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Irish Renaissance (Chapter Seven of Other Renaissances: a New Approach to World Literature) Kathleen A
Digital Commons @ George Fox University Faculty Publications - Department of English Department of English 2006 Irish Renaissance (Chapter Seven of Other Renaissances: A New Approach to World Literature) Kathleen A. Heininge George Fox University, [email protected] Follow this and additional works at: https://digitalcommons.georgefox.edu/eng_fac Part of the European History Commons Recommended Citation Heininge, Kathleen A., "Irish Renaissance (Chapter Seven of Other Renaissances: A New Approach to World Literature)" (2006). Faculty Publications - Department of English. 70. https://digitalcommons.georgefox.edu/eng_fac/70 This Article is brought to you for free and open access by the Department of English at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Department of English by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. CHAPTER 7 Irish Renaissance Kathleen Heininge ritics have several names for the movement that took place in Ireland at the turn of the twentieth century. Each name seems to Csuggest a different interpretation of the events at that time, and each interpretation, in turn, reflects a different idea of Ireland’s relation- ship with the rest of the world. The Irish Revival, a term most often used to discuss the literary movement, implies that the greatness of a people can be resuscitated after it has been nearly lost, and is thus a term in keeping with a nationalist agenda. The Celtic Twilight, a term coined by W. B. Yeats, is a more sentimental and mystical rendering that suggests the illu- mination and reinterpretation of a previously underappreciated culture, and is a term in keeping with the transition from a romanticized concept of tradition to a modernist consciousness. -
Papers of Gemma Hussey P179 Ucd Archives
PAPERS OF GEMMA HUSSEY P179 UCD ARCHIVES [email protected] www.ucd.ie/archives T + 353 1 716 7555 © 2016 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical History iv Archival History vi CONTENT AND STRUCTURE Scope and Content vii System of Arrangement ix CONDITIONS OF ACCESS AND USE Access xi Language xi Finding Aid xi DESCRIPTION CONTROL Archivist’s Note xi ALLIED MATERIALS Allied Collections in UCD Archives xi Published Material xi iii CONTEXT Biographical History Gemma Hussey nee Moran was born on 11 November 1938. She grew up in Bray, Co. Wicklow and was educated at the local Loreto school and by the Sacred Heart nuns in Mount Anville, Goatstown, Co. Dublin. She obtained an arts degree from University College Dublin and went on to run a successful language school along with her business partner Maureen Concannon from 1963 to 1974. She is married to Dermot (Derry) Hussey and has one son and two daughters. Gemma Hussey has a strong interest in arts and culture and in 1974 she was appointed to the board of the Abbey Theatre serving as a director until 1978. As a director Gemma Hussey was involved in the development of policy for the theatre as well as attending performances and reviewing scripts submitted by playwrights. In 1977 she became one of the directors of TEAM, (the Irish Theatre in Education Group) an initiative that emerged from the Young Abbey in September 1975 and founded by Joe Dowling. It was aimed at bringing theatre and theatre performance into the lives of children and young adults. -
Challenging the People, the State and the Patriarchy in 1980S Irish Theatre
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Provoking performance: challenging the people, the state and the patriarchy in 1980s Irish Theatre Author(s) O'Beirne, Patricia Publication Date 2018-08-28 Publisher NUI Galway Item record http://hdl.handle.net/10379/14942 Downloaded 2021-09-27T14:54:59Z Some rights reserved. For more information, please see the item record link above. Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre Candidate: Patricia O’Beirne Supervisor: Dr. Ian Walsh School: School of Humanities Discipline: Drama and Theatre Studies Institution: National University of Ireland, Galway Submission Date: August 2018 Summary of Contents: Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre This thesis offers new perspectives and knowledge to the discipline of Irish theatre studies and historiography and addresses an overlooked period of Irish theatre. It aims to investigate playwriting and theatre-making in the Republic of Ireland during the 1980s. Theatre’s response to failures of the Irish state, to the civil war in Northern Ireland, and to feminist and working-class concerns are explored in this thesis; it is as much an exploration of the 1980s as it is of plays and playwrights during the decade. As identified by a literature review, scholarly and critical attention during the 1980s was drawn towards Northern Ireland where playwrights were engaging directly with the conflict in Northern Ireland. This means that proportionally the work of many playwrights in the Republic remains unexamined and unpublished. -
A Midsummer Nights Dream 11 'T} S , O(;;)-2 by Wilham Shakespeare
A Midsummer NightS Dream 11 't} s , o(;;)-2 by WilHam Shakespeare ~ BAm~ Tiieater BRooKLYN AcADEMY oF Music Compa11y ~~~~~~~~~ \.. ~ , •' II I II Q ,\.~ I II 1 \ } ( "' '" \ . • • !I II'" r )DO I \ ., : \ I ~\ } .. \ ;; .; 'I' ... .. _:..,... 1t ; rJ ,.I •\ y v \ YOUR MONEY GROWS LIKE MAGIC AT THE THE DIME SAVINGS BANK DF NEW YORK -..1-..ett•O•C MANHATTAN • DOWNTOWN BROOKLYN • BENSONHURST • FLATBUSH CONEY ISLAND • KINGS PLAZA • VALLEY STREAM • MASSAPEQUA HUNTINGTON STATION TABLE OF Old CONTENTS Hungary "An authentic ~ ounpany~~~~~~~ Hungarian restaurant right here in Brooklyn" Beef Goulash, Ch1cken Papnka, St uffed Cabbage, Palacsinta and other traditional dishes " Live Piano Music Nightly" The Actors 5-8 PRE-T HEATRE AND AFTER THEATRE DINNER 142 Montague St., Bklyn . Hghts. Notes on the Play 9-14 625· 1649 Production Team 15 § The Staff 16 'R(!tauranb The Actors 17-19 tel: 855-4830 Contributors 20-21 UL8-2000 Board of Directors 22 open daily for lunch and dinner till 9 P. M. Italian and A m erican Cuisine special orders upon request Flowers, plants and fruit baskets for all occasions (212) 768-6770 25th Street & 768-0800 5th Avenue Deluxe coach service following DIRECTORY BAM Theater Company Directory of Facilities a nd Services Box Office: Monday 10 00 to &.00 Tue.day throu~h ~tur performances day 10 00 to Y 00 Sunday Performance limes only Lost ond ~o und : Telephone &36-4 150 Restroom: Operu We pick you up and take you back llouse Women .ond Men. Mezzanme level. HandKapp<.·d Or c h c~t r a level Ployh ou,e: Women Orchestra l~vcl ,\.1cn .'Ae1 (to Manhattan) 1.anme lt•vel llandocapped Orchestra level Lepercq Spucc: The BAMBus Express will pick-up BAM Theater Company Wom en ,,nd Men Tht•c.H e r level Public T ele phon es. -
Republic of Ireland. Wikipedia. Last Modified
Republic of Ireland - Wikipedia, the free encyclopedia What links here Related changes Upload file Special pages Republic of Ireland Permanent link From Wikipedia, the free encyclopedia Page information Data item This article is about the modern state. For the revolutionary republic of 1919–1922, see Irish Cite this page Republic. For other uses, see Ireland (disambiguation). Print/export Ireland (/ˈaɪərlənd/ or /ˈɑrlənd/; Irish: Éire, Ireland[a] pronounced [ˈeː.ɾʲə] ( listen)), also known as the Republic Create a book Éire of Ireland (Irish: Poblacht na hÉireann), is a sovereign Download as PDF state in Europe occupying about five-sixths of the island Printable version of Ireland. The capital is Dublin, located in the eastern part of the island. The state shares its only land border Languages with Northern Ireland, one of the constituent countries of Acèh the United Kingdom. It is otherwise surrounded by the Адыгэбзэ Atlantic Ocean, with the Celtic Sea to the south, Saint Flag Coat of arms George's Channel to the south east, and the Irish Sea to Afrikaans [10] Anthem: "Amhrán na bhFiann" Alemannisch the east. It is a unitary, parliamentary republic with an elected president serving as head of state. The head "The Soldiers' Song" Sorry, your browser either has JavaScript of government, the Taoiseach, is nominated by the lower Ænglisc disabled or does not have any supported house of parliament, Dáil Éireann. player. You can download the clip or download a Aragonés The modern Irish state gained effective independence player to play the clip in your browser. from the United Kingdom—as the Irish Free State—in Armãneashce 1922 following the Irish War of Independence, which Arpetan resulted in the Anglo-Irish Treaty. -
Cultural Convergence the Dublin Gate Theatre, 1928–1960
Cultural Convergence The Dublin Gate Theatre, 1928–1960 Edited by Ondřej Pilný · Ruud van den Beuken · Ian R. Walsh Cultural Convergence “This well-organised volume makes a notable contribution to our understanding of Irish theatre studies and Irish modernist studies more broadly. The essays are written by a diverse range of leading scholars who outline the outstanding cultural importance of the Dublin Gate Theatre, both in terms of its national significance and in terms of its function as a hub of international engagement.” —Professor James Moran, University of Nottingham, UK “The consistently outstanding contributions to this illuminating and cohesive collection demonstrate that, for Gate Theatre founders Hilton Edwards and Micheál mac Liammóir and their collaborators, the limits of the imagination lay well beyond Ireland’s borders. Individually and collectively, the contribu- tors to this volume unravel the intricate connections, both personal and artistic, linking the theatre’s directors, designers, and practitioners to Britain, Europe, and beyond; they examine the development and staging of domestic plays written in either English or Irish; and they trace across national boundaries the complex textual and production history of foreign dramas performed in translation. In addition to examining a broad spectrum of intercultural and transnational influ- ences and perspectives, these frequently groundbreaking essays also reveal the extent to which the early Gate Theatre was a cosmopolitan, progressive, and inclusive space that recognized and valued women’s voices and queer forms of expression.” —Professor José Lanters, University of Wisconsin—Milwaukee, USA “Cultural Convergence is a book for which we have been waiting, not just in Irish theatre history, but in Irish cultural studies more widely. -
Ancient Greek Tragedy and Irish Epic in Modern Irish
MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katherine Anne Hennessey, B.A., M.A. ____________________________ Dr. Susan Cannon Harris, Director Graduate Program in English Notre Dame, Indiana March 2008 MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE Abstract by Katherine Anne Hennessey Over the course of the 20th century, Irish playwrights penned scores of adaptations of Greek tragedy and Irish epic, and this theatrical phenomenon continues to flourish in the 21st century. My dissertation examines the performance history of such adaptations at Dublin’s two flagship theatres: the Abbey, founded in 1904 by W.B. Yeats and Lady Gregory, and the Gate, established in 1928 by Micheál Mac Liammóir and Hilton Edwards. I argue that the potent rivalry between these two theatres is most acutely manifest in their production of these plays, and that in fact these adaptations of ancient literature constitute a “disputed territory” upon which each theatre stakes a claim of artistic and aesthetic preeminence. Partially because of its long-standing claim to the title of Ireland’s “National Theatre,” the Abbey has been the subject of the preponderance of scholarly criticism about the history of Irish theatre, while the Gate has received comparatively scarce academic attention. I contend, however, that the history of the Abbey--and of modern Irish theatre as a whole--cannot be properly understood except in relation to the strikingly different aesthetics practiced at the Gate. -
Volume 1, Issue 2, Samhain 2002
A newsletter of UWM’s Center for Celtic S tudies Volume 1, Issue 2 Samhain, 2002 Failte! Croeso! Mannbet! Kroesan! Welcome! The Center’s First Year Tosnu maith-leath na hoibre (well begun is half-done)! So goes the Irish seanfhocal (proverb) and it comes to mind when we look back over the past year. Nearly 500 students have taken courses in our program and five have already received their Celtic Studies Certificates. We’ve had 52 participants in our Study Abroad programs, including our ‘Saints, Scholars and Scoundrels’ tour. Two of our students (Brian Hart and Aislinn Gagliardi) received Irish Fest scholarships, and put them to good use during their summer studies in Ireland. Twelve of our students spent three glorious weeks in Donegal, learning Irish and studying the unique local culture, some went digging up the Celtic past in Germany. At the end of the academic year, my co-director Bettina Arnold took a well-deserved sabbatical, part of which will be spent developing our relationships in the Celtic regions. We’re all grateful for the tremendous inspiration and Co-directors John Gleeson and leadership she has provided in our first year. While she’s away, Jose Lanters has Jose Lanters kindly stepped in as co-director. Renowned for her scholarship and teaching of Irish literature, Jose currently chairs our Advisory Committee. In late spring, we carried out a successful and groundbreaking experiment in Distance Learning. It involved students and faculty from our program at UWM, and the Irish World Music Centre at U of Limerick. Nancy Walczyk continues to develop our relationship with the University of Limerick. -
A Prep Course for the Month-Long World
A prep course for the month-long World Cup soccer tournament , a worldwide pheno menon to be played in the United States for the first time beginning June 17 , i s available in a set of three home videos . Each of the three volumes by PolyGra m Video lists for $ 14.95 and has a running time of about 60 minutes . The three volumes : `` World Cup USA '94 : The Official Preview , '' which includes a tou rnament history with footage all the way back to the first World Cup held in 193 0 . There 's a look at the training of the 1994 U.S. team and a profile of Brazi l 's Pele , just 17 when he took the 1958 event by storm , repeating in 1962 and 1970 . `` Top 50 Great World Cup Goals , '' highlighting exciting moments from competition beginning in 1966 with favorites such as Pele , Johan Cruyff , Diego Maradona , Roberto Baggio , Salvatore `` Toto '' Schillaci and Franz Beckenbaue r . `` Great World Cup Superstars , '' focusing on the top names in the game , f eatured in the `` Goals '' cassette , and adding some interviews that offer an i nsight into what makes these stars shine . Three new basketball videos available : `` Sir Charles '' takes a look at the on-court intensity and dynamic skills o f Charles Barkley of the Phoenix Suns as well as his entertaining off-court pers ona. $ 19.98 , 50 minutes , 1-800-999-VIDEO . `` NBA Superstars 3 '' follows up on two previous hit videos meshing the moves of the NBA 's elite with today 's h it music . -
(Cloth). Reviewed by Joseph Brooker, Birkbeck, University of London
The Collected Letters of Flann O’Brien. Edited by Maebh Long. Victoria, TX: Dalkey Archive, 2018. Pp. 603 (cloth). Reviewed by Joseph Brooker, Birkbeck, University of London. Meanwhile I’m once again entering hospital for blood transfusions and other boons. With kind regards, Yours sincerely, These are the last words written by Flann O’Brien in this book, concluding a letter from 15 March 1966, two weeks before his death.1 No name or signature follows. The reason is mundane and material: many of the hundreds of letters in the volume are reproduced not from originals posted to recipients but from carbon copies retained by the author, and these contain his typewritten text but not the handwritten signature that he added before posting. Yet it is curious and poignant to see him disappear at the last from his own life story. With a blank space where his name might be, he is gone, after 557 frequently extraordinary pages. Few books have offered more Flann O’Brien. On the very first page of letters, an editor’s footnote records the Irish poet Donagh MacDonagh’s 1941 comment that Flann O’Brien was “a menace with a pen. Give him any book and he will sign it with any signature” (4, n.3). This is a neat bookend to the present book’s lack of any final signature, but more immediately may have responded to the author’s tendency to play games with other authors’ names, imagining a book-handling service which for a fee would insert fake annotations from Bernard Shaw or Joseph Conrad into one’s personal library.2 To talk of multiple signatures also invokes a question rarely avoidable in discussion of Flann O’Brien: his multiplication of names and, to an extent, authorial identities. -
Students Rally for Peace at Student Union
Daily Campus editor in chief appointed Today's forecast Jeffrey D. Denny, a 7th semester English major, was named editop-in-chief of the Daily Campus, last Friday, for Sunny Monday. High in the mid 60s. Fair Monday night. 1982-83. Low around 40. Partly cloudy Tuesday with a chance of John Berry, a 6th semester economics major,was named afternoon showers. High in the 60s. Winds becoming managing editor, and Evan Roklen, a 6th semester southwest 10 to 15 mph Monday and southerly around 10 economics major.was elected business manager. mph Monday night. (fomectioft Satlfl (Eampua S Serving Storrs Since 1896 Vol. LXXXVNo. 120 University of Connecticut r-naay, April iy, iytj* Students rally for peace at Student Union By Mark Almand local bands performed rock UConn political science News Editor music and the UConn professor John Plank told Ultimate Frisbee team the crowds that the only hope A crowd of 150 braved displayed their talents. in maintaining an at- brisk temperatures and UConn Police reported no mosphere of international threatening skies Saturday arrests of unruly protesters. peace is to "let Ronald to rally on the Student Union "I didn't come to yell." Reagan feel our pressure. Mall in support of global one student said. "I came to Make our voices heard.'' peace. hear the band." . Plank said that "Reagan The rally itself was more "Peace is wonderful and and (Secretary of State peaceful than the student violence sucks," senior Alexander) Haig don't want protest of a decade ago. The Mary Preston said. "That's peace. -
A Chorus Line Dance: Ten, Looks: Three Nothing One What I Did for Love a Day to Remember All Signs Point to Lauderdale It's Complicated A.F.I
A Chorus Line Dance: Ten, Looks: Three Nothing One What I Did For Love A Day To Remember All Signs Point To Lauderdale It's Complicated A.F.I. Girl’s Not Grey Leaving Song Pt.2 Love Like Winter Miss Murder Silver And Cold A Few Good Men Have I Never A Fine Frenzy Ashes And Wine Near To You A Flock Of Seagulls I Ran The More You Live Wishing A Perfect Circle 3 Libras Blue (remix) Judith Imagine Noose Nurse Who Loved Me Passive Pet Renholder The Hollow The Outsider Weak And Powerless A Little Night Music Send In The Clowns A Taste Of Honey Boogie Oogie Oogie Sukiyaki A.T.B. Killer A1 Be The First To Believe Caught In The Middle Everytime Like A Rose Make It Good No More Ready Or Not Same Old Brand New You Summertime Of Our Lives A-3 Woke Up This Morning (Sopranos) Aaliyah 1 Are You That Somebody At Your Best Got To Give It Up Hot Like Fire I Care 4 U I Don’t Wanna If Your Girl Only Knew Journey To The Past Miss You More Than A Woman Rock The Boat The One I Gave My Heart To Try Again Turn The Page Come Over (w/ Tank) We Need (W/Timberland) A(Band) Starbucks Abandoned Pools The Remedy ABBA Angel Eyes As Good As New Chiquitita Dancing Queen Does Your Mother Know Fernando Gimme Gimme Gimme Happy New Years Hasta Manana Head Over Heels Honey, Honey I Do, I Do. I Do Knowing Me, Knowing You Mamma Mia Money.