Eileen O'casey Papers
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Juno and the Paycock by Sean O’ Casey
FACTFILE: GCSE DRAMA Component 3 Knowledge and Understanding of Drama, Exploration of the Set Text Juno and the Paycock by Sean O’ Casey Social • The play deals with inner-city Dublin working class people in 1922; • The living conditions of the Boyle family is a two-roomed tenancy in a tenement house in a street within walking distance of the city centre. The conditions are very cramped for four adults and there is a bed in the living room and kitchen. Bathroom facilities were shared with all the residents of the tenement which could be up to ten families; • Mary is trying to lift herself out of the working class and Charles Bentham seems to offer her that opportunity as he speaks and dresses better than all the other characters; • Jerry Devine represents the Labour Movement which was growing at the time just as communism was growing in Russia; • The play is set just after the Civil War in Ireland and the social unrest continued as Robbie Tancred’s funeral takes place during the play and Johnny Boyle is taken away and shot for not continuing to fight for the cause. Cultural • O’Casey himself lived in Dorset Street, north Dublin and his family was ‘shabby-genteel’ but he set his plays in the working-class culture which he would have seen in the streets close by; • His father died when he was six and his plays are dominated by hard-working and strong women such as Juno Boyle; • His interest grew in the Irish nationalist cause and he joined the Gaelic League and became General Secretary of the Irish Citizen Army so became steeped in the culture -
6509757.PDF (6.063Mb)
This dissertation has been 65-9757 microfilmed exactly as received SMITH, Bobby L ., 1930- SATIRE IN THE DRAMA OF SEAN O’CASEY. The University of Oklahoma, Ph. D ., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SATIRE IN THE DRAMA OF SEAN O'CASEY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree o f DOCTOR OF PHILOSOPHY BY BOBBY L. SMITH Norman, Oklahoma 1965 SATIRE IN THE DRAMA OF SEAN O'CASEY APPROVED BY c y'i> r- -U)JiUfrwv lA-. DISSERTATION COMMITTEE ACKNOWLEDGMENTS I am especially indebted to Dr. A. J. Fritz for his professional aid and his personal encouragement during the several years since he first introduced me to the dramas of Sean O'Casey. In addition, I am grateful to him for directing this dissertation and for offering a recent seminar which concentrated on the development of modern Irish drama. I am also grateful to Dr. Calvin G. Thayer, Dr. Bruce I. Granger, and Dr. William H. Maehl, Jr., who courteously consented to serve as a reading committee and whose teaching and personal friendship have been invaluable through out my career as a graduate student. i i i TABLE OF CONTENTS Page ACKNOWLEDGMENTS i i i C hapter I . INTRODUCTION....................................................................................... 1 I I . THE IRISH PLAYS .............................................................................. 13 The Shadow o f a Gunman ..................................................... I3 Kathleen Listens In ............................................................ 25 Juno and th e Pay cock .............. .. ............................... 31 Nannie's Night Out .............................................................. 40 The Plough and the Stars ................................................ I I I . TRANSITIONAL PERIOD .................................................................... -
A History of Maryland's Electoral College Meetings 1789-2016
A History of Maryland’s Electoral College Meetings 1789-2016 A History of Maryland’s Electoral College Meetings 1789-2016 Published by: Maryland State Board of Elections Linda H. Lamone, Administrator Project Coordinator: Jared DeMarinis, Director Division of Candidacy and Campaign Finance Published: October 2016 Table of Contents Preface 5 The Electoral College – Introduction 7 Meeting of February 4, 1789 19 Meeting of December 5, 1792 22 Meeting of December 7, 1796 24 Meeting of December 3, 1800 27 Meeting of December 5, 1804 30 Meeting of December 7, 1808 31 Meeting of December 2, 1812 33 Meeting of December 4, 1816 35 Meeting of December 6, 1820 36 Meeting of December 1, 1824 39 Meeting of December 3, 1828 41 Meeting of December 5, 1832 43 Meeting of December 7, 1836 46 Meeting of December 2, 1840 49 Meeting of December 4, 1844 52 Meeting of December 6, 1848 53 Meeting of December 1, 1852 55 Meeting of December 3, 1856 57 Meeting of December 5, 1860 60 Meeting of December 7, 1864 62 Meeting of December 2, 1868 65 Meeting of December 4, 1872 66 Meeting of December 6, 1876 68 Meeting of December 1, 1880 70 Meeting of December 3, 1884 71 Page | 2 Meeting of January 14, 1889 74 Meeting of January 9, 1893 75 Meeting of January 11, 1897 77 Meeting of January 14, 1901 79 Meeting of January 9, 1905 80 Meeting of January 11, 1909 83 Meeting of January 13, 1913 85 Meeting of January 8, 1917 87 Meeting of January 10, 1921 88 Meeting of January 12, 1925 90 Meeting of January 2, 1929 91 Meeting of January 4, 1933 93 Meeting of December 14, 1936 -
Brian Friel, Ireland and Globalisation
GRAAT On-Line issue #13 March 2013 Brian Friel, Ireland and Globalisation Martine Pelletier Université François-Rabelais, Tours ICD (EA 6297) The Celtic Tiger phenomenon has understandably drawn much attention in view of Ireland’s extremely rapid transformation from a traditional society with an ailing economy into a winner in the global game, all in the space of a few years during the 1990s. In his aptly named Luck and the Irish. A Brief history of Change, 1970- 2000 , Roy Foster recalls the sense of awe that many people felt as statistics accumulated, demonstrating Ireland’s sudden prosperity: Output in the decade from 1995 increased 350%, outpacing the per capita averages in the UK and the USA, personal disposable income doubled, exports increased fivefold, trade surpluses accumulated into billions, employment boomed, immigrants poured into the country. As the twentieth century reached its end, Ireland’s transformation was an established fact: the country had apparently become vastly rich. (Foster 7) Ireland could now compare favourably with the former colonial master, the United Kingdom, and with the economic superpower, the United States. Through this newly found prosperity, ghosts of the past were exorcised: “People bought into the idea that this wasn’t just an economic boom—it was a national vindication, a healing, the sense that our bad past was gone, and gone forever…” (O’Toole quoted in Nicoll). 63 Faced with such a seemingly miraculous metamorphosis, commentators could be seen to fall into two categories, the optimists and the pessimists or, as Foster calls them, “Boosters” and “Begrudgers.” Now that the global economic recession has killed the Celtic Tiger—a drop in growth of GDP from 6% in 2007 to -7.6% in 2009 leaving Ireland with a banking system in tatters, thousands of un-saleable housing units, a return to the bad old days of mass emigration 1 and double digit unemployment figures—the warnings of the begrudgers have acquired a prophetic value. -
Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio
Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983). -
Filmography V6.Indd
a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television. -
Colour in the Plays of Sean O'casey
“To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face: Colour in the Plays of Sean O’Casey Ryan K Evans This thesis is submitted for the degree of Master of Philosophy August 2019 English and Creative Writing “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Declaration This thesis has not been submitted in support of an application for another degree at this or any other university. It is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated. Many of the ideas in this thesis were the product of discussion with my supervisors Tony Pinkney and Tony Sharpe. Ryan Evans Lancaster University, UK Ryan K Evans July 2019 ii “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Abstract This thesis examines the presence and use of colour in the plays of Sean O’Casey and argues that while a portion of colour in the drama is aesthetic, another portion is intentionally utilized as a means to provide additional contextual commentary, be it cultural, religious, political, or artistic in nature. This practice stems, I argue, in part because of O’Casey’s tendency towards an appreciation for beautiful things stemming from his artistic leanings. -
Emmet Kirwan
EMMET KIRWAN Height 6’ Hair: Brown Eyes: Blue FILM includes (most recently) director Jason in DUBLIN OLDSCHOOL Dave Tynan DOS Prods Mark in NICE NIGHT FOR IT Rachel Carney Night Films Poet in HEARTBREAK Dave Tynan H Films Frank in WAVE Ben Cleary Assembly Larry in PURSUIT Paul Mercier AGM Prods 71 Yann Demange Run 71 Ltd Debo in THE BREAK Ken Williams Deathpark Pics JUST SAYIN’ Dave Tynan Kennedy Films Dean in TWO HEARTS Darren Thornton Calipo Billy in DUBLIN IN PIECES Rick Larkin i-Wire Films Terry in PORCELIN Gavin Cleland Inis Films James in SHATTERED Rick Larkin I-Wire Films Clive in THE BOYS AND GIRL FROM COUNTY CLARE John Irvin Metro Goldwyn INSIDE I’M DANCING Damien O’Donnell Universal ELLA ENCHANTED Tommy O’Haver Miramax TELEVISION includes: Bryson in JACK TAYLOR Stuart Orme Samson THE SILENCE Derbhla Walsh Company Pics/BBC Steve in SARAH AND STEVE David Coffey Accomplice/RTE Shane in THE TAKE David Drury Sky Animal in LEGEND Robert Quinn / Charlie McCarthy RTE / Icebox Films Ray McDermott in THE BIG BOW WOW Derbhla Walsh/Liz Gill RTE / Granada Cont 24 Adelaide Street, Dun Laoghaire, Co. Dublin T: 1 663 8646 www.macfarlane-chard.ie Registered in Ireland Co No: 422112I VAT no: IE 6442112F. Registered under the Data Protection Act Registered Office: 32 Upper Mount Street, Dublin 2 Page 2 EMMET KIRWAN THEATRE includes: Da in TRAD Aaron Monaghan Livin’ Dred Eamon in ARISTOCRATS Lyndsey Turner Donmar Warehouse Poet in RIOT Phillip McMahon Vicar St/New York/Sydney DUBLIN OLDSCHOOL Phillip McMahon Bewleys / Project Arts & National Theatre -
Silver Squelchers Twenty & Their Interesting Associates
Silver Squelchers Twenty & Their Interesting Associates Investment Bankers in The Pilgrims Society #2 Take 32 seconds to hear what should be The Pilgrims theme music! “He spoke openly against the Society” (Line from “The Rifleman,” March 3, 1963) Presented July 2015 by Charles Savoie 1) John Charles Straton Jr. (1932---: Pilgrims Society as of undetermined) has info in the 2014 Who’s Who in the East, pages 1367-1368--- The December 21, 1907 New York Times, front page headline read, “Ruined Speculator Kills J.H. Oliphant Then Shoots Himself in the Brokerage Office of his Victim Who Dies at 2:00 AM Today, Fortune of $75,000 Gone” we read--- “James H. Oliphant, senior member of the Stock Exchange firm of James H. Oliphant Co., and one of the best-known brokers in this city, was shot, and mortally wounded in his office at 20 Broad Street yesterday afternoon by Dr. Charles A. Geiger of Beaufort, S.C., a ruined speculator, who for two years or more had been a customer of the Oliphant firm. Dr. Geiger then turned the revolver on himself and sent the bullet into his brain, dying instantly.” My “Pilgrims meter” tells me that Oliphant was a member, though he wasn’t a charter member as of January 1903--- The 2005 Who’s Who in America, page 3502, shows David Olyphant (note spelling variation) as a member of The Pilgrims. He was a Citibank executive, an officer of the English Speaking Union (direct Pilgrims subsidiary) and involved with the American Trust for the British Library. John Charles Straton Jr. -
23Rd July to 3Rd August 2015
23RD JULY TO 3RD AUGUST 2015 2015 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Ireland’s first annual cross-border arts event Donegal, Welcome to Friel Country (Aug 20-26 ROI) Belfast, Here I Come! (Aug 26-31 NI) COMING SOON PRINCIPAL FUNDER Ireland’s first annual cross-border arts festival IDonegal,reland’s Welcome first ann toua Friell cro Countryss-borde (Augr art s20-26 even ROI)t Donegal, Welcome to Friel Country (Aug 20-26 ROI) Ireland’s first annual cross-border arts event Belfast, Here I Come! (Aug 27-31 NI) Donegal, Welcome to Friel Country (Aug 20-26 ROI) B elfast, Here I Come! (Aug 26-31 NI) Belfast, Here I Come! (Aug 26-31 NI) A new Happy Days EIBF BioFestival www.lughnasainternationalfrielfestival.com Front Cover Illustration: Samuel Beckett by George Tabori. Kind permission of The Berliner Ensemble DOS A DEUX 2ND ACT (FRANCE) CONTENTS starting from page IRISH PREMIER Location: HIG HArdhowenLIGHTS Theatre Krapp’s Last Tape (1958), a one act play6 Date: Wed 6. August & originally titled the ‘Magee Monologue’, was Thu 7. August inspired by the Northern Irish actor Patrick Time: 8.00pm Magee whose voice and ‘banana walk’ THEATRE Beckett admired. Considered by many as14 Price: £18 / £16 Beckett’s most ‘perfect’ play, the 69 year Duration: ca. 75mins old Krapp listens and interjects with his UK & IRELAND PREMIERE taped 39 year old self, tenderly and scoffing. MUSIC 26 The play recalls Krapp’s early love, some Krapp - Klaus Maria Brandauer Director - Peter Stein think modeled on Beckett’s early love of his cousin Peggy Sinclair whom he spent time WAT - WRITER & ARTISTS TALKS 30 In German language with in Kassel, Germany in 1928.* The play’s with EnglishREA surtitlesDINGS 15 title intimates that this will also be the last tape Krapp will record. -
WB Yeats and the Legacy of Censorship
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library 'I Sing What Was Lost and Dread What Was Won': W. B. Yeats and the Legacy of Censorship Author(s): Lauren Arrington Source: Irish University Review, Vol. 38, No. 2 (Autumn - Winter, 2008), pp. 222-242 Published by: Edinburgh University Press Stable URL: https://www.jstor.org/stable/40344296 Accessed: 07-05-2020 12:33 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Edinburgh University Press is collaborating with JSTOR to digitize, preserve and extend access to Irish University Review This content downloaded from 78.16.160.210 on Thu, 07 May 2020 12:33:58 UTC All use subject to https://about.jstor.org/terms Lauren Arrington 'I Sing What Was Lost and Dread What Was Won': W. B. Yeats and the Legacy of Censorship The historiography of theatre censorship has recently undergone a transformation. Received wisdom formerly held that since there was no legislative censorship of theatres, no censorship occurred, but work by Joan FitzPatrick Dean and Peter Martin has significantly revised the understanding of the way that censorship operates. -
REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett Audiovisual Material, Circa 1965-1993
REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. 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: Reilly, John, 1939-2013. Title: John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Call Number: Manuscript Collection No. 1336 Extent: 2 linear feet (2 boxes), AV Masters: 23 linear feet (24 boxes) Abstract: Audiovisual materials created by John Reilly for his documentaries Waiting for Beckett (1994) and Peephole Art-Beckett For Television (1994). Language: Some materials in English and French. Administrative Information Restrictions on Access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source gift, 2015 Citation [after identification of item(s)], John Reilly Samuel Beckett audiovisual material, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. 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. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Manuscript Collection No. 1336 Processing Unarranged collection, described at the file level by Laura Starratt, 2015. This finding aid may include language that is offensive or harmful.