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Loughs Carra, Mask and Corrib; Resources, Borders and Passageways
Loughs Carra, Mask and Corrib; resources, borders and passageways A National Heritage Week 2020 Project by the Joyce Country and Western Lakes Heritage Network Introduction: Loughs Carra, Mask and Corrib are all connected with all their waters draining into the Atlantic Ocean. Their origins lie in the surrounding bedrock and the moving ice that dominated the Irish landscape. Today they are landscape icons, angling paradise and drinking water reservoirs but they have also shaped the communities on their shores. This project, the first of the Joyce Country and Western Lakes Heritage Network, explores the relationships that the people from the local towns and villages have had with these lakes, how they were perceived, how they were used and how they have been embedded in their history. The project consists of a series of short articles on various subjects that were composed by heritage officers of the local community councils and members of the local historical societies. They will dwell on the geological origin of the lakes, evidence of the first people living on their shores, local traditions and historical events and the inspiration that they offered to artists over the years. These articles are collated in this document for online publication on the Joyce Country and Western Lakes Geopark Project website (www.joycecountrygeoparkproject.ie) as well as on the website of the various heritage societies and initiatives of the local communities. Individual articles – some bilingual as a large part of the area is in the Gaeltacht – will be shared over social media on a daily basis for the duration of National Heritage Week. -
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. -
Durham E-Theses
Durham E-Theses 'A forest of intertextuality' : the poetry of Derek Mahon Burton, Brian How to cite: Burton, Brian (2004) 'A forest of intertextuality' : the poetry of Derek Mahon, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1271/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk "A Forest of Intertextuality": The Poetry of Derek Mahon Brian Burton A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Submitted as a thesis for the Degree of Doctor of Philosophy University of Durham Department of English Studies 2004 1 1 JAN 2u05 I Contents Contents I Declaration 111 Note on the Text IV List of Abbreviations V Introduction 1 1. 'Death and the Sun': Mahon and Camus 1.1 'Death and the Sun' 29 1.2 Silence and Ethics 43 1.3 'Preface to a Love Poem' 51 1.4 The Terminal Democracy 59 1.5 The Mediterranean 67 1.6 'As God is my Judge' 83 2. -
Hearing Voices in the Poetry of Brendan Kennelly 1
Hearing voices in the poetry of Brendan Kennelly 1 Carl Vogel* and Sandrine Brisset ** *Trinity College Dublin **St Patrick’s College and Université Sorbonne Nouvelle – Paris 3 Abstract Text classification methods from corpus linguistics are applied within the poetry of Brendan Kennelly in order to determine how they cluster into categories defined by dominant voices within the poems. Using within-text objective analyses, certain strong patterns emerge: the voices of Ozzie, the Author of the Letters, the Women, etc., prove to be distinct centers of clusters. 1 Introduction A poem may be considered oral by virtue of its semblance in presentation to that within the oral formulaic tradition (Beye 1972), to that of a songster’s ballads, to that common to dialogues, to that known from cadences of the poet’s speaking voice, and undoubtedly in many other ways. Objective metrics can be appealed to for assessment of orality in textual artifacts (Biber 1988, Sampson 2001, Biber, Conrad and Reppen 1998). Yet a question emerges when one writer acts as a conduit of all of the oral messages contained in a text. The question is: are the voices truly distinct or has the author placed an indelible imprint on them making all her own, and can they be objectively (non-trivially) identified as such. Objectively, they are all her own in a trivial sense if they are known to have all been written by her, but in a non-trivial sense, they are objectively her own if they are independently identifiable as of a single source on the basis of textual artifacts alone. -
Studies in Irish Craniology (Aran Islands, Co. Galway)
Z- STUDIES IN IRISH ORANIOLOGY. (ARAN ISLANDS, CO. GALWAY.) BY PROFESSOR A. C. HADDON. A PAPER Read before the ROYAL IRISH ACADEMY, December 12, 1892; and “ Reprinted from the Procrrimnos,” 3rd Ser., Vol, II.. No. 5. \_Fifty copies only reprinted hy the Academy for the Author.] DUBLIN: PRINTED AT THE UNIVERSITY PRESS, BY PONSONBY AND WELDRICK, PKINTBRS TO THB ACAHRMY. 1893 . r 759 ] XXXVIII. STUDIES IN lEISH CKANIOLOGY: THE ARAN ISLANDS, CO. GALWAY.* By PROFESSOR A. C. HADDON. [Eead December 12, 1892.] The following is the first of a series of communications which I pro- pose to make to the Academy on Irish Craniology. It is a remarkable fact that there is scarcely an obscure people on the face of the globe about whom we have less anthropographical information than we have of the Irish. Three skulls from Ireland are described by Davis and Thumam in the “Crania Britannica” (1856-65); six by J. Aitken Meigs in his ‘ ‘ Catalogue of Human Crania in the Collection of the Academy of Natural Sciences of Philadelphia ” two by J. Van der Hoeven (1857) ; in his “ Catalogus craniorum diversarum gentium” (1860); thirty- eight (more or less fragmentary), and five casts by J. Barnard Davis in the “Thesaurus craniorum” (1867), besides a few others which I shall refer to on a future occasion. Quite recently Dr. W. Frazer has measured a number of Irish skulls. “ A Contribution to Irish Anthropology,” Jour. Roy. Soc. Antiquarians of Ireland, I. (5), 1891, p. 391. In addition to three skuUs from Derry, Dundalk, and Mary’s Abbey, Dublin, Dr. -
Études Irlandaises, 37-1 | 2012 [En Ligne], Mis En Ligne Le 30 Juin 2014, Consulté Le 24 Septembre 2020
Études irlandaises 37-1 | 2012 Varia Édition électronique URL : http://journals.openedition.org/etudesirlandaises/2927 DOI : 10.4000/etudesirlandaises.2927 ISSN : 2259-8863 Éditeur Presses universitaires de Caen Édition imprimée Date de publication : 30 juin 2012 ISSN : 0183-973X Référence électronique Études irlandaises, 37-1 | 2012 [En ligne], mis en ligne le 30 juin 2014, consulté le 24 septembre 2020. URL : http://journals.openedition.org/etudesirlandaises/2927 ; DOI : https://doi.org/10.4000/ etudesirlandaises.2927 Ce document a été généré automatiquement le 24 septembre 2020. Études irlandaises est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. 1 SOMMAIRE Études d'histoire et de civilisation « Les Irlandais attendent avec une légère impatience » : Paris et la demande d’adhésion de Dublin à la CEE, 1961-1973 Christophe Gillissen German Invasion and Spy Scares in Ireland, 1890s-1914: Between Fiction and Fact Jérôme Aan de Wiel Magdalen Laundries : enjeu des droits de l’homme et responsabilité publique Nathalie Sebbane Mobilisation nationale et solidarité internationale : les syndicats en Irlande et la question du Moyen-Orient Marie-Violaine Louvet “Deposited Elsewhere”: The Sexualized Female Body and the Modern Irish Landscape Cara Delay Art et Image “Doesn’t Mary Have a Lovely Bottom?”: Gender, Sexuality and Catholic Ideology in Father Ted Lisa McGonigle Études littéraires Fair Game? James Joyce, Sean O’Casey, and -
Field Day Review 62
Field Day Review 62 The Journey West The Journey West Patrick Joyce1 At the edge Josef Koudelka called this photograph (Fig. 1), Irlande 1972. It is part of a collection of his work entitled Exiles. The three men kneel at the summit of Croagh Patrick, a site of Christian pilgrimage for over a millennium and a half, and before then, for perhaps twice that time, it has been a sacred place. Below the summit, and in the background, is Clew Bay, the Atlantic Ocean speckled with Clew’s many islands, drowned drumlins marooned by geological time. In the photographs that make up Exiles, Koudelka photographed the margins of Europe, margins which are partly geographical, for Croagh Patrick is at the outermost western limits of Europe, and partly social. He repeatedly returns to images of gypsies, one of Europe’s two great symbols of what it is to be at the margins of an acceptable social life from which they are exiled. Indeed, Koudelka was himself an exile, having fled from Prague after the Russian invasion of 1968, following which he took up a relentlessly peripatetic professional life as a photographer, much of it as a stateless person. To be at a margin, or on a border, is to be both inside and outside, or it is to be neither Fig. 1: Ireland. Croagh Patrick Pilgrimage, 1972. Photo: Josef Koudelka, Magnum Photos. 63 Field Day Review Fig. 2: Croagh Patrick, County Mayo, July 1994. Photo: Georges Dussaud/Gamma-Rapho via Getty Images. one nor the other. A man sans state is without time, and of a place, they are also outside 1 This essay will form part of a home, always in-between. -
Irish Landscape Names
Irish Landscape Names Preface to 2010 edition Stradbally on its own denotes a parish and village); there is usually no equivalent word in the Irish form, such as sliabh or cnoc; and the Ordnance The following document is extracted from the database used to prepare the list Survey forms have not gained currency locally or amongst hill-walkers. The of peaks included on the „Summits‟ section and other sections at second group of exceptions concerns hills for which there was substantial www.mountainviews.ie The document comprises the name data and key evidence from alternative authoritative sources for a name other than the one geographical data for each peak listed on the website as of May 2010, with shown on OS maps, e.g. Croaghonagh / Cruach Eoghanach in Co. Donegal, some minor changes and omissions. The geographical data on the website is marked on the Discovery map as Barnesmore, or Slievetrue in Co. Antrim, more comprehensive. marked on the Discoverer map as Carn Hill. In some of these cases, the evidence for overriding the map forms comes from other Ordnance Survey The data was collated over a number of years by a team of volunteer sources, such as the Ordnance Survey Memoirs. It should be emphasised that contributors to the website. The list in use started with the 2000ft list of Rev. these exceptions represent only a very small percentage of the names listed Vandeleur (1950s), the 600m list based on this by Joss Lynam (1970s) and the and that the forms used by the Placenames Branch and/or OSI/OSNI are 400 and 500m lists of Michael Dewey and Myrddyn Phillips. -
Energy Audit on Aran Islands
2015-10-22 ENERGY AUDIT ON THE ARAN ISLANDS Energy audit on the Aran Islands 1 Introduction 2 2 Abstract 3 3 Facts 4 4 The culture and identity of the Aran Island 10 5 Optimism 12 6 Pessimism 12 7 Possibilities 13 8 Action Plan 14 1 (15) ENERGY AUDIT ON THE ARAN ISLANDS Christian Pleijel [email protected] Tel +358-457-342 88 25 ENERGY AUDIT ON THE ARAN ISLANDS 1 Introduction In 2014, the Aran Islands joined the SMILEGOV1 prOject thrOugh its membership in the Comhdháil Oileáin na hÉireann (Irish Islands AssOciatiOn) and subse- quently in the European Small Islands Federation (ESIN). The objectives of SMILEGOV, funded by the IEE at the EurOpean COmmissiOn, is to establish a clear picture Of the island’s energy cOnsumptiOn, its emissiOns and hOw it is it supplied with energy, moving intO an actiOn plan fOr a more sustainable future, and to invite the island to join the Pact of Islands2. 1.1 Process The wOrk has mainly been carried Out by SeniOr AdvisOr Christian Pleijel, fOr- merly at SwecO, nOw an independent cOnsultant and the Vice President Of ESIN (European Small Islands Federation), with the kind help of Mr Ronan MacGiol- lapharaic at the Fuinneamh Oileáin Árann (Aran Islands Energy), support frOm the Irish Islands AssOciatiOn and frOm the Cork County Council. 1.2 Methodology The island has been Observed frOm six different perspectives, a methOd de- scribed and used in Christian Pleijel’s bOOk On the small islands Of EurOpe3: (1) Facts, (2) Identity and culture, (3) Optimism, (4) Pessimism, (5) POssibilities, and (6) ActiOns. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
Terrain of the Aran Islands Karen O'brien
Spring 2006 169 ‘Ireland mustn’t be such a bad place so’: Mapping the “Real” Terrain of the Aran Islands Karen O’Brien Martin McDonagh’s The Cripple of Inishmaan (1996) responds to and encodes the complexities of representational and ecological issues surrounding life on the rural landscape of the Aran Islands. The three islands that constitute the Aran Islands—Inisheer, Inishmaan, and Inishmore—occupy a unique and dual position of marginality and liminality; they not only reside off the border of the western coast of Ireland but also inhabit an indeterminate space between America and Europe. The archipelagos are described by Irish poet Seamus Heaney as a place “Where the land ends with a sheer drop / You can see three stepping stones out of Europe.”1 Inishmaan employs three strategic interrogations—representation, structure, and aesthetics—that coincide with the project of collaborative ecology. The first strategy juxtaposes two contrasting representations of Ireland’s 1930s rural west, problematizing the notion of a definable Irishness in relation to the unique Arans landscape. Inishmaan revolves around the filming of the American documentary Man of Aran (1934), which claims authenticity in its representation of actual island residents. McDonagh’s depiction of the Aran community, however, contradicts the documentary’s poetic vision of the Aran Islands as a pristine landscape. In scene eight, for example, the screening of Man of Aran does not reflect a mirror image of the Aran residents represented in the play; the film, contrarily, incites mockery. Despite its claim of historical authenticity and authority, the documentary proves fictional. Inishmaan contests the legitimacy of Man of Aran explicitly as well as a history of romanticized notions of western Irish identity implicitly.