 Edward Andrews were all part-time, and so could get holiday pay by getting the dole. Many summer days I spent in a Edward Andrews was porter, and his wife, queue at the Labour Exchange. Mary Andrews, was housekeeper, in the The large room at the head of the main stairs Assembly House, South William Street, from was the Library, just three or four cases of books about 1885. He was the first porter connected and music, looked after by Willie Reidy, who also with the Municipal School of Music. They were taught the cello in this room. The Principal at this employed by Dublin Corporation, and remained time was Joseph O'Brien. in South William Street when the Municipal Soon a terrible thought struck me. The way I School of Music moved premises. They had a was living meant that I should go through this life daughter, Mary, who was one of the first piano without ever playing in a string quartet. This was students, and her two daughters, Eithne Russell intolerable, so before long I left a free half-hour in and the late Maura Russell, were both students my timetable and went to Willie Reidy to learn the and teachers in the College of Music. -
Hitler's Irish Voices
Dublin City University School of Communications HITLER'S IRISH VOICES The Story of German Radio's Irish Propaganda Service, 1939-1945 A thesis submitted to Dublin City University in candidacy for the Degree of Doctor of Philosophy by David A. O'Donoghue 1995 S u p e r v iso r School of Communications Dr. Colum Kenny April 1995 DECLARATION I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. S ign ed : C andidate D ate : CONTENTS Abbreviations, Foreign and Technical Terms................................................................................................ i A b s t r a c t .................................................. i i i Forew ord.........................................................................................................................................................................................i v Introduction .......................................................................................................... 1 C hapter 1 A Nazi Radio Service for Ireland ................................................................................................................... 10 C hapter 2 Founding Fathers of the Irland-Redaktion ..............................................................................................32 Ludwig Muhlhausen......................................................................................................................................................3 -
Irish-Soviet Diplomatic and Friendship Relations, 1919-80
Irish-Soviet diplomatic and friendship relations, 1919-80 by Michael Joseph Quinn THESIS FOR THE DEGREE OF PhD DEPARTMENT OF HISTORY NATIONAL UNIVERSITY OF IRELAND MAYNOOTH Head of Department: Professor Marian Lyons SUPERVISOR OF RESEARCH: Professor Jacqueline Hill January 2014 i Table of contents Abstract iii Declaration iv Acknowledgments v List of abbreviations vi Introduction 1 Chapter one: Irish-Soviet diplomatic affairs, 1919-72 15 Chapter two: The establishment and practice of Irish-Soviet diplomatic relations, 1971-80 60 Chapter three: An account of Irish-Soviet friendship organisations, with a principal focus on the Ireland-U.S.S.R. Society, founded in 1966 122 Chapter four: Ambassador Brennan’s island of Ireland political reports 177 from Moscow to the Department of Foreign Affairs, Dublin, 1974-80 Chapter five: Irish-Soviet relations in the context of European Political Cooperation, 1974-80 226 Conclusion 270 Appendix 1: A register of Ambassador Brennan’s political reports 282 (P.R.s) from Moscow to the Department of Foreign Affairs, Dublin, 1974-80 Appendix 2: A register of the records of Irish involvement in the Eastern Europe Working Group (E.E.W.G.), 1974-80. 312 Bibliography 326 ii Abstract This thesis offers a contribution to Irish historiography with a study of Ireland’s diplomatic and friendship relations with the Soviet Union in the ‘short Soviet twentieth- century’. To date no such study has been produced. The study has as its central focus developments surrounding the establishment of formal diplomatic relations between the two states in 1973, and considers aspects of how those relations evolved down to 1980. -
Aloys Fleischmann (1910-1992)
ALOYS FLEISCHMANN (1910-1992) DIARY 1926 TRANSCRIBED AND ANNOTATED BY RUTH FLEISCHMANN 2 A DIARY OF MYSELF AND MY ACTIONS BEGUN JAN 31 1926 Aloys Fleischmann 6 Wellesley Terrace Wellington Road Cork 3 January 1926 Sunday 31 Memorable day of big concert in Opera House. Programme consists of ‘Hail, Bright Abode’, ‘Fly, Singing Bird, Fly’ and ‘The Walpurgis Night’. Peter Dawson 1 also sings two groups of songs. After Mass, Pappy and I go to meet Dawson in the Imperial Hotel, and then go to general practice. Very nervous before performance. Concert great success. House packed. Choir sings splendidly, and Dawson proves to be a fine artist. I accompany on harmonium, and evidently get on pretty well. Miss O’Brien 2 is at piano for choir, and Mr. Carlton Fay, a typically dry Australian, plays for Dawson. The only painful event was that the curtain could not be dropped in time as the man was at the time smoking his pipe in some other part of the house. Everything splendid afterwards until it was found out that three of the soloists were departing from the choir, because they were not brought to the footlights. Shows their mentality! February 1926 Monday 1 Great disgust on seeing criticism of concert. Absolutely rotten. While every trash gets the highest praise in the ‘Examiner’, this beautiful concert, and all really artistic performances, are shamefully ignored. Many resolutions of going to Germany as soon as possible, where good efforts of any kind are well recognised, and bad ones turned down. Spend the day in school 3 ruminating on the events of yesterday, and feel hopelessly disgusted. -
Dreams and Responsibilities
Dreams and Responsibilities The State and the Arts in Independent Ireland Brian P Kennedy ISBN 0 906627 32 X © Brian P. Kennedy All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Design: Bill Murphy Cover: Lagganstown Panorama 11 (1995 monoprint) by Cork-based artist, Brian Kennedy Cover Design: Boyle Design Group Printed in Ireland by Criterion Press, Dublin Published by The Arts Council/An Chomhairle Ealaíon Re-printed: 1998 First printed: Dublin 1990 The Arts Council gratefully acknowledges the generous financial support of : The Electricity Supply Board and Coopers and Lybrand towards the publication of this book CONTENTS PLATES vii ACKNOWLEDGEMENTS ix ABBREVIATIONS xi INTRODUCTION xiii CHAPTER 1 The State and the Arts: Some Preliminary Observations 1 CHAPTER 2 False Starts: 1922–32 5 CHAPTER 3 Private Initiatives and Official Pipedreams 29 CHAPTER4 Cautious Beginnings — The Seeds of Progress: 1940–8 45 CHAPTER 5 The Bodkin Report and the Formation of ‘An Chomhairle Ealaíon’: 1948–51 65 CHAPTER 6 Limited Means and Ambitious Ends: 1951–6 95 CHAPTER 7 All Changed, Changed Utterly: 1956–66 119 CHAPTER 8 Patronage Under Fire: 1967–73 149 CHAPTER 9 Expansion and Development: 1973–82 179 CHAPTER 10 Epilogue 209 CONCLUSION 225 NOTES 227 APPENDIX A The Arts Act, 1951 251 APPENDIX B The Arts Act, 1973 257 APPENDIX C Government Grants to the Arts Council: 1951–88 264 APPENDIX D List of Directors/Chairmen, Members and Secretaries/Directors of the Arts Council: 1951– 265 NOTE ON SOURCES AND BIBLIOGRAPHY 267 INDEX 281 ACKNOWLEDGEMENTS This study was commissioned by the Arts Council whose Chairman, Professor Colm O hEocha, members and staff gave me every assistance in bringing it to completion. -
Consultation on the Status, Treatment and Use of the National Anthem
Consultation on The Status, Treatment and Use of the National Anthem Receipt No: 1 Caroline Plant Irish citizen - private, no expertise in matters copyright or otherwise. From the Public Consultation Paper: "In terms of free speech, placing restrictions around the use of the National Anthem may contravene well established rights within this area. Many other nations choose to explicitly place their National Anthems in the public domain and rely on public opinion to police what is appropriate usage of them. This allows for freedom of speech and expression, but with the caveat that this same freedom of speech will also ensure negative publicity and reaction from the general population for instances of inappropriate usage, in whatever forms this may take." Why is this even up for debate? Why is it necessary to 'protect' a song? Why would we want to move in the same direction as countries such as Russia, Bangladesh, India, the Philippines and Singapore? None of these countries are shining examples of democracy. Making rules restricting people from causing offence never works in practice. Any rules regarding the National Anthem and offence would just go the same way as our Blasphemy law - unenforceable and pointless. We have enough problems enforcing laws in relation to crimes where people or property are actually harmed or damaged in this country, let alone enforcing a law for something as nebulous as offence. And that is before we consider the situation that allows a person to perhaps, for example, be prosecuted for changing the lyrics to the anthem to satirize the government of the day. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs British Army Music in the Interwar Years: Culture, Performance, and Influence Thesis How to cite: Hammond, David Brian (2018). British Army Music in the Interwar Years: Culture, Performance, and Influence. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author Version: Version of Record Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk BRITISH ARMY MUSIC IN THE INTERWAR YEARS: CULTURE, PERFORMANCE, AND INFLUENCE DAVID BRIAN HAMMOND SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC AT THE OPEN UNIVERSITY DECEMBER 2017 ABSTRACT British Army Music in the Interwar Years: Culture, Performance, and Influence David Hammond This thesis aims to identify how British army bands in the interwar years were a primary stakeholder in the music industry and to explore their role in projecting soft power for the British military. There were approximately 7,000 full-time bandsmen serving in the British army, which was about a third of the total number of musicians in the music profession in the United Kingdom. The War Office was the largest employer of professional musicians in the country and yet there has been very little acknowledgement of the contribution made by this body of musicians, both to the music industry and to the effectiveness of army operations.