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John F. Morrison Phd Thesis
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository 'THE AFFIRMATION OF BEHAN?' AN UNDERSTANDING OF THE POLITICISATION PROCESS OF THE PROVISIONAL IRISH REPUBLICAN MOVEMENT THROUGH AN ORGANISATIONAL ANALYSIS OF SPLITS FROM 1969 TO 1997 John F. Morrison A Thesis Submitted for the Degree of PhD at the University of St Andrews 2010 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3158 This item is protected by original copyright ‘The Affirmation of Behan?’ An Understanding of the Politicisation Process of the Provisional Irish Republican Movement Through an Organisational Analysis of Splits from 1969 to 1997. John F. Morrison School of International Relations Ph.D. 2010 SUBMISSION OF PHD AND MPHIL THESES REQUIRED DECLARATIONS 1. Candidate’s declarations: I, John F. Morrison, hereby certify that this thesis, which is approximately 82,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2005 and as a candidate for the degree of Ph.D. in May, 2007; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2010. Date 25-Aug-10 Signature of candidate 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
2010–2011 Season Sponsors
2010–2011 SEASON SPONSORS The City of Cerritos gratefully thanks our 2010–2011 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. Benefactor Jill and Steve Edwards Ilana and Allen Brackett Erin Delliquadri $50,001-$100,000 Dr. Stuart L. Farber Paula Briggs Ester Delurgio José Iturbi Foundation William Goodwin Scott N. Brinkerhoff Rosemarie and Joseph Di Giulio Janet Gray Darrell Brooke Rosemarie diLorenzo Sandra and Bruce Dickinson Patron Rosemary Escalera Gutierrez Mary Brough Marianne and Bob Hughlett, Ed. D. Joyce and Russ Brown Amy and George Dominguez $20,001-$50,000 Robert M. Iritani Dr. and Mrs. Tony R. Brown Mrs. Abiatha Doss Bryan A. Stirrat & Associates Dr. HP Kan and Mrs. Della Kan Cheryl and Kerry Bryan Linda Dowell National Endowment for the Arts Jill and Rick Larson Florence P. Buchanan Robert Dressendorfer Eleanor and David St. -
Pathetique Symphony New York Philharmonic/Bernstein Columbia
Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No. -
BRENDAN KENNELLY Katleyn Ferguson
BRENDAN KENNELLY Katleyn Ferguson Beginning with the publication of Cast a Cold Eye (with Rudi Holzapfel) by Dolmen Press in 1959, Brendan Kennelly has produced more than thirty collections of poetry. He has also written novels and plays; translated and produced versions of works in Irish, Spanish, Latin, and Greek; and seen his writing adapted into pieces for the concert hall and stage. He has served as literary critic, editor, and anthologist; commented for print and television media on sports and culture; and reworked his own material for republication in new forms. For more than forty years a member of the School of English at Trinity College Dublin where he was Professor of Modern Literature, Kennelly has taught at universities across North America and Europe; spoken at hospitals, secondary schools and business management conferences; been interviewed on television chat shows; and performed his poetry widely. In 2010 he was awarded the Irish PEN Award for Contribution to Irish Literature. In his most widely discussed poem sequences, anthologies, and collections, Kennelly’s method has been to combine apparently disparate perspectives in service to a larger theme or themes. This has made him a writer who is particularly well suited to tell the stories of modern Ireland during a period of significant social change. As artist, teacher, and cultural commentator Kennelly has produced works that interrogate the legacy of Ireland’s colonial history, the place of religion in contemporary culture and politics, gender, language, and the role of poets and artists. If Kennelly’s work records the end or failing of twentieth-century Ireland’s primary authorities, it also affirms the flux, possibility, and complicated coexistence of the forms of life that have replaced these authorities. -
HEANEY, SEAMUS, 1939-2013. Seamus Heaney Papers, 1951-2004
HEANEY, SEAMUS, 1939-2013. Seamus Heaney papers, 1951-2004 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Heaney, Seamus, 1939-2013. Title: Seamus Heaney papers, 1951-2004 Call Number: Manuscript Collection No. 960 Extent: 49.5 linear feet (100 boxes), 3 oversized papers boxes (OP), and AV Masters: 1 linear foot (2 boxes) Abstract: Personal papers of Irish poet Seamus Heaney consisting mostly of correspondence, as well as some literary manuscripts, printed material, subject files, photographs, audiovisual material, and personal papers from 1951-2004. Language: Materials entirely in English. Administrative Information Restrictions on access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. -
Joe Orton: the Oscar Wilde of the Welfare State
JOE ORTON: THE OSCAR WILDE OF THE WELFARE STATE by KAREN JANICE LEVINSON B.A. (Honours), University College, London, 1972 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1977 (c) Karen Janice Levinson, 1977 ii In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 30 April 1977 ABSTRACT This thesis has a dual purpose: firstly, to create an awareness and appreciation of Joe Orton's plays; moreover to establish Orton as a focal point in modern English drama, as a playwright whose work greatly influenced and aided in the definition of a form of drama which came to be known as Black Comedy. Orton's flamboyant life, and the equally startling method of his death, distracted critical attention from his plays for a long time. In the last few years there has been a revival of interest in Orton; but most critics have only noted his linguistic ingenuity, his accurate ear for the humour inherent in the language of everyday life which led Ronald Bryden to dub him "the Oscar Wilde of Welfare State gentility." This thesis demonstrates Orton's treatment of social matters: he is concerned with the plight of the individual in society; he satirises various elements of modern life, particularly those institutions which wield authority (like the Church and the Police), and thus control men. -
Radio-Radio-Mulryan
' • *427.. • • • • ••• • • • • . RADIO RADIO Peter Mulryan was born in Dublin in 1961. He took an honours degree in Communication Studies from the NIHE, Dublin. He began work as a presenter on RTE's Youngline programme, then moved to Radio 2 as a reporter, before becoming a television continuity announcer and scriptwriter. Since leaving RTE, he has been involved in independent film and video production as well as lecturing in broadcasting. He now lives and works in the UK. PUBLICATIONS RADIO RADIO 813 Peter Mulryan Borderline Publications Dublin, 1988 Published in 1988 by Borderline Publications 38 Clarendon Street Dublin 2 Ireland. CD Borderline Publications ISBN No. 1 870300 033 Computer Graphics by Mark Percival Cover Illustration and Origination by Artworks ( Tel: 794910) Typesetting and Design by Laserworks Co-operative (Tel: 794793) CONTENTS Acknowledgements Preface by the Author Introduction by Dave Fanning 1. The World's First Broadcast 1 2. Freedom and Choice 11 3. Fuse-wire, Black Coffee and True Grit 19 4. Fun and Games 31 5. A Radio Jungle 53 6. Another Kettle of Fish 67 7. Hamburger Radio 79 8. The Plot Thickens 89 9. A Bolt from the Blue 101 10. Black Magic and the Five Deadly Sins 111 11. Bees to Honey 129 12. Twenty Years Ago Today 147 Appendix I - Party Statements Appendix II - The Stations ACKNO WLEDGEMENTS In a book that has consumed such a large and important period of my life, I feel I must take time out to thank all those who have helped me over the years. Since the bulk of this text is built around interviews! have personally conducted, I would like to thank those who let themselves be interviewed (some several times). -
The Irish Diaspora in Britain & America
Reflections on 1969 Lived Experiences & Living history (Discussion 6) The Irish Diaspora in Britain & America: Benign or Malign Forces? compiled by Michael Hall ISLAND 123 PAMPHLETS 1 Published January 2020 by Island Publications 132 Serpentine Road, Newtownabbey BT36 7JQ © Michael Hall 2020 [email protected] http://cain.ulst.ac.uk/islandpublications The Fellowship of Messines Association gratefully acknowledge the assistance they have received from their supporting organisations Printed by Regency Press, Belfast 2 Introduction The Fellowship of Messines Association was formed in May 2002 by a diverse group of individuals from Loyalist, Republican and other backgrounds, united in their realisation of the need to confront sectarianism in our society as a necessary means of realistic peace-building. The project also engages young people and new citizens on themes of citizenship and cultural and political identity. Among the different programmes initiated by the Messines Project was a series of discussions entitled Reflections on 1969: Lived Experiences & Living History. These discussions were viewed as an opportunity for people to engage positively and constructively with each other in assisting the long overdue and necessary process of separating actual history from some of the myths that have proliferated in communities over the years. It was felt important that current and future generations should hear, and have access to, the testimonies and the reflections of former protagonists while these opportunities still exist. Access to such evidence would hopefully enable younger generations to evaluate for themselves the factuality of events, as opposed to some of the folklore that passes for history in contemporary society. -
John Bull University of Lincoln 'We Cannot All Be Masters, Nor All Masters/Cannot Truly Be Follow'd': Joe Orton's Holida
John Bull University of Lincoln ‘We cannot all be masters, nor all masters/Cannot truly be follow’d’: Joe Orton’s Holiday Camp Bacchae – matters of class, genre and medium in The Erpingham Camp. Joe Orton is thought of largely as a writer for the theatre, and yet three of his plays first appeared on television: as many as first appeared on stage. In what follows I want to consider just one of these, The Erpingham Camp (1967) and, by looking at the way in which it evolved both before and after its first outing on television, to offer to both reposition this play in the oeuvre and to re-open the debate about what Orton was moving towards theatrically.1 Before considering its development, it will be useful first to reflect on the public perception of the young dramatist at the time he started to work on it. From a distance of some fifty years, and in a very different social and cultural climate, it is extremely hard to fully comprehend the kind of impact that Joe Orton’s plays had when first produced: and, concomitantly, it is just about impossible to understand the degree of hostility that they aroused in many quarters, and yet it is important to do so in order to understand how Orton dealt practically with the implications of this hostility. Nor was it confined to sections of the paying public and to newspaper critics, as reaction to the work that caused the greatest furore at the time, Loot (1964), will demonstrate. Examination of the Lord Chamberlain’s archive reveals that there was considerable internal pressure to refuse to grant it a licence at all: a reader’s report by Kyle Fletcher (8 December 1964) argued that the play 1 Work on this article has been greatly aided by research in the following archives: ‘Joe Orton Collection’, University of Leicester; ‘’Lord Chancellor’s Papers’ and ‘Peter Gill Archive’, British Library; ‘Lyndsay Anderson Archive’, University of Stirling; the British Film Institute archive. -
Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00
Two Day Autograph Auction Day 1 Saturday 02 November 2013 11:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (Two Day Autograph Auction Day 1 ) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 tennis players of the 1970s TENNIS: An excellent collection including each Wimbledon Men's of 31 signed postcard Singles Champion of the decade. photographs by various tennis VG to EX All of the signatures players of the 1970s including were obtained in person by the Billie Jean King (Wimbledon vendor's brother who regularly Champion 1966, 1967, 1968, attended the Wimbledon 1972, 1973 & 1975), Ann Jones Championships during the 1970s. (Wimbledon Champion 1969), Estimate: £200.00 - £300.00 Evonne Goolagong (Wimbledon Champion 1971 & 1980), Chris Evert (Wimbledon Champion Lot: 2 1974, 1976 & 1981), Virginia TILDEN WILLIAM: (1893-1953) Wade (Wimbledon Champion American Tennis Player, 1977), John Newcombe Wimbledon Champion 1920, (Wimbledon Champion 1967, 1921 & 1930. A.L.S., Bill, one 1970 & 1971), Stan Smith page, slim 4to, Memphis, (Wimbledon Champion 1972), Tennessee, n.d. (11th June Jan Kodes (Wimbledon 1948?), to his protégé Arthur Champion 1973), Jimmy Connors Anderson ('Dearest Stinky'), on (Wimbledon Champion 1974 & the attractive printed stationery of 1982), Arthur Ashe (Wimbledon the Hotel Peabody. Tilden sends Champion 1975), Bjorn Borg his friend a cheque (no longer (Wimbledon Champion 1976, present) 'to cover your 1977, 1978, 1979 & 1980), reservation & ticket to Boston Francoise Durr (Wimbledon from Chicago' and provides Finalist 1965, 1968, 1970, 1972, details of the hotel and where to 1973 & 1975), Olga Morozova meet in Boston, concluding (Wimbledon Finalist 1974), 'Crazy to see you'. -
The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless.