The Descent Into Hell in the Poetry of Eavan Boland
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Provided by the author(s) and University College Dublin Library in accordance with publisher policies. Please cite the published version when available. Title Working and Weeping: Women's Oral Poetry in Irish and Scottish Gaelic Authors(s) Bourke, Angela Publication date 1988 Series Women and Gender Studies Series Publisher University College Dublin. School of Social Justice. Women's Studies Item record/more information http://hdl.handle.net/10197/5715 Downloaded 2021-10-04T15:48:41Z The UCD community has made this article openly available. Please share how this access benefits you. Your story matters! (@ucd_oa) © Some rights reserved. For more information, please see the item record link above. Angela Bourke ~ AND WEEPING \'DtmN 1 S OOAL OOEIRY IN IRISH AND SCDI'l'ISH GAELIC Angela Bourke lectures in the Department of Mcx::lern Irish at University College, I:Xlblin page 2 ----------------------------------------------------------------------------------- Irish and Scottish Gaelic are both rich in oral tradition and there exists in each a lari'e body of anonymous oral literature, mostly stories and poetry. A considerable amount of this poetry is known to have been composed by women and is associated with aspects of traditional culture which were always women's particular responsibility. It is the purpose of this paper to compare the women's poetry of Ireland and Scotland and to examine the integration of 'literary' creativity with traditional life in both cultures. Until the seventeenth century, Ireland and Scotland shared a common language and a common social structure. There was a privileged elite of male poets whose power and prestige were fundamentally linked to political stability. -
Eoghán Rua Ó Suilleabháin: a True Exponent of the Bardic Legacy
134 Eoghán Rua Ó Suilleabháin: A True Exponent of the Bardic Legacy endowed university. The Bardic schools and the monastic schools were the universities of their day; they bestowed privileges and Barra Ó Donnabháin Symposium: status on their students and teachers, much as the modern university awards degrees and titles to recipients to practice certain professions. There are few descriptions of the structure and operation of Eoghán Rua Ó Suilleabháin: A the Bardic schools, but an account contained in the early eighteenth century Memoirs of the Marquis of Clanricarde claims that admission True Exponent of the Bardic WR %DUGLF VFKRROV ZDV FRQÀQHG WR WKRVH ZKR ZHUH GHVFHQGHG from poets and had within their tribe “The Reputation” for poetic Legacy OHDUQLQJ DQG WDOHQW ´7KH TXDOLÀFDWLRQV ÀUVW UHTXLUHG VLF ZHUH Pádraig Ó Cearúill reading well, writing the Mother-tongue, and a strong memory,” according to Clanricarde. With regard to the location of the schools, he asserts that it was necessary that the place should “be in the solitary access of a garden” or “within a set or enclosure far out of the reach of any noise.” The structure containing the Bardic school, we are told, “was snug, low, hot and beds in it at convenient distances, each within a small apartment without much furniture of any kind, save only a table, some seats and a conveniency for he poetry of Eoghan Rua Ó Súilleabháin (1748-1784)— cloaths (sic) to hang upon. No windows to let in the day, nor any Tregarded as one of Ireland’s great eighteenth century light at all used but that of candles” according to Clanricarde,2 poets—has endured because of it’s extraordinary metrical whose account is given credence by Bergin3 and Corkery. -
Irish Anthologies and Literary History
UvA-DARE (Digital Academic Repository) A commodious vicus of recirculation: Irish anthologies and literary history Leerssen, J. Publication date 2010 Document Version Submitted manuscript Link to publication Citation for published version (APA): Leerssen, J. (2010). A commodious vicus of recirculation: Irish anthologies and literary history. (Working papers European Studies Amsterdam; No. 10). Opleiding Europese Studies, Universiteit van Amsterdam. http://www.uva.nl/disciplines/europese- studies/onderzoek/working-papers.html General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 WORKING PAPERS EUROPEAN STUDIES AMSTERDAM 10 Joep Leerssen A Commodious Vicus of Recirculation: Irish Anthologies and Literary History Opleiding Europese Studies, Universiteit van Amsterdam 2010 Joep Leerssen is professor of Modern European Literature at the University of Amsterdam and Royal Netherlands Academy of Arts and Sciences Professor. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book 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 copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
Irish National Imagination Through Mythology and Materiality
College of the Holy Cross CrossWorks English Honors Theses English Department 5-11-2020 The Poetry of History: Irish National Imagination Through Mythology and Materiality Ryan Fay College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/engl_honor Part of the Celtic Studies Commons, European History Commons, Folklore Commons, and the Literature in English, British Isles Commons Recommended Citation Fay, Ryan, "The Poetry of History: Irish National Imagination Through Mythology and Materiality" (2020). English Honors Theses. 1. https://crossworks.holycross.edu/engl_honor/1 This Departmental Honors Thesis is brought to you for free and open access by the English Department at CrossWorks. It has been accepted for inclusion in English Honors Theses by an authorized administrator of CrossWorks. The Poetry of History: Irish National Imagination Through Mythology and Materiality Ryan Fay English Honors Program Adviser: Professor Melissa Schoenberger Reader: Professor Paige Reynolds Fay 2 Table of Contents Abstract………………………………………………………………………………………………………………………….4 Preface…………………………………………………………………………………………………………………………...7 Chapter 1—Gendered Modalities of Power: Historico-Poetics Through Medieval Irish Poetry…………………………………………………………………………………………………………………………...9 - Introduction - Part One—Traditional Bardic Poetry: A Contested Culture - Part Two—An Táin Bó Cúailnge: Queen Medb - Part Three—An Táin Bó Cúailnge: Sétanta, Cúchulainn - Conclusion: History, Land, Narrative, and Viscera Chapter -
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Quaintmere, Max (2018) Aspects of memory in medieval Irish literature. PhD thesis. https://theses.gla.ac.uk/9026/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Aspects of Memory in Medieval Irish Literature Max Quaintmere MA, MSt (Oxon.) Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Humanities College of Arts University of Glasgow September 2017 Abstract This thesis explores a number of topics centred around the theme of memory in relation to medieval Irish literature roughly covering the period 600—1200 AD but considering, where necessary, material later than this date. Firstly, based on the current scholarship in memory studies focused on the Middle Ages, the relationship between medieval thought on memory in Ireland is compared with its broader European context. From this it becomes clear that Ireland, whilst sharing many parallels with European thought during the early Middle Ages based on a shared literary inheritance from the Christian and late-classical worlds, does not experience the same renaissance in memory theory that occurred in European universities from the thirteenth century onwards. -
Annual Conference of the Celtic Studies Association of North America, April 11-14, 2019, Sponsored by the Department of Celtic L
Annual Conference of the Celtic Studies Association of North America, April 11-14, 2019, sponsored by the Department of Celtic Languages and Literatures, the Standing Committee on Medieval Studies, and the Provostial Fund of Harvard University (All daytime events to be held in the Conference Suite, 10th Floor, Richard A. and Susan F. Smith Campus Center, Harvard University, 1350 Massachusetts Avenue in Harvard Square) Thursday, April 11 1:00: Welcoming Remarks by Sarah Zeiser (Harvard University) 1:15 First Session Chair: Natasha Sumner (Harvard University) Brian Frykenberg (Cumann na Gaeilge i mBoston) “Perspectives on the Legends of Lailoken” (1:15-1:45) Sharon Paice McLeod (Eólas ar Senchais Research Project) “The Deconstruction of Magic: Herons, Blackthorns, and Other ‘Points’ of Poetic Contention” (1:45-2:15) Daniel Melia (University of California, Berkeley) "Politics and Legend in the Four Branches" (2:15-2:45) 2:45 Break 3:00: Second Session: Gaelic Ireland in Medieval and Early Modern Europe Chair: Patrick Wadden (Belmont Abbey College) Brendan Kane (University of Connecticut) “The Civility of the Grecian Gaels in a Trojan Britain” (3:00-3:30) Kathryn O’Neill (Harvard University) “Premonstratensians as Historians: Looking Beyond Cistercianism in Ireland and Europe” (3:30- 4:00) Patrick Wadden (Belmont Abbey College) “‘Its own complete world’? The Historiography of Gaelic Ireland, 1919–2019” (4:00-4:30) 4:30: Break 4:45: Third Session Chair: Joseph Eska (Virginia Polytechnic Institute and State University) David McCay (University -
Dánta Grádha (1926)
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Observations on the manuscript sources for the Dánta grá Author(s) Ní Mhurchú, Síle Publication date 2017-11 Original citation Ní Mhurchu, S. (2017) 'Observations on the manuscript sources for the Dánta grá', Celtica, 29, pp. 199-250. Type of publication Article (peer-reviewed) Link to publisher's https://www.dias.ie/celt/celtica/celtica-contents/ version Access to the full text of the published version may require a subscription. Rights © Dublin Institute for Advanced Studies Item downloaded http://hdl.handle.net/10468/7077 from Downloaded on 2021-09-26T13:23:24Z OBSERVATIONS ON THE MANUSCRIPT SOURCES FOR THE DÁNTA GRÁ ABSTRACT This paper identifies the manuscript sources of the hundred and six dánta grá (love poems) edited by Tomás Ó Rathile in Dánta Grádha (1926). The contexts of the poems in the earlier manuscript sources (i.e. manuscripts written up to the beginning of the eigh- teenth century) are discussed, with particular emphasis on those manuscripts in which dánta grá and other poems on love or related themes are written together in clusters. Some general observations on the manuscript transmission of the poems are offered also. INTRODUCTION n the introduction to the 1926 edition of Dánta Grádha, Tomás Ó Rathile Istates that a great many of the poems in this book were taken from five manuscripts, namely RIA MS 23 D 4 (5), RIA MS 23 I 40 (6), TCD MS H. 5. 9 (1381), the Book of the O’Conor Don and BL Add. -
The Poetic Brehon Lawyers of Early Sixteenth Century Ireland for The
THE POETIC BREHON LAWYERS The Poetic Brehon Lawyers Of Early Sixteenth Century Ireland For the year 1529 the Annals of Loch Cé1 record the deaths of four Irish brehons, or traditional lawyers. Three of them are said to be learned in poetry as well. The longest entry concerns An Cosnamhach Mac Aodhagáin, or MacEgan, the most eminent man in the lands of the Gaeidhel in Irish customary law [fénechas], and in poetry [filidhecht], with secular jurisprudence [breithemnus tuaithi]. (This latter phrase is understood by the editor to refer to a knowledge of Roman civil law, certainly a possible interpretation.) These poetic lawyers of 1529 are by no means unusual. The two most influential families of hereditary Irish lawyers during the fifteenth and early sixteenth centuries, the MacEgans of Connacht and Tipperary and the MacClancy (Mac Fhlannchadha) judges to the OBriens in Co. Clare, each produced experts in poetry and general Irish literature, generation after generation,2 and the MacEgans also cultivated music.3 We are told the ideal ollamh or master of the legal profession should be expert in every art,4 that is in all branches of vernacular Irish learning: customary law, bardic poetry, music, medicine, 1 Edited W.M. Hennessy, 2 vols, London 1871, reprinted Dublin 1939 [A.L.C.], ii, pp. 268–71; see also Annals of the kingdom of Ireland by the Four Masters ed. J. ODonovan, 7 vols, Dublin 1851 [A.F.M.], v, pp. 1396-7. 2 Annála Uladh: Annals of Ulster ed. W.M. Hennessy and B. MacCarthy , 4 vols, Dublin 1887-1901 [A.U.], ii, pp. -
Tudor Government Policies Towards Irish Poets in the Sixteenth Century
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2011 Hanged Harpers and Incinerated Instruments: Tudor Government Policies Towards Irish Poets in the Sixteenth Century Jennifer Brooke Joyce College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the History Commons Recommended Citation Joyce, Jennifer Brooke, "Hanged Harpers and Incinerated Instruments: Tudor Government Policies Towards Irish Poets in the Sixteenth Century" (2011). Undergraduate Honors Theses. Paper 408. https://scholarworks.wm.edu/honorstheses/408 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Hanged Harpers and Incinerated Instruments: Tudor Government Policies Toward Irish Poets in the Sixteenth Century A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in History from The College of William and Mary by Jennifer Brooke Joyce Accepted for ___________________________________ (Honors, High Honors, Highest Honors) ________________________________________ Nicholas Popper, Director ________________________________________ Paul Mapp ________________________________________ John Conlee Williamsburg, VA May 2, 2011 1 Acknowledgments I would like to begin by thanking my advisor Dr. Nicholas Popper, who not only pointed me in the right direction when I was becalmed in a sea of digitized 400-year old documents, but repeatedly nagged me about deadlines and responded to my 1am emails. My humble appreciation also goes out to my committee members Dr. John Conlee and Dr. -
Salvador Ryan
Popular Religion in Gaelic Ireland 1445-1645 (2 volumes) Part 2 Salvador Ryan THESIS FOR THE DEGREE OF PH.D DEPARTMENT OF MODERN HISTORY NATIONAL UNIVERSITY OF IRELAND MAYNOOTH HEAD OF DEPARTMENT: Professor Vincent Comerford SUPERVISOR OF RESEARCH: Dr. Raymond Gillespie November 2002 t. NUI MAYNOOTH OilsciSi! m fi£traann Mi T a b le o f C o n te n ts Part I ACKNOWLEDGEMENTS ii LIST OF ABBREVIATIONS v INTRODUCTION ix 1. Towards a definition of Gaelic theology: the God question 1 2. Mary: Mediatrix and Kinswoman 116 3. The Saints: a hierarchy of intercessors 211 4. The Sacraments: gateways to God 293 Part II INTRODUCTORY NOTE ii 5. Continental Change: catechising the Gaelic Irish 1 6. Defending and defining doctrine: the Louvain literature 95 7.‘Bringing it all back home’: tracing the impact of Trent in early seventeenth -century Ireland 200 CONCLUSION 273 BIBLIOGRAPHY 276 i Introductory Note to Part 2 In the first part of this work, the world of Gaelic popular devotion in the pre- Tridentine period (broadly covering the mid-fifteenth to late sixteenth centuries) was examined, using ideas expressed in bardic religious poetry as a principal source. This second part, however, contains a shift in focus. Firstly, the change (at least in chapters 5 and 6) is geographical. Secondly, there is a change of source material. Both require some explanation. The first element is straightforward enough. As is explained in some depth in the introductory section of chapter 5, the late sixteenth century witnessed a wave of emigration among the Irish Catholic community to continental Europe. -
Bardic Poetry, Irish Dr Mícheál Hoyne Dublin Institute for Advanced
Bardic Poetry, Irish Dr Mícheál Hoyne Dublin Institute for Advanced Studies [email protected] Word-count 2,999 Main text 'Irish Bardic Poetry' is used by modern scholars to refer to poems written in syllabic metres in a standardised literary language common to Gaelic Ireland and Scotland between c. 1200 and c. 1650. The metrical system and standardised literary language (Classical Modern Irish) were the result of a long evolution from the seventh century to the thirteenth. Bardic poetry was practised by families of learned, hereditary poets, who composed formal praise poetry for their aristocratic patrons, religious poems, and historical and genealogical verse. Depending as it did on the patronage of traditional aristocratic Gaelic society, Bardic poetry fell into disuse in the political turmoil of the seventeenth century. Besides their linguistic, literary and metrical interest, Bardic poems are an invaluable historical source which shed light on culture, politics and society in Gaelic Ireland and Scotland c. 1200-c.1650. The English term 'Bardic poetry' is a misnomer, as the verse so designated was the work, not of the comparatively unlearned poet known as the bard, but of the learned and prestigious file. A Bardic poet (file) required rigorous training in order to master both the intricate metrical rules that he was expected to observe in composing formal verse for his patron(s) and the artificial literary language in which he composed that verse. The language of formal poetry, Classical Modern Irish, was not the vernacular of any region of Ireland or Scotland, but a standardised literary language based primarily on the spoken language of Ireland c.