Jonathan Swift Address by Dr Don Thornhill, St Patrick's Cathedral
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'Every Irishman is an Arab': James Clarence Mangan's Eastern 'Translations' Item Type Article Authors Fegan, Melissa Citation Translation and Literature, Summer 2013, 22(2), pp. 195-214 DOI 10.3366/tal.2013.0113 Publisher Edinburgh University Press Journal Translation and Literature Download date 28/09/2021 04:50:05 Link to Item http://hdl.handle.net/10034/336545 This work has been submitted to ChesterRep – the University of Chester’s online research repository http://chesterrep.openrepository.com Author(s): Melissa Fegan Title: 'Every Irishman is an Arab': James Clarence Mangan's Eastern 'Translations' Date: Summer 2013 Originally published in: Translation and Literature Example citation: Fegan, M. (2013). 'Every Irishman is an Arab': James Clarence Mangan's Eastern 'Translations', Translation and Literature, 22(2), 195-214. http://dx.doi.org/10.3366/tal.2013.0113 Version of item: Accepted manuscript Available at: http://hdl.handle.net/10034/336545 ‘Every Irishman is an Arab’: James Clarence Mangan’s Eastern ‘Translations’ If the vagrant Imagination is at home anywhere, it is the East, proclaimed James Clarence Mangan (1803-1849) – even if its conception of the East is somewhat illusory, and dominated by ‘images of Genii-land’ rather than a realistic Orient.1 Mangan – unkindly described by Valentine Cunningham as the ‘archetypical drunken- Irish poet’2 – is chiefly remembered for stirring nationalist anthems like ‘Dark Rosaleen’, or his depictions of the horrors of the Great Famine. The young James Joyce described him as ‘the national poet’,3 but Mangan’s leanings were international, and his delight in the East emerged in a series of six articles on Oriental poetry, titled ‘Literæ Orientales’, published in the Dublin University Magazine between September 1837 and January 1846. -
Afrin Zeenat. “Writing Irish Nationhood: Jonathan Swift's Coming to Terms
Nebula 6.2 , June 2009 Writing Irish Nationhood: Jonathan Swift’s Coming to Terms with his Birthplace. By Afrin Zeenat “Swift can…combine contraries of the most compelling kind.” 1 Seamus Deane. “… the Janus-faced ambivalence of language… in the construction of the Janus-faced discourse of the nation.” 2 Homi K. Bhabha Echoing Bhabha’s statement, Jonathan Swift’s “Janus-faced ambivalence” toward his birthplace Ireland has puzzled many readers making it difficult for them to identify him as an Irish patriot. 3 Despite Swift’s works on Ireland in which he rallies for Ireland and the native Irish, many critics continue to stress Swift’s anathema and contempt for people of his native land. 4 Such an essentialist reading of Swift would fail to understand the innate ambivalence that is a salient feature of his works. Swift’s Irish tracts point to a change in his attitude towards his native land, which asserts itself forcefully as his love for England and things English ebb, and can be attributed to personal, political and historical reasons. Swift’s life and works presage the ambivalence that is later pronounced in the works of post-colonial writers, who often vacillate between the country of their colonial overlords and their native countries. Based on Frantz Fanon’s ideas on the formation of a national consciousness,5 this chapter will trace a similar formation of Swift’s national consciousness for his native country, which finds a voice in his works on Ireland. 1 Seamus Deane, “Classic Swift,” The Cambridge Companion to Jonathan Swift, (Cambridge: Cambridge University Press, 2003), 245. -
Austin Clarke Papers
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R. -
Amhrán:!The$Impact$Of$The$Post.Famine$Decline$In$Spoken$Irish$
! ! ! ! ! ! ! ! ! ! ! An!Bás!a!Muintire!sa!Amhrán:!the$Impact$of$the$Post.Famine$Decline$in$Spoken$Irish$ on$Sean$Nós$Song$ $ $ $ $ An!honors!thesis!for!the!Center!for!Interdisciplinary!Studies.! Anna!Lyons! ! ! ! ! ! ! ! ! Tufts!University!2015! Introduction* “If"Ireland"loses"her"music"she"loses"what"is,"after"her"Gaelic"language"and"literature," her"most"valuable"and"most"characteristic"possession.""And"she"is"rapidly"losing"it”"–" Douglas"Hyde"(1860F1949)" " It"was"this"desperate"aim"to"preserve"the"Irish"language"and"Irish"art"forms" that"motivated"the"Gaelic"Revival"of"the"late"nineteenth"century.""Hyde"himself"was"a" key"player"in"the"Revival"F"tirelessly"promoting"the"Irish"language,"transcribing"and" translating"Irish"music"and"folKlore"as"well"as"producing"original"material"to" jumpstart"Irish’s"resurgence"as"a"modern"language.""Hyde"tooK"a"particular"interest" in"preserving"sean%nós%singing"in"his"home"region"of"Connacht.""He"recognized"that" the"Great"Famine"threatened"to"extinguish"the"tradition"and"saw"his"revival"work"as" a"direct"response"to"that"threat.""Hyde’s"goal"was"to"publish"and"circulate"preF Famine"sean%nós"songs"among"revivalists"and"rebuild"the"musicFculture"of"the"native" style"through"the"production"of"his"own"sean%nós%songs." Sean%nós"is"a"native"form"Irish"singing."""It"is"generally"performed"by"one" unaccompanied"vocalist,"singing"in"the"Irish"language.""The"tradition"emphasizes"a" song’s"lyrics"and"the"story"it"tells"over"the"singer’s"voice"quality"or"musicality.""It"also" places"a"high"value"on"a"singer’s"vocal"ornamentation"which"accents"the"typical" -
Thomas More Studies 1 (2006) 3 Thomas More Studies 1 (2006) George M
Thomas More Studies Volume 1 2006 Thomas More’s Utopia Humanist More GEORGE M. LOGAN Questions and Discussion No Lawyers in Utopia CLARENCE H. MILLER Philosophic Designs, Book 1 of Utopia JEFFREY S. LEHMAN Literary Designs, Book 1 of Utopia STEPHEN W. SMITH Questions and Discussion Political Designs, Book 2 of Utopia RICHARD DOUGHERTY Theological Designs, Book 2 of Utopia JOHN BOYLE Questions and Discussion Interpretation of Utopia as a Whole, Part 1 JEFFREY S. LEHMAN STEPHEN W. SMITH RICHARD DOUGHERTY JOHN BOYLE Questions and Discussion Interpretation of Utopia as a Whole, Part 2 with NATHAN SCHLUETER, MICHAEL P. FOLEY, SAMUEL BOSTAPH, JASON BOFETTI, GABRIEL BARTLETT, & RUSSEL OSGOOD, ESQ. Utopia, a Round Table Discussion with CLARENCE H. MILLER GEORGE M. LOGAN ELIZABETH MCCUTCHEON The Development of Thomas More Studies Remarks CLARENCE H. MILLER ELIZABETH MCCUTCHEON GEORGE M. LOGAN Interrogating Thomas More Interrogating Thomas More: The Conundrums of Conscience STEPHEN D. SMITH, ESQ. Response JOSEPH KOTERSKI, SJ Reply STEPHEN D. SMITH, ESQ. Questions and Discussion Papers On “a man for all seasons” CLARENCE H. MILLER Sir Thomas More’s Noble Lie NATHAN SCHLUETER Law in Sir Thomas More’s Utopia as Compared to His Lord Chancellorship RUSSEL OSGOOD, ESQ. Variations on a Utopian Diversion: Student Game Projects in the University Classroom MICHAEL P. FOLEY Utopia from an Economist’s Perspective SAMUEL BOSTAPH These are the refereed proceedings from the 2005 Thomas More Studies Conference, held at the University of Dallas, November 4-6, 2005. Intellectual Property Rights: Contributors retain in full the rights to their work. George M. Logan 2 exercises preparing himself for the priesthood.”3 The young man was also extremely interested in literature, especially as conceived by the humanists of the period. -
Defending Ireland Or Attacking Woman? the Irish Riposte to Harriet Martineau
Defending Ireland or Attacking Woman? The Irish Riposte to Harriet Martineau Julie Donovan owhere is the complexity of Harriet Martineau’s legacy more N evident than in her writings on Ireland. Martineau traveled to Ireland in 1831, a visit she followed up with a more extensive stay in 1852, when, with her customary zeal, she covered twelve-hundred miles, taking in all four provinces (Conway and Hill 47). Martineau’s first visit inspired “Ireland: A Tale” (1832), the ninth story in Illustrations of Political Economy (1832-34). Her second visit was instigated by Frederick Knight Hunt, editor of London’s Daily News, who requested eye-witness reports of Ireland’s post-famine socio-cultural recovery and economic progress, which Martineau would collate in her role as a traveling correspondent. Her findings from the 1852 visit were published in voluminous journalism, including Letters from Ireland (1852) and Endowed Schools of Ireland (1859), which formed part of her reporting for Daily News. In addition, numerous and formerly scattered pieces on Ireland, published in Daily News, Household Words, Westminster Review and elsewhere, have been collected in Harriet Martineau and the Irish Question: Condition of Post- Famine Ireland, edited by Deborah Logan. Irish affairs permeated Martineau’s fiction and non-fiction, demonstrating how cognizant she was of issues Ireland faced in the post- famine context and in terms of continuing systemic problems impeding recovery, such as absentee landlordism, which she had raised in “Ireland: A Tale.” Throughout her decades of writing about Ireland, from pre- to post- 117 Nineteenth-Century Prose, Vol. 47, No. -
Joyce and the Divided Mind: His Importance in Irish and Galician Literature
JOYCE AND THE DIVIDED MIND: HIS IMPORTANCE IN IRISH AND GALICIAN LITERATURE Anne MacCarthy University of Santiago de Compostela "The Divided Mind" is the title of an essay by the contemporary Irish poet, Thomas Kinsella. In it he examines the problems inherent in lrish literature caused, not onIy by the existence of a native language very distinct from English, but also by the existence of a very distinct literature written in this language. He speaks of that problematic term for writers in Ireland, "Anglo-lrish". He defines it as "poetry written in English by lrishmen, or by someone with lrish connections"(208). It is useful to add that up until recently, and even now, Anglo-lrish meant that Protestant ascendancy of English settlers who owned lands due to the English conquests. Such writers as Swift and Goldsmith would belong to this group. As opposed to them we have the Celtic or native tradition, writers using the native language, lrish, and whose origins were in the population resident in Ireland befo re the invasions. It must also be mentioned that when we speak of this native tradition we shall be speaking exc1usively of poetry, as writers in lrish devoted themselves to this genre, as a general rule. Kinsella, while recognizing that the separation between the two languages and lite ratures was never complete, admits that the lrish poet writing in English is "unlikely to feel at home in the long tradition of English poetry" (208-209). He cannot use the legacy of poetry written in lrish until the end of the eighteenth century either because he is sepa rated from it by a "century's silence and through an exchange of worlds"(209). -
“This Cemetery Is a Treacherous Place”. the Appropriation of Political, Cultural and Class Ownership of Glasnevin Cemetery, 1832 to 1909
Studi irlandesi. A Journal of Irish Studies, n. 9 (2019), pp. 251-270 DOI: http://dx.doi.org/10.13128/SIJIS-2239-3978-25516 “This cemetery is a treacherous place”. The Appropriation of Political, Cultural and Class Ownership of Glasnevin Cemetery, 1832 to 1909 Patrick Callan Trinity College Dublin (<[email protected]>) Abstract: Dublin’s Glasnevin Cemetery became a focus of nationalist com- memoration after 1832. The Irish diaspora in America celebrated it as the resting place of nationalist heroes, including Parnell, O’Connell and others linked with Irish Catholicity or culture. American news- papers reported on commemorations for the Manchester Martyrs and Parnell. The Dublin Cemeteries Committee (DCC) managed the cemetery. In the early 1900s, the DCC lost a political battle over who should act as guardian of the republican tradition in a tiny ar- ea of political property within the cemetery. A critical sequence of Young Irelander or Fenian funerals (Charles Gavan Duffy, James Stephens, and John O’Leary) marked the transfer of authority from the DCC to advanced nationalists. The DCC’s public profile also suffered during the 1900s as Dublin city councillors severely criti- cised the fees charged for interments, rejecting the patriarchal au- thority of the cemetery’s governing body. Keywords: Commemoration, Diaspora, Glasnevin Cemetery, Parnell 1. Introduction Dublin’s Glasnevin Cemetery opened in 1832 as an ideal of the nine- teenth-century garden cemetery. Daniel O’Connell’s Catholic Association successfully worked to repeal the surviving Penal Laws against Irish Catho- lics, leading to Catholic Emancipation in 1829. In part, the campaign had focused on the need for new regulations to allow for the establishment of Catholic cemeteries such as Glasnevin, formally known as Prospect Cem- etery. -
Music in Irish Emigration Literature
The University of Notre Dame Australia ResearchOnline@ND Theses 2017 Singing exile: Music in Irish emigration literature Christopher McCann The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details McCann, C. (2017). Singing exile: Music in Irish emigration literature (Master of Arts (Thesis)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/166 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Singing Exile: Music in Irish Emigration Literature by Christopher McCann A thesis submitted in fulfillment of the requirements of the degree of Master of Arts (Research) at the University of Notre Dame Australia (Fremantle) June 2017 Contents Abstract iii Acknowledgements v Introduction 1 Chapter One: The Revival Cultural Field and Exile: George Moore and James Joyce 13 Chapter Two: Traditional Music and the Post-Independence Exodus to Britain 43 Chapter Three: Between Two Worlds: Music at the American wake 66 Chapter Four: “Os comhair lán an tí”: Sean-nós as a site of memory in Brooklyn 93 Chapter Five: Imagined Geography and Communal Memory in Come Back to Erin 120 Conclusion 144 Appendix: Annotated Discography 150 Bibliography 158 ii Abstract Ireland possesses a cultural heritage that is particularly literary and musical. -
Harry White, Music and the Irish Literary Imagination Journal of the Society for Musicology in Ireland, 5 (2009–10), P. 89
Harry White, Music and the Irish Literary Imagination HARRY WHITE, MUSIC AND THE IRISH LITERARY IMAGINATION (Oxford: Oxford University Press, 2008), ISBN 978-0-19-954732-6, 260pp, £58 (hardback) This book begins with a thoughtful discussion of Eavan Boland’s comment about Derek Mahon. She notes that while he was trapped to a degree by his identity as a ‘Northern’ poet, she, as a woman, found herself ‘without a discourse’ (vii). This dia- lectic of inclusion and exclusion provides a stylistic point of origin, or omphalos, to use the title of chapter one, for White’s discussion of the role of music in the Irish literary imagination. Structurally this is a trope that binds the book together as he traces the influence, overt or covert, of music in selected Irish writers. Unlike many contempo- rary critics, who leave it very much to the reader to judge the telos of their argument, White is commendably clear about his own aims and on the first page of the preface sets out his argumentative stall (or offers hostages to fortune) with admirable clarity, noting that: the musical discourse which pervades Irish writing becomes more difficult to overlook, if only because its striking presence redeems the long absence of musical works from Irish cultural history, to the extent that Irish poetry, drama, and fiction have functioned as objective corre- latives of musical genres which originated elsewhere. Certain Irish writers are explicit on this point (Bernard Shaw and James Joyce are good examples), but the discourse itself deserves an exposition and a history. (vii) He traces this argument through Thomas Moore and the auditory imagination; Yeats and the music of poetry; Synge and the notion of abandoning music; Shaw and opera; the thought-tormented music of Joyce; words after music in Beckett; operas of the Irish mind and Friel; and he concludes with a chapter on Heaney on music and the jurisdiction of literary forms. -
Spring 2003 Text
Dickens, Ireland, and the Irish, Part I Litvack, L. (2003). Dickens, Ireland, and the Irish, Part I. The Dickensian, 99(1), 34-59. Published in: The Dickensian Document Version: Publisher's PDF, also known as Version of record 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:30. Sep. 2021 Dickens, Ireland and the Irish1 Part I LEON LITVACK N IRELAND Dickens was clearly a popular and renowned figure. In a letter to his sister-in-law Georgina Hogarth he recalls how on a Ireading tour of the country he was approached by an admirer in the streets of Dublin, who shook his hand, saying ‘Do me the honour to shake hands, Misther Dickens and God bless you sir; not only for the light you’ve been to me this night, but for the light you’ve been in mee house sir (and God love your face!) this many a year!’2 The fact that Dickens chooses to render an approximation of a Dublin accent is interesting, for it not only points to his attention to the qualities and inflections of local speech; it is also indicative of his more general attitude towards Ireland and the Irish, which was a fusion of objectified pronouncements and informed observation. -
More Music from the Works of James Joyce (Booklet)
CD 2PN FOLDER Trim: 9.5 x 4.724 “He would seat himself at the piano, drooping ELIJAH IS COMING! WASHED IN THE over the keys, and the old songs, his particular way of singing them in his BLOOD of the LAMB! sweet tenor voice, and the GLORY SONGS! expression on his face— these were things one The Noted American Evangelists, can never forget.” Mr. Kevin M’Dermott, tenor —Sylvia Beach and Mr. Ralph Richey, pianist WILL PERFORM MORE MUSIC FROM THE WORKS OF JAMES JOYCE! 4.75” 4.75” VarianceJJoyce2_CD_Booklet.indd for finishing process (trimming, 1 folding and perforat- 11/8/06 2:22:59 PM ing) on this product is +/- 0.0625” Manufacturer is not responsible for graphics beyond finishing Outside Back Cover Outside Front Cover variance CD 2PN FOLDER Trim: 9.5 x 4.724 Now then, our Glory Song! You call me up by sunphone any old time. PROGRAMME CREDITS Recorded by Joseph C. Chilorio of M H P, Mechanics Hall, Worcester MA, March –, . 1 In the Shade of the Palm ........................................................... ( 6 : 08 ) From FLORODORA: “Leslie Stuart” (Tom Barrett) Design and typography by Kevin McDermott. Text set in digitizations of Centaur by Bruce Rogers ( ) and Colm Cille by Colm Ó Lochlainn (.) 2 O Twine Me a Bower ................................................................. ( 3 : 40 ) Thomas Crofton Croker, Esq.—Hon. D. Roche Artiste’s Photographs by Todd Gieg () and Georg Schreiber (). 3 The Groves of Blarney .............................................................. ( 4 : 40 ) ILLUSTRATIONS Richard Alfred Millikin; Air, Castle Hyde F : “The Rev. John Alexander Dowie, General 4 Killarney ................................................................................. ( 5 : 11 ) Overseer of the Christian Catholic Church in Zion,” c.