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The 'Nothing-Could-Be-Simpler Line': Form in Contemporary Irish Poetry
The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry Brearton, F. (2012). The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry. In F. Brearton, & A. Gillis (Eds.), The Oxford Handbook of Modern Irish Poetry (pp. 629-647). Oxford University Press. Published in: The Oxford Handbook of Modern Irish Poetry Document Version: Early version, also known as pre-print Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:26. Sep. 2021 OUP UNCORRECTED PROOF – FIRST PROOF, 04/19/2012, SPi c h a p t e r 3 8 ‘the nothing-could- be-simpler line’: form in contemporary irish poetry f r a n b r e a r t o n I I n ‘ Th e Irish Effl orescence’, Justin Quinn argues in relation to a new generation of poets from Ireland (David Wheatley, Conor O’Callaghan, Vona Groarke, Sinéad Morrissey, and Caitríona O’Reilly among them) that while: Northern Irish poetry, in both the fi rst and second waves, is preoccupied with the binary opposition of Ireland and England . -
Beckett and His Biographer: an Interview with James Knowlson José Francisco Fernández (Almería, Spain)
The European English Messenger, 15.2 (2006) Beckett and His Biographer: An Interview with James Knowlson José Francisco Fernández (Almería, Spain) James Knowlson is Emeritus Professor of French at the University of Reading. He is also the founder of the International Beckett Foundation (previously the Beckett Archive) at Reading, and he has written extensively on the great Irish author. He began his monumental biography, Damned to Fame:The Life of Samuel Beckett (London: Bloomsbury, 1996) when Beckett was still alive, and he relied on the Nobel Prize winner’s active cooperation in the last months of his life. His book is widely acknowledged as the most accurate source of information on Beckett’s life, and can only be compared to Richard Ellmann’s magnificent biography of James Joyce. James Knowlson was interviewed in Tallahassee (Florida) on 11 February 2006, during the International Symposium “Beckett at 100: New Perspectives” held in that city under the sponsorship of Florida State University. I should like to express my gratitude to Professor Knowlson for giving me some of his time when he was most in demand to give interviews in the year of Beckett’s centennial celebrations. José Francisco Fernández JFF: Yours was the only biography on or even a reply to the earlier biography of authorised by Beckett. That must have been Deirdre Bair. It needs to stand on its own two a great responsibility. Did it represent at any feet. And I read with great fascination the time a burden? Knowing that what you wrote biography of Deirdre Bair and have never said would be taken as ‘the truth’. -
Downloaded from Downloaded on 2020-06-06T01:34:25Z Ollscoil Na Héireann, Corcaigh
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann Author(s) Lawlor, James Publication date 2020-02-01 Original citation Lawlor, J. 2020. A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2020, James Lawlor. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/10128 from Downloaded on 2020-06-06T01:34:25Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork A Cultural History of The Great Book of Ireland – Leabhar Mór na hÉireann Thesis presented by James Lawlor, BA, MA Thesis submitted for the Degree of Doctor of Philosophy University College Cork The School of English Head of School: Prof. Lee Jenkins Supervisors: Prof. Claire Connolly and Prof. Alex Davis. 2020 2 Table of Contents Abstract ............................................................................................................................... 4 Declaration .......................................................................................................................... 5 Acknowledgements ............................................................................................................ 6 List of abbreviations used ................................................................................................... 7 A Note on The Great -
Irish Copyright Licensing Agency CLG Mandated Author Rightholders
Irish Copyright Licensing Agency CLG Mandated Author Rightholders Author Rightholder Name Ann Sheppard Adrian White Anna Donovan Adrienne Neiland Anna Heffernan Aidan Dundon Anna McPartlin The Estate of Aidan Higgins Anne Boyle Aidan O'Sullivan Anne Chambers Aidan P. Moran Anne Deegan Aidan Seery Anne Enright Aileen Pierce Anne Fogarty Áine Dillon Anne Gormley Áine Francis- Stack Anne Haverty Áine Ní Charthaigh Anne Holland Áine Uí Eadhra Anne Jones Aiveen McCarthy Anne Marie Herron Alan Dillon Anne Potts Alan Kramer Anne Purcell Alan Monaghan The Estate of Anne Schulman Alan O'Day Annetta Stack Alannah Hopkin Annie West Alexandra O'Dwyer Annmarie McCarthy Alice Coghlan Anthea Sullivan Alice Taylor Anthony Cronin Alison Mac Mahon Anthony J Leddin Alison Ospina Anthony Summers Allen Foster Antoinette Walker Allyson Prizeman Aodán Mac Suibhne Amanda Clarke Arlene Douglas Amanda Hearty Arnaud Bongrand Andrew B. Lyall Art Cosgrove Andrew Breeze Art J Hughes Andrew Carpenter Art Ó Súilleabháin Andrew Loxley Arthur McKeown Andrew Purcell Arthur Mitchell Andy Bielenberg Astrid Longhurst Angela Bourke Aubrey Dillon Malone Angela Doyle Aubrey Flegg Angela Griffin The Estate of Augustine Martin Angela Marie Burt Austin Currie Angela Rickard Avril O'Reilly Angela Wright Barry Brunt The Estate of Angus McBride Barry McGettigan The Estate of Anita Notaro Bart D. Daly Ann Harrow The Estate of Basil Chubb Ann O Riordan Ber O'Sullivan 1 Irish Copyright Licensing Agency CLG Mandated Author Rightholders Bernadette Andresso Brian Lennon Bernadette Bohan Brian Leonard Bernadette Cosgrove Brian McGilloway Bernadette Cunningham The Estate of Brian O'Nolan Bernadette Matthews Brian Priestley Bernadette McDonald Brianóg Brady Dawson Bernard Horgan Bríd Nic an Fhailigh Bernard MacLaverty Bried Bonner Bernard Mulchrone The Estate of Brigid Brophy Bernie McDonald Brigid Laffan Bernie Murray-Ryan Brigid Mayes Bernie Ruane Brigitte Le Juez Betty Stoutt Bronwen Braun Bill Rolston Bryan M.E. -
In 1967, Patrick Kavanagh Concluded His Bloomsday Speech by Recalling
TRANSGRESSIVE AND SUBVERSIVE: FLANN O’BRIEN’S TALES OF THE IN-BETWEEN FLORE COULOUMA In 1967, Patrick Kavanagh concluded his Bloomsday speech by recalling the 1954 anniversary, when he made a pilgrimage through Dublin with John Ryan, Brian O’Nolan, Anthony Cronin and a few others. The memorable event of that day, he said, was “the incomparable Myles pissing on Sandymount Strand”.1 This seemingly trivial anecdote presents Flann O’Brien, or rather, Myles na gCopaleen, as a transgressive character, symbolically desecrating the very monument to the cult of Joyce to which he himself had contributed. It also reveals the ambiguity inherent to the very act of transgression, in that it presupposes the normative frame it then proceeds to disregard. There is no doing away with the rules of transgression, and Myles na gCopaleen, however vocal he might have been in criticizing Joyce – “that refurbisher of skivvies’ stories”2 – never denied his admiration for the master. It was Myles na gCopaleen’s job to disrupt and mock received opinions in his satirical column from The Irish Times. The very name of Cruiskeen Lawn (“little brimming jug”) suggests the role and function of its nonsensical satire: it works by excess to emphasize the vacuity of its many targets. Such exuberance reflects a dominant mode of discourse that is defined by its polyphonic and intertextual dimension, sometimes akin to literary collage, and whose self- conscious quality always reminds the reader of the artificiality and arbitrariness of language. The constant polarity between exuberance and void in Flann O’Brien’s work echoes the deconstructive tensions of post-modern writing balancing proliferation of references on the 1 John Ryan, Remembering How We Stood, Dublin: Gill and Macmillan, 1975, 121. -
Flawed to Start : the Inconsequence of Action in the Novels of Brian Oâ
Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 5-2018 Flawed to Start : The nconsequeI nce of Action in the Novels of Brian O’Nolan Christopher M. Mitchell Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the English Language and Literature Commons Recommended Citation Mitchell, Christopher M., "Flawed to Start : The ncI onsequence of Action in the Novels of Brian O’Nolan" (2018). Theses, Dissertations and Culminating Projects. 145. https://digitalcommons.montclair.edu/etd/145 This Thesis is brought to you for free and open access by Montclair State University Digital Commons. It has been accepted for inclusion in Theses, Dissertations and Culminating Projects by an authorized administrator of Montclair State University Digital Commons. For more information, please contact [email protected]. Abstract Brian O’Nolan’s novels At Swim-Two-Birds, The Poor Mouth, and The Third Policeman present worlds where character actions are largely inconsequential. This discussion will focus on reflexive metanarrative elements, criticism of the Irish revivalist movements and authorship and creation as a means to survive these worlds. O’Nolan’s novels will be shown to be largely optimistic in their confrontation of nihilistic concerns. Much of his writing is comedic and playful even when dealing with serious topics. Repetition through both language and story structure are key components of the futility O’Nolan constructs for his characters and readers. This thesis examines the interplay between futility and creativity in O’Nolan’s works. FLAWED TO START: THE INCONSEQUENCE OF ACTION IN THE NOVELS OF BRIAN O’NOLAN A THESIS Submitted in partial fulfillment of the requirements For the degree of Master of Arts by CHRISTOPHER M. -
Download Annual Report 1977
An Chomhairle Ealaíon An Séú Tuarascáil Bhliantúil is Fiche, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1977. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 [3] agus 7 [1] den Acht Ealaíon 1951. Twenty-Sixth Annual Report and Accounts for the year ended 31st December 1977. Presented to the Government and laid before each House of the Oireachtas pursuant to Section 6 [3] and 7 [1] of the Arts Act, 1951. Front Cover: Multiple image of a sculpture ceramic, by Pat Connor, purchased by the Council An Chomhairle Ealaíon was set up by the Arts Acts 1951 and 1973 and consists of a chairman and not more than sixteen other members appointed by the Taoiseach. The present Council was appointed on 31st December 1973 and its term of office expires in 1978. The principal role of' the Council is to stimulate public interest in the arts; to promote the knowledge, appreciation and practice of the arts; and to assist in improving the standards of the arts. The Council also acts as an adviser on artistic matters to the Government and Government Departments and is one of the four bodies which have a statutory duty to make representations to local authorities in connection with applications for planning permission in areas of special amenity throughout the country. The Council receives an annual grant-in-aid from the Oireachtas. In the Arts Acts, the expression 'the arts' means painting, sculpture, architecture, music, drama, cinema, literature, design in industry, and the fine arts and applied arts generally. -
An Interview with the Brother Micheál Ó Nualláin
An Interview with the Brother Micheál Ó Nualláin Johanna Marquardt Johannes Gutenberg-Universität Mainz This interview with Micheál Ó Nualláin, Brian O’Nolan’s brother and the only surviving member of his generation of the family, was conducted on 10 June 2014 in Monkstown, County Dublin. Its purpose was to obtain information about Brian O’Nolan’s private library at the John J. Burns Library, Boston College; the archive being the focal point of this issue of The Parish Review. It was Micheál who sold the last of his brother’s effects to Boston College in May 1997 and therefore he is in a position to answer questions about the purchase of the library, its contents and their provenance, and the reading practices of Brian and Evelyn O’Nolan.1 Despite the seventeen-year age gap between them, Micheál’s relationship with Brian was a cordial one; a fact that Micheál has made clearer in The Brother (Myles) than in this interview.2 He is grateful to his brother, who took on the role of the breadwinner and head of the family after their father died in 1937, when Brian was twenty-six and Micheál only nine. It is also apparent from various anecdotes as well as from the reproductions of many portraits in The Brother (Myles) that Micheál was intimately acquainted with much of Dublin’s literary and artistic scene of the mid- twentieth century. He shared many of his brother’s acquaintances, such as Brendan Behan, Maurice Walsh, Sean O’Sullivan, Patrick Kavanagh, and Anthony Cronin. His activities as the caricaturist Kilroy from 1948 to the present day mean that he was also familiar with Dublin’s journalistic scene.3 Micheál’s close relationship with his brother, as well as his involvement in Dublin’s bohemian scene, make him an ideal source of context-oriented and biographical research. -
John Atkinson. a Bibliography of the Monographs of Samuel Beckett
John Atkinson. A Bibliography of the Monographs of Samuel Beckett from His Early Years (1930-51), with Collection Analysis of the Holdings in the Rare Book Collection of the University of North Carolina at Chapel Hill. A Master’s Paper for the M.S. in L.S. degree. April, 2005. 26 pages. Advisor: Charles B. McNamara. A detailed description of the Rare Book Collection’s holdings of the monographs of writer Samuel Beckett’s early years (1930-51). Includes a brief introduction to Modernism, especially fellow writer James Joyce and Beckett’s debt to him; a discussion of the Rare Book Collection’s collection development strategy, including its Grove Press material; a bibliography of the Beckett titles spanning the years 1930-51; and a report of conclusions with a desiderata list. Headings: Beckett, Samuel Beckett, Samuel -- Bibliography Modernism Modernism -- Bibliography A BIBLIOGRAPHY OF THE MONOGRAPHS OF SAMUEL BECKETT FROM HIS EARLY YEARS (1930-51), WITH COLLECTION ANALYSIS OF THE HOLDINGS IN THE RARE BOOK COLLECTION OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL. by John Atkinson A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina April, 2005 Approved by ____________________________________ Charles B. McNamara 1 Introduction Modernism, Paris, and James Joyce The early 1900s were a time of high achievement in literature and the arts. A group who came to be known as the Modernists--though not always closely connected except by virtue of living in Europe at the same time--produced some of the most significant work of the century. -
Ploughmen Without Land: Flann O'brien & Patrick Kavanagh
Ploughmen Without Land: Flann O’Brien & Patrick Kavanagh Joseph Brooker After Brian O’Nolan’s death, the poet Patrick Kavanagh would remark that there was no one left to talk to in Dublin. The tribute is surprising, as their relationship was not one of intimate confidences. But it indicates mutual respect. John Ryan records: ‘[O’Nolan] was one of the few writers in whose company [Kavanagh] was completely at ease; his respect for him was complete; he was his peer; like himself he had chosen the tougher going, the thinner air of Upper Parnassus, Dublin 14’.1 This essay is a comparative study of O’Nolan and Kavanagh, written in the conviction that O’Nolan can be illuminated by such juxtaposition with his peers: the writers with whom he shared pub tables as well as a historical situation. Insofar as we are pursuing a more intensive, historically informed understanding of O’Nolan, we would still benefit from close studies of him in relation to his university friends Denis Devlin, Brian Coffey, Niall Sheridan, Niall Montgomery, and figures from the press, notably his long-standing editor R.M. Smyllie. If O’Nolan (1911-1966) has a distinct niche in literary history, though, it is as part of a mid-century Dublin scene in which the two other most prominent figures are Patrick Kavanagh (1904-1967) and Brendan Behan (1923-1964). This milieu has been documented notably by two men who were also part of it: Anthony Cronin (b.1928) in Dead as Doornails (1976) and No Laughing Matter (1989), and John Ryan (1925-1992) in Remembering How We Stood (1975). -
Irish Studies Round the World ‐ 2006
Estudios Irlandeses , Number 2, 2007, pp. 233-250 ____________________________________________________________________________________________ AEDEI IRISH STUDIES ROUND THE WORLD ‐ 2006 David Pierce (ed.) Introduction by David Pierce ................................................................................................233 Re-Mapping Exile: Realities and Metaphors in Irish Literature and History ed. by Michael Böss, Irene Gilsenan Nordin and Britta Olinder Teresa Caneda ...........................................................................................................................235 District and Circle by Seamus Heaney Sabina Müller ............................................................................................................................238 The Thriller and Northern Ireland since 1969: Utterly Resigned Terror by Aaron Kelly Laura Pelaschiar ........................................................................................................................240 Brian Friel's Dramatic Artistry: 'The Work has Value' Ed. by Donald E. Morse, Csilla Bertha, and Mária Kurdi Lionel Pilkington ......................................................................................................................242 Samuel Beckett-100 Years ed. by Christopher Murray Samuel Beckett: Centenary Shadows by John Minihan Paul O'Hanrahan .......................................................................................................................244 The Irish in Us: Irishness, Performativity, and Popular -
Download Annual Report 1988
An Chomhairle Ealaíon An Seachtú Tuarascáil Bhliantúil is Tríocha maille le Cuntais don bhlian dár chríoch 31ú Nollag 1988. Tiolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirty-seventh Annual Report and Accounts for the year ended 31st December 1988. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act 1951. ISBN 0 906627 29 X ISSN 0790-1593 The Arts Council regrets that this Report for 1988, which was ready for printing in 1989, could not be released until the Comptroller and Auditor General had reported on the Council's 1988 Accounts. Draft Accounts were submitted for audit in April 1989. The Comptroller and Auditor General's Report is dated 21st December 1989. Members Members (Until December 1988) (From December 1988) Máirtín McCullough, Chairman Colm Ó hEocha, Chairman John Banville Dermot Bolger Vivienne Bogan Michael Colgan David Byers Máire de Paor Patrick Dawson Bríd Dukes Máire de Paor Arthur Gibney Bríd Dukes Patrick Hall Vincent Ferguson Charles Hennessy Mairéad Furlong Ted Hickey Garry Hynes Richard Keamey Barry McGovern Proinsias Mac Aonghusa Rosemarie Mulcahy Larry McCluskey Tom Munnelly Paul McGuinness Patrick J. Murphy Míchéal O'Siadhail Seán Ó Mordha Donald Potter Michael Smith Eric Sweeney Michael Taylor Kathleen Watkins Staff Director Adrian Munnelly Officers Literature, Arts Festivals and Community Arts Laurence Cassidy Visual Arts Medb Ruane Visual Arts/Exhibitions