Graves of Historical Interest in Dean's Grange Cemetery
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History In-Service Team, Supporting Leaving Certificate History Later Modern Ireland Judging Dev: a Selection Of
History In-Service Team, Supporting Leaving Certificate History www.hist.ie Later Modern Ireland Judging Dev: a selection of documents, 1913–72 CONTENTS Introduction 2 Biographical notes 3 Glossary 5 Documents used 7 Biographical note on Eamon de Valera 8 1. De Valera the revolutionary: Irish Volunteers and 1916 9 2. De Valera’s mission to the USA, 1919–20 13 3. De Valera and the Anglo–Irish Treaty negotiations, 1921 14 4. De Valera and Fianna Fáil, 1926–7 20 5. 1937 Constitution, comments on the status of women 22 6. 1937 Constitution, comment of John Charles McQuaid 25 7. Economic War, 1932–8 26 8. Neutrality, 1939–45 28 9. De Valera, the statesman, 1948 33 10. De Valera on the Irish language and emigration, 1951 34 11. De Valera on rugby, the GAA, and ‘the ban’, 1957 36 12. De Valera as president, 1959–73 38 13. Cartoons and election posters 42 14. Photographs of de Valera 48 This material is intended for educational, classroom use only, not to be reproduced in any other medium or forum without permission. Every effort has been made to trace, and acknowledge, copyright holders. In the case where a copyright has been inadvertently overlooked, the copyright holders are requested to contact the Publications Office, Royal Irish Academy, 19 Dawson Street, Dublin 2. Tel: 01 6762570 Fax: 01 6762346 email: [email protected] web site: www.ria.ie © 2007 History In-Service Team, Monaghan Education Centre, Monaghan, Co. Monaghan Tel: 047 74008 Fax: 047 74029 email: [email protected] web site: www.hist.ie Introduction De Valera is the most prominent personality in twentieth-century Irish history, with a career stretching over six decades. -
Eamon De Valera's Contributions to Modern Ireland
Nation and State: Eamon de Valera’s Contributions to Modern Ireland Marshall Bursis Ireland in the 20th Century Trinity College Dublin Dr. Anne Dolan Bursis 2 Eamon de Valera dominated Irish politics in the 20th century. 1 But, despite de Valera’s electoral success and decades as Taoiseach and President, many describe his policies as failed, isolationist, and reactionary. In contrast with de Valera’s traditionalism, his successor as leader of Fianna Fáil and Taoiseach, Sean Lemass, receives praise for his efforts to reform and modernize the Irish economy. 2 As early as 1969, a popular magazine had declared “one of the great tragedies of modern Ireland is that Lemass did not become Taoiseach immediately after the war.” 3 While there is no doubt Lemass merits much of the credit for Ireland’s development in the sixties, this historical narrative devalues de Valera’s crucial contribution to Irish identity and government. Lemass modernized the Irish economy and radically redefined the state for the better, but de Valera’s premiership was not the Irish dark age many consider it to be. Despite his shortcomings, de Valera created an Irish identity necessary for the formation of the state and founded a comparatively liberal and democratic political system that has persisted for almost one hundred years. I. Historical Contempt for ‘de Valera’s Ireland’ In many historical accounts, the phrase “de Valera’s Ireland” usually carries a connotation of sarcasm and derision. For some assessing the island after independence, it “became shorthand for all the shortcomings of twentieth-century Ireland.” 4 Borrowing from James Joyce, one academic makes the expression’s subtext clear, characterizing the period as “the Devil Era.” 5 To his critics, de Valera left a legacy of economic stagnation, poverty, and generational emigration and conservative, theocratic politics. -
"Il Mio Tesoro" from "Don Giovanni"
“Il mio tesoro” from “Don Giovanni”--John McCormack; orchestra conducted by Walter Rogers (1916) Added to the National Registry: 2006 Essay by Doreen M. McFarlane (guest post)* John McCormack Tenor John McCormack (1884-1945) was beloved throughout the English-speaking world. His music spanned from opera and concert music to popular songs of his time. He was one of the first to make cylinder recordings and then shellac records, and was one of the first opera singers to sing on radio. From a successful opera career, he moved on to become a beloved recitalist, touring the USA and the world, garnering huge and adoring audiences. He spotlighted upcoming composers, raised large donations to support America in both World Wars, and was a role model singer, husband, patriot and friend. On May 9, 10, and 11 of 1916, the renowned tenor made a total of 13 recordings for Victor/HMV in their Camden, New Jersey studio. Of these, ten were sung with orchestra conducted by Walter B. Rogers, and, the other three, with his accompanist Edwin Schneider at the piano. Of the 13, two were unpublished. In some cases, there were two takes with just one published. But, the aria recorded on May 9th, which is unsurpassed and seen as the consummate performance of this aria--unmatched by even the greatest of tenors--is his performance of “Il mio Tesoro” from the opera “Don Giovanni” by Mozart; it was accomplished in one “take.” This aria has been included in at least 22 different LP and CDs over many years. McCormack sang this aria in his concert programs from 1907 to 1917 and again from 1919 to 1921. -
ROINN COSANTA. BUREAU of MILITARY HISTORY, 1913-21 STATEMENT by WITNESS. DOCUMENT NO. W.S. 1503 Witness Michael Mccormack Drumra
ROINN COSANTA. BUREAU OF MILITARY HISTORY, 1913-21 STATEMENT BY WITNESS. DOCUMENT NO. W.S. 1503 Witness Michael McCormack Drumraney, Athlone, Co. Westmeath. Identity. Adjutant. Drumraney Battalion, I.R.A. Centre, Drumraney Circle, I.R.B. Subject. Activities of Drumraney Battalion, Irish Volunteers, Athlone Brigade, 1914-1921, and Brigade Flying Column, 1920-1921. Conditions, if any, Stipulated by Witness. Nil File No S.2819 Form B.S.M.2 STATEMENTBY MICHAEL McCORMICK, Drumraney, Athlone, County Westmeath. I was born in Drumraney and was educated at the local school there. There was nothing taught in school then that would serve as a foundation or build-up in young boys any deep sense of patriotism. father had been in Australia and there he had come in contact with many of the men who had been deported or had to leave Ireland because they loved it too well, according to English standards When we were children, he regularly discussed Irish History with us and enlightened us on the many crimes and wrongs perpetrated on our country by the English invader, and he often sang traditional folk songs for us. Thus we grew up in an atmosphere in which there was a love for everything Irish and with a great desire to see the country independent and in commandof her own destiny. I think my father was a Fenian. I had read and studied books such as "The Jail Journal" and "The last Conquest". In 1907 I became a member of the Irish Republican Brotherhood. Peter Malinn was organising the I.R.B. in County Westmeath at this time and later on w brother John continued to push the. -
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. -
Father Ted 5 Entertaining Father Stone 6 the Passion of Saint Tibulus 7 Competition Time 8 and God Created Woman 9 Grant Unto Him Eternal Rest 10 SEASON 2
TABLE OF CONTENTS INTRODUCTION PAGE Introduction 3 SEASON 1 Good Luck, Father Ted 5 Entertaining Father Stone 6 The Passion of Saint Tibulus 7 Competition Time 8 And God Created Woman 9 Grant Unto Him Eternal Rest 10 SEASON 2 Hell 13 Think Fast, Father Ted 14 Tentacles of Doom 15 Old Grey Whistle Theft 16 A Song for Europe 17 The Plague 18 Rock A Hella Ted 19 Alcohol and Rollerblading 20 New Jack City 21 Flight into Terror 22 SEASON 3 Are You Right There, Father Ted 25 Chirpy Burpy Cheap Sheep 26 Speed 3 27 The Mainland 28 Escape from Victory 29 Kicking Bishop Brennan Up the Arse 30 Night of the Nearly Dead 31 Going to America 32 TABLE OF CONTENTS SPECIAL EPISODES PAGE A Christmassy Ted 35 ULTIMATE EPISODE RANK 36 - 39 ABOUT THE CRITIC 40 3 INTRODUCTION Father Ted is the pinnacle of Irish TV; a much-loved sitcom that has become a cult classic on the Emerald Isle and across the globe. Following the lives of three priests and their housekeeper on the fictional landmass of Craggy Island, the series, which first aired in 1995, became an instant sensation. Although Father Ted only ran for three seasons and had wrapped by 1998, its cult status reigns to this very day. The show is critically renowned for its writing by Graham Linehan and Arthur Mathews, which details the crazy lives of the parochial house inhabitants: Father Ted Crilly (Dermot Morgan), Father Dougal McGuire (Ardal O'Hanlon), Father Jack Hackett (Frank Kelly), and Mrs Doyle (Pauline McLynn). -
Felix Issue 1103, 1998
COLOUR EXTRAVAGANZA SUMMER SOUNDS GOT SOME SPARE TIME? Sixty-page Guide to the Jumbo $f Bumper Issue Festivals Crossword Interview with the Rector Campus Renaissance Game y the Tunnels "of IC 1 'I ^ Trip to Le Mans 7 ' W- & the Embrace War Massive Film Preview Thailand Travel Diaries IN GO EOUS FULL C 4 2 GAME 24 June 1998 24 June 1998 GAME 59 Automatic seating in Great Hall opens 1 9 18 unexpectedly during The Rector nicks your exam, killing fff parking space. Miss a go. Felix finds out that you bunged the builders to you're fc Rich old fo work Faster. "start small antiques shop. £2 million. Back one. ii : 1 1 John Foster electro- cutes himself while cutting IC Radio's JCR feed. Go »zzle all the Forward one. nove to the is. The End. P©r/-D®(aia@ You Bung folders to TTafeDts iMmk faster. 213 [?®0B[jafi®Drjfl 40 is (SoOOogj® gtssrjiBGariy tsm<s5xps@G(§tlI ITCD® esiDDorpo/Js Bs a DDD®<3CM?GII (SDB(Sorjaai„ (pAsasamG aracil f?QflrjTi@Gfi®OTjaD Y®E]'RS fifelaL rpDaecsS V®QO wafccs (MJDDD Haglfe G® sGairGo (SRBarjDDo GBa@to G® §GapG„ i You give the Sheffield building a face-lift, it still looks horrible. Conference Hey ho, miss a go. Office doesn't buy new flow furniture. ir failing Take an extra I. Move go. steps back. start Place one Infamou chunk of asbestos raer shopS<ee| player on this square, », roll a die, and try your Southsid luck at the CAMPUS £0.5 mil nuclear reactor ^ RENAISSANCE GAME ^ ill. -
Consumption, Catholicism and the Birth of the Free State (1922-1937)
1 Searching Ireland’s Soul: Consumption, Catholicism and the Birth of the Free State (1922-1937) By John Hugh Porter In 1924 the newly formed Irish Free State government adopted the “traditional” Irish harp as the great seal for the nation. The harp had been symbolic of Eire for centuries, and was, therefore, an obvious emblem for the Free State.1 However, the harp already served as the emblem for another great Irish institution, perhaps greater than the government itself; the Guinness company. The iconic Irish drink had adopted the Irish harp as its logo in 1862.2 Thus, in 1924 there began considerable correspondence between the government and the Guinness Company as to the right of use of the harp symbol.3 Arthur Guinness, Son and Company, was unwilling to let the Free State appropriate the use of the harp. Eventually the matter was resolved when it appeared that the harp on the great seal would be presented with the back facing to the right, whereas, when it appeared on the Guinness Trade Mark the back of the harp faced towards the left.4 This resolution only came after a considerable amount of legal wrangling, demonstrating the contested territory of symbolic consumption. The harp had, by 1924, already become a symbol of consumerism, with its connection to the most recognisable of Irish brands. Yet, the nexus between consumerism and nation building has been somewhat neglected in Irish historiography.5 We see a lack of analysis into concepts such as the “consumer”, the ways in which such concepts have been constructed, and what impact they may have had upon Irish social and political discourse.6 This is especially true for the Irish Free State, as historiography on the period has tended to focus on political and economic concerns to the detriment of significant concepts, such as, the 1 In folklore the harp was said to belong to Brian Boru and later to the O’Neill family. -
How Copyright Law Affects Reissues of Historic Recordings: a New Study
TIM BROOKS How Copyright Law Affects Reissues of Historic Recordings: A New Study The following article looks at how U.S. copyright law affects the availability of older recordings. Among the issues covered are how many “historic” recordings are still under legal restrictions, how many are available to the public today via reissues, and what pro- portion of reissues are from rights holders vs. non rights holders. The article also suggests how to determine whether a specific older recording is controlled by a rights holder or is “abandoned,” and thus free to disseminate. The article is based on a paper presented at the 2005 ARSC Conference, with much of the information drawn from a study by the author commissioned by the Council on Library and Information Resources for the National Recording Preservation Board and the Library of Congress. The full study is available at www.clir.org. __________________________________________________________________________________ n recent years entertainment companies have secured sweeping expansion of copy- right laws and new limits on the public domain, making the subject of copyright Iincreasingly controversial. The world, they say, is changing and the law has to “keep up”. However, those who seek to care for and disseminate our recorded heritage feel jus- tifiably threatened by laws that seem to restrict their activities at every turn. While many in the academic and collecting communities lament these developments – witness the heavy attendance and passionate response at a session on “Music Downloading and File Swapping” at the 2004 ARSC Conference – there is surprisingly little solid data on the effects of current law on recordings.1 Such data is necessary to influence policymakers. -
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 -
NI 7927-8 Book
NI 7927/8 NI 7927/8 Regiment of Sambre et Meuse should have been delayed until two months after the war had ended I do not know, but there is no gainsaying thepanache with which he trumpets forth his tribute to those intrepid military men. A comparison of these later recordings of Caruso’s with those made back in 1902 and 1903 PALESTRINA makes it evident how his voice had darkened and grown more massive over the years. The M I S S A O S A C R U M C O N V I V I U M advances in the recording process naturally emphasise this change, but in any case such was Caruso’s technical mastery that even when his voice was at its heaviest it never became unwieldy. His very last stage appearance was in a role which had been a favourite from his earliest days, Nemorino in L’elisir d’amore, which calls for great vocal dexterity; and anyone who doubts Caruso’s ability to sing rapidcoloratura in his latter days should listen to the cadenza at the end of his recording ofMia Piccirella from the operaSalvator Rosa, made in September 1919. I would like to end these reflections, though, with a glance at one more track from the current selection. This is the duet entitledCrucifix, written by the eminent French baritone Jean-Baptiste Faure, in which Caruso is partnered by Marcel Journet, one of the most celebrated basses of the day. Journet’s is the first voice that we hear, and very fine it is too; but when Caruso enters the sound is one of incomparable beauty, rich and majestic but astonishingly gentle too. -
SUMMER 2016 Www
Box Office 0504 90204 SUMMER 2016 www.thesourceartscentre.ie www. thesourceartscentre.ie The Source Arts Centre Summer 2016 Programme The days are finally getting brighter and a little warmer so it’s a good time to get out of the house and come to the Source to see a few events. We’ve got a good selection of musical acts – the highly tipped Dublin songwriter Anderson who became famous for selling his album door-to-door, arrives for a solo show; Cork-born songwriter Mick Flannery presents his new album in another solo gig and we’ve opened up the auditorium for some tribute shows like Live Forever and Roadhouse Doors to give a more concert-type feel, so check these out on our brochure. Legendary Manchester poet John Cooper Clarke comes to visit us on May 4th; we have theatre with ‘The Corner Boys’, God Bless The Child’ and Brendan Balfe reminisces about the golden days of Irish radio in early June. Summer is a time for the kids and again we have a series of arts workshops and classes running over the summer months to keep them all occupied. Keep a lookout for our website: www.thesourceartscentre.ie for updates to our programme as we regularly add new events. Addtionally we put updates on our Facebook page. If you wish to be included on our mailing list, just get in contact with us at: boxoffice @sourcearts.ie We look forward to seeing you at The Source during the summer Brendan Maher Artistic Director Buy online Stef Hans open at You can choose your preferred seat when you The Source Arts Centre buy online 24/7 via your laptop, tablet or smart Fine day-time cuisine from award winning phone at www.thesourceartscentre.ie.