DOCSLIB.ORG

The Role of Irish-Language Film in Irish National Cinema Heather

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Role of Irish-Language Film in Irish National Cinema Heather Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. Finally, films iii made since the 1990s benefited from generous public subsidies from TG4 (the Irish-language television station) and the Irish Film Board; this funding attracted a large cross-section of filmmakers whose diverse linguistic identities are reflected in the texts of the films themselves. Although historically there have been successful examples of independently produced Irish-language films, current production is dependent on public funding, and the future of Irish-language cinema appears to be very closely linked to policy decisions of both film and language agencies. iv Acknowledgements I was extremely fortunate to receive financial support from a number of sources over the course of my doctoral degree, including fellowships from the Fonds québecois de recherche sur la société et la culture and Concordia University, as well as several scholarships from the School of Canadian Irish Studies. A substantial portion of my research was carried out in Ireland, and I am indebted to the Ireland Canada University Foundation for awarding me a generous travel scholarship that made my research visit in the summer of 2009 possible. There are a number of people I would like to thank who helped me while I was there: Seán Crosson and Rod Stoneman acted as my advisors while I was researching at the National University of Ireland, Galway; Rebecca Grant and Karen Wall provided invaluable assistance at the Irish Film Institute’s library and film archive, respectively; and Fran Keveaney of the Irish Film Board, Clare Creeley of Filmbase, and Pádhraig Ó Ciardha of TG4 spoke with me candidly about the short film projects of their various organizations. I would also like to extend a special thank you to Áine Walsh and Brendan Hehir of Northern Ireland Screen, for extending perhaps the warmest welcome of all, even inviting me to spend a (very exciting!) day on the Belfast set of the Irish-language college drama Seacht; I truly regret that much of what we discussed – about the particular status of both language and film in the North – did not make it in to the final version of this dissertation. I would also like to thank the filmmakers whom I interviewed during this trip and at other times: Melanie Clark Pullen, Anne Crilly, Kester Dyer, Edwina Forkin, Cecilia McAllister, and Hugh Travers. v Many other people helped me in less formal ways as I wrote various drafts. Mona Tajali was an invaluable writing buddy, and without our self-imposed fortnightly deadlines I think we both would have taken years longer to finish. I am also extremely grateful to the following people who offered feedback, proofreading, or thought- provoking discussions as I worked my way through: Clíona de Brí, Lynn Doyle, Antoine Guillemette, Shauna Kelpie, Ruth Lysaght, Jason McDevitt, Aoife Ní Churraoin, Bailey Seybolt, and Jerry White. I reserve special gratitude for the following four who displayed true love (or in Kate’s case, true friendship and solidarity) by reading this dissertation in its entirety, despite having no particular interest in Irish language or film: Kathryn Fitzpatrick, Lois Hardy, Don Macdougall, and Jeremy Taylor. I feel extremely lucky to have found such a supportive and stimulating environment at Concordia over the past five years. Sharon Fitch at the Humanities office was always a friendly guide through the most labyrinthine administrative processes, and Matina Skalkogiannis made the School of Canadian Irish Studies feel like a second home. Finally, I have been very fortunate to work with advisors who not only helped me through the various stages of my degree leading to this complete dissertation, but have also provided me with so many other opportunities for presenting at conferences, publishing, and teaching. Thank you, Michael Kenneally and Annette Teffeteller, and my deepest and most sincere gratitude goes to my principal supervisor, Haidee Wasson, who has not only challenged me to constantly improve the way I learn and think and write, but has also been the most inspiring role model I can imagine for both my personal and professional development. Thank you. vi Table of Contents Introduction......................................................................................................................... 1 PART I: HISTORICAL AND THEORETICAL CONTEXTS Chapter 1: Ireland and national cinema ............................................................................ 17 Concepts of cinema and nation......................................................................................18 Irish cinema....................................................................................................................41 Chapter 2: Language, nation and cinema...........................................................................67 Language and cinema ....................................................................................................68 Language and nation......................................................................................................79 The Irish language .........................................................................................................94 PART II: CASE STUDIES Chapter 3: Gael Linn’s documentary film projects .........................................................107 Mise Éire (1959) ..........................................................................................................121 Saoirse? (1961)............................................................................................................134 Chapter 4: Bob Quinn and Cinegael ................................................................................147 Caoineadh Airt Uí Laoire (The Lament for Art O’Leary) (1975) ...............................163 Poitín (1978)................................................................................................................172 Chapter 5: Irish-language film in the era of TG4 and the IFB ........................................193 Irish-language television..............................................................................................197 Shorts films as Gaeilge................................................................................................215 Chapter 6: The language in context – Bilingual films .....................................................247 Language in context: Short films.................................................................................249 Kings (2007) ................................................................................................................266 Conclusions: The past, present, and future of Irish-Language cinema............................279 Bibliography ....................................................................................................................289 Filmography.....................................................................................................................299 Interviews.........................................................................................................................301 Introduction “Tá rudaí ann nár cheart go dhéanadh fear dearmad orthu go deo. A thír, a theanga, agus a chairde. (Some things a man shouldn’t forget. His country, his language, and his friends.)” – Jap to Joe in Kings (Tom Collins 2007) Irish national cinema, like Irish national culture more generally, has two linguistic traditions on which it may draw. First, and most obviously, there is the dominant language of English, spoken by virtually all of the island’s six million inhabitants.1 There is also, however, the traditional
Load more

Recommended publications
  • Department of English and American Studies Another
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature & Teaching English Language and Literature for Secondary Schools Bc. Ondřej Harnušek Another Frontier: The Religion of Star Trek Master‘s Diploma Thesis Supervisor: Jeffrey Alan Smith, M.A., Ph. D. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‘s signature Acknowledgements There are many people, who would deserve my thanks for this work being completed, but I am bound to omit someone unintentionally, for which I deeply apologise in advance. My thanks naturally goes to my family, with whom I used to watch Star Trek every day, for their eternal support and understanding; to my friends, namely and especially to Vítězslav Mareš for proofreading and immense help with the historical background, Miroslav Pilař for proofreading, Viktor Dvořák for suggestions, all the classmates and friends for support and/or suggestions, especially Lenka Pokorná, Kristina Alešová, Petra Grünwaldová, Melanie King, Tereza Pavlíková and Blanka Šustrová for enthusiasm and cheering. I want to thank to all the creators of ―Memory Alpha‖, a wiki-based web-page, which contains truly encyclopaedic information about Star Trek and from which I drew almost all the quantifiable data like numbers of the episodes and their air dates. I also want to thank to Christina M. Luckings for her page of ST transcripts, which was a great help. A huge, sincere thank you goes to Jeff A. Smith, my supervisor, and an endless source of useful materials, suggestions and ideas, which shaped this thesis, and were the primary cause that it was written at all.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Report on Future Funding of Public Service Broadcasting
    Tithe an Oireachtais An Comhchoiste um Chumarsáid, Gníomhú ar son na hAeráide agus Comhshaol Tuarascáil ón gComhchoiste maidir leis Craoltóireacht Seirbhíse Poiblí a Mhaoiniú sa Todhchaí A leagadh faoi bhráid dhá Theach an Oireachtais 28 Samhain 2017 Houses of the Oireachtas Joint Committee on Communications, Climate Action and Environment Report of the Joint Committee on the Future Funding of Public Service Broadcasting Laid before both Houses of the Oireachtas 28 November 2017 32CCAE002 Tithe an Oireachtais An Comhchoiste um Chumarsáid, Gníomhú ar son na hAeráide agus Comhshaol Tuarascáil ón gComhchoiste maidir leis Craoltóireacht Seirbhíse Poiblí a Mhaoiniú sa Todhchaí A leagadh faoi bhráid dhá Theach an Oireachtais 28 Samhain 2017 Houses of the Oireachtas Joint Committee on Communications, Climate Action and Environment Report of the Joint Committee on the Future Funding of Public Service Broadcasting Laid before both Houses of the Oireachtas 28 November 2017 32CCAE002 Report on Future Funding of Public Service Broadcasting TABLE OF CONTENTS Brollach .............................................................................................................. 3 Preface ............................................................................................................... 4 1. Key Issue: The Funding Model – Short Term Solutions .......................... 6 Recommendation 1 - Fairness and Equity ............................................................ 6 Recommendation 2 – All Media Consumed ...........................................................
    [Show full text]
  • An Olive Films Release
    AN OLIVE FILMS RELEASE www.olivefilms.com Press Contact: Indie Strategy – www.indiestrategy.com Rodrigo Brandão – [email protected] +1 917.434.6168 Oleg Jelezniakov – [email protected] +1 917.676.5543 PARKED Crew Director - Darragh Byrne Writer - Ciaran Creagh Producers - Dominic Wright, Jacqueline Kerrin Co-producer - Aleksi Bardy, Helsinki Filmi Oy, Finland Director of Photography - John Conroy Production Designer - Owen Power Editor - Guy Montgomery Composer - Niall Byrne Cast Colm Meaney - Fred Daly Colin Morgan - Cathal O'Regan Milka Ahlroth - Juliana Stuart Graham - George O'Regan Michael McElhatton - Frank David Wilmot - Peter Tatianna Ouiliankina - Aqua Aerobics Instructor Diarmuid Noyes - Cathal's brother Mary Kelly - Reporter Technical Specs: Country: Ireland (Shot in Dublin, Ireland) Length: 90 minutes Shooting Format: HD (RED One) Sound Dolby SRD Color / Aspect Ratio 2.35:1 Language: English PARKED LOGLINE A proud man living in his car is inspired by a young drug addict to become a better person. SHORT SYNOPSIS Fred Daly returns to Ireland with nowhere to live but his car. One day, 21-year-old Cathal parks beside him, and brightens up his lonely world. Encouraged by Cathal, Fred befriends an attractive music teacher (i.e. Jules) and opens up his world to those on the outside. LONG SYNOPSIS Fred lives a quiet, isolated life in his car, having lost all hope of improving his situation. That all changes when he forms an unlikely friendship with Cathal, a dope-smoking 21-year-old with a positive attitude, who becomes his ‘neighbor’. Sharing laughs (and hard times too), Fred and Cathal re-discover the simple pleasures of life.
    [Show full text]
  • Cartlann Scríofa RTÉ: Scripteanna Chaint Raidió I Ngaeilge P259 Clár
    Cartlann Scríofa RTÉ: Scripteanna Chaint Raidió i nGaeilge P259 Clár Tuairisciúil Cartlann Choláiste na hOllscoile, Baile Átha Cliath archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2012 University College Dublin. All rights reserved ii CLÁR ÁBHAR COMHTHÉACS Nótaí faoin stair iv Stair chartlainne viii ÁBHAIR AGUS STRUCHTÚR Scóp agus Ábhair ix Córas an Leagain Amach ix COINNÍOLLACHA AR ROCHTAIN Rochtain xv Teanga xv Cabhair aimsithe xv CUIR SÍOS Coinbhinsiúin xv Nóta an chartlannaíthe xv ÁBHAIR COIBHNEASACH Nóta faoi fhoilseachán xvi Cairt eagraíochta Radio Éireann/RTÉ (1926–80) xvi iii COMHTHÉACS Is bailiúchán é seo de scripteanna chaint raidió i nGaeilge de chuid Raidió Teilifís Éireann (RTÉ), agus ábhar bainteach leo. Baineann siad leis na hOifigí seo leanas: Caint is Fuireann-Chlár (agus a comharba); Cláir do Pháistí; Cláir Ceoil; agus leis an Stiúdeo Chorcaí. Nótaí faoin Stair 1. Radio Éireann, RTÉ, agus an Ghaeilge An 28 Márta 1924, chuir ‘coiste speisialta um chraolachán gan sreang’ tuarascáil faoi bhráid Dáil na hÉireann, ag moladh go gcurfaí seirbhís chraolacháin stáit i bhfeidhm, seachas ceadúnas a thabhairt do chomhlacht priobháideach. Mar cheann de na tuairimí ar chraolachán gan sreang, agus ar an rogha a rinne siad, curadh béim ar freagracht oideachais phoiblí an rialtais: ‘It would be difficult to over-emphasise its value as an instrument of popular education. In connection with the spread of the national language and of the phonetic teaching of modern languages, so necessary to commerce, there is no agency which lends itself so readily to the wide and cheap propagation of knowledge.’ (‘Wireless Broadcasting Report – final Report of Special Committee’ alt 5.) Níor ritheadh an tAcht Radio-Thelegrafaíochta i nDáil Éireann go dtí Samhain 1926: san idirlinn, cuireadh tús le turchar an ‘Irish Free State Broadcasting Service’ –níos neamhfhoirmiúla, ‘2RN’- an chéad lá Eanáir 1926.
    [Show full text]
  • The Atlantean Irish: Irelands Oriental and Maritime Heritage Free
    FREE THE ATLANTEAN IRISH: IRELANDS ORIENTAL AND MARITIME HERITAGE PDF Bob Quinn | 256 pages | 15 Jan 2006 | The Lilliput Press Ltd | 9781843510246 | English | Dublin, Ireland Atlantean | Irish identity is best understood from a maritime perspective. For eight millennia the island has been a haven for explorers, settlers, colonists, navigators, pirates and traders, absorbing goods and peoples from all points of the compass. Over the past twenty years Bob Quinn has traced archaeological, linguistic, religious and economic connections from Egypt to Arann, from Morocco to Newgrange, from Cairo and Compostela to Carraroe. Taking Conamara sean-nos singing and its Arabic equivalents, and a North African linguistic stratum under the Irish tongue, Quinn marshalls evidence from field archaeology, boat-types, manuscript illuminations, weaving patterns, mythology, literature, art and artefacts to support a challenging thesis that cites, among The Atlantean Irish: Irelands Oriental and Maritime Heritage recent studies of the Irish genome, new mitochondrial DNA analysis in the Atlantic zone from north Iberia to west Scandinavia. The Atlantean Irish is a sumptuously illustrated, exciting, intervention in Irish cultural history. Forcefully debated, and wholly persuasive, it opens up a past beyond Europe, linking Orient to Occident. What began as a personal quest-narrative becomes a category-dissolving intellectual adventure of universal significance. It is a book whose time has arrived. Lilliput Press — July 18, This book revises and expands his thesis. Bob Quinn confronts received knowledge and upends the status quo. Living in a Conamara gaeltacht sincehis adopted locale inspired him to ask two questions that impelled the saga adapted in this update Dublin: The Lilliput Press,20 euro to his work, Atlantean.
    [Show full text]
  • January 2020 the Lighthouse Robert Eggers the Irish Film Institute
    JANUARY 2020 THE LIGHTHOUSE ROBERT EGGERS THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. THE NIGHT WINTER MENU OF IDEAS 2020 Fancy some healthy and hearty food this January? Look The Night of Ideas is a worldwide initiative, spearheaded by no further than the IFI Café Bar’s delicious winter menu, Institut Français, that celebrates the constant stream of ideas featuring new dishes including Wicklow Lamb Stew, between countries, cultures, and generations. The IFI and Vegetarian Lasagne, and Warm Winter Veg with Harissa the French Embassy are proud to present this third edition in Yoghurt and Beetroot Crisps. Book your table by emailing Ireland, the theme of which is ‘Being Alive’. For more details on [email protected] or by ringing 01-6798712. the event, please see page 15. NAME YOUR SEAT COMING SOON Parasite Naming a seat in the newly refurbished Cinema 1 is a Coming to the IFI in February are two of the year’s most fantastic way to demonstrate your own passion for film, anticipated new releases: Bong Joon Ho’s Parasite, winner of celebrate the memory of someone who loved the IFI, or the 2019 Palme d’Or and hotly tipped for Oscar glory, follows the gift a unique birthday or anniversary present to the film sinister relationship between an unemployed family and their fan in your life! The only limit is 50 characters and your patrons; and Céline Sciamma’s stunning Portrait of a Lady on Fire, imagination.
    [Show full text]
  • The Historical Development of Irish Euroscepticism to 2001
    The Historical Development of Irish Euroscepticism to 2001 Troy James Piechnick Thesis submitted as part of the Doctor of Philosophy (PhD) program at Flinders University on the 1st of September 2016 Social and Behavioural Sciences School of History and International Relations Flinders University 2016 Supervisors Professor Peter Monteath (PhD) Dr Evan Smith (PhD) Associate Professor Matt Fitzpatrick (PhD) Contents GLOSSARY III ABSTRACT IV ACKNOWLEDGEMENTS V CHAPTER 1 INTRODUCTION 1 DEFINITIONS 2 PARAMETERS 13 LITERATURE REVIEW 14 MORE RECENT DEVELOPMENTS 20 THESIS AND METHODOLOGY 24 STRUCTURE 28 CHAPTER 2 EARLY ANTECEDENTS OF IRISH EUROSCEPTICISM: 1886–1949 30 IRISH REPUBLICANISM, 1780–1886 34 FIRST HOME RULE BILL (1886) AND SECOND HOME RULE BILL (1893) 36 THE BOER WAR, 1899–1902 39 SINN FÉIN 40 WORLD WAR I AND EASTER RISING 42 IRISH DECLARATION OF INDEPENDENCE 46 IRISH WAR OF INDEPENDENCE 1919 AND CIVIL WAR 1921 47 BALFOUR DECLARATION OF 1926 AND THE STATUTE OF WESTMINSTER IN 1931 52 EAMON DE VALERA AND WORLD WAR II 54 REPUBLIC OF IRELAND ACT 1948 AND OTHER IMPLICATIONS 61 CONCLUSION 62 CHAPTER 3 THE TREATY OF ROME AND FAILED APPLICATIONS FOR MEMBERSHIP IN 1961 AND 1967 64 THE TREATY OF ROME 67 IRELAND IN THE 1950S 67 DEVELOPING IRISH EUROSCEPTICISM IN THE 1950S 68 FAILED APPLICATIONS FOR MEMBERSHIP IN 1961 AND 1967 71 IDEOLOGICAL MAKINGS: FURTHER DEVELOPMENTS OF A EUROSCEPTIC NATURE (1960S) 75 Communist forms of Irish euroscepticism 75 Irish eurosceptics and republicanism 78 Irish euroscepticism accommodating democratic socialism 85
    [Show full text]
  • National Library of Ireland
    ABOUT TOWN (DUNGANNON) AISÉIRGHE (DUBLIN) No. 1, May - Dec. 1986 Feb. 1950- April 1951 Jan. - June; Aug - Dec. 1987 Continued as Jan.. - Sept; Nov. - Dec. 1988 AISÉIRÍ (DUBLIN) Jan. - Aug; Oct. 1989 May 1951 - Dec. 1971 Jan, Apr. 1990 April 1972 - April 1975 All Hardcopy All Hardcopy Misc. Newspapers 1982 - 1991 A - B IL B 94109 ADVERTISER (WATERFORD) AISÉIRÍ (DUBLIN) Mar. 11 - Sept. 16, 1848 - Microfilm See AISÉIRGHE (DUBLIN) ADVERTISER & WATERFORD MARKET NOTE ALLNUTT'S IRISH LAND SCHEDULE (WATERFORD) (DUBLIN) March 4 - April 15, 1843 - Microfilm No. 9 Jan. 1, 1851 Bound with NATIONAL ADVERTISER Hardcopy ADVERTISER FOR THE COUNTIES OF LOUTH, MEATH, DUBLIN, MONAGHAN, CAVAN (DROGHEDA) AMÁRACH (DUBLIN) Mar. 1896 - 1908 1956 – 1961; - Microfilm Continued as 1962 – 1966 Hardcopy O.S.S. DROGHEDA ADVERTISER (DROGHEDA) 1967 - May 13, 1977 - Microfilm 1909 - 1926 - Microfilm Sept. 1980 – 1981 - Microfilm Aug. 1927 – 1928 Hardcopy O.S.S. 1982 Hardcopy O.S.S. 1929 - Microfilm 1983 - Microfilm Incorporated with DROGHEDA ARGUS (21 Dec 1929) which See. - Microfilm ANDERSONSTOWN NEWS (ANDERSONSTOWN) Nov. 22, 1972 – 1993 Hardcopy O.S.S. ADVOCATE (DUBLIN) 1994 – to date - Microfilm April 14, 1940 - March 22, 1970 (Misc. Issues) Hardcopy O.S.S. ANGLO CELT (CAVAN) Feb. 6, 1846 - April 29, 1858 ADVOCATE (NEW YORK) Dec. 10, 1864 - Nov. 8, 1873 Sept. 23, 1939 - Dec. 25th, 1954 Jan. 10, 1885 - Dec. 25, 1886 Aug. 17, 1957 - Jan. 11, 1958 Jan. 7, 1887 - to date Hardcopy O.S.S. (Number 5) All Microfilm ADVOCATE OR INDUSTRIAL JOURNAL ANOIS (DUBLIN) (DUBLIN) Sept. 2, 1984 - June 22, 1996 - Microfilm Oct. 28, 1848 - Jan 1860 - Microfilm ANTI-IMPERIALIST (DUBLIN) AEGIS (CASTLEBAR) Samhain 1926 June 23, 1841 - Nov.
    [Show full text]
  • Irish Political Review, January 2007
    Workers' Control Douglas Gageby Frank Aiken Conor Lynch John Martin Pat Walsh page 26 page 6 page 14 IRISH POLITICAL REVIEW January 2007 Vol.22, No.12 ISSN 0790-7672 and Northern Star incorporating Workers' Weekly Vol.21 No.1 ISSN 954-5891 The Haughey Settlement ? Blackwash: As far as democracy is concerned, Northern Ireland is a No-man's-land between two Moriarty Presumes states. The two states threw it into chaos in 1969, and Provisional Republicanism emerged from the chaos. The two states have ever since had the object of tidying away After the great age of the Enlighten- the North, sealing it up, and forgetting about it until the next time. ment the Germans brought forth a mouse. It may be that they are about to succeed. The signs are that Sinn Fein is about to sign That was Friedrich Nietzsche's contempt- up for a pig-in-a-poke in the matter of policing; and that the DUP is about to accept as uous comment on Martin Luther and the democracy an arrangement which it understands very well not to be democracy. Protestant Reformation. And we hear that A subordinate layer of local government, conducted under the supervision of the state Dermot "the Kaiser" Desmond has said authority, with its power of decision crippled by peculiar arrangements designed to the same about the Moriarty Tribunal shackle the majority, is not something which would be recognised as democracy by the following the millions it has spent on political strata of the British or Irish states if applied to their own affairs.
    [Show full text]
  • Beannachtaí Na Nollaigh Christmas Blessings by Mary Mcsweeney (See Page 3) Page 2 December 2010 BOSTON IRISH Reporter Worldwide At
    December 2010 VOL. 21 #12 $1.50 Boston’s hometown journal of Irish culture. Worldwide at bostonirish.com All contents copyright © 2010 Boston Neighborhood News, Inc. Beannachtaí na Nollaigh Christmas Blessings by Mary McSweeney (See Page 3) Page 2 December 2010 BOSTON IRISH RePORTeR Worldwide at www.bostonirish.com John and Diddy Cullinane, and Gerard and Marilyn Doherty, Event Co-chairs Solas Awards Dinner Friday, December 10, 2010 Seaport Hotel, Boston Cash bar reception 5:30pm Dinner 6:30pm Seats are $200 each 2010 Solas Awardees Congressman Richard Neal Robert Glassman This year, the IIC is also pleased to introduce the Humanitarian Leadership award, honoring two exceptional people, who have contributed significantly to the recovery work in Haiti, following the devastating earthquake there. Please join us in honoring Sabine St. Lot, State Street Bank Corporation, and Marie St. Fleur, Director of Intergovernmental Relations, City of Boston Sponsorship opportunities are available for this event. If you or your organization would like to make a tax-deductible contribution to the Irish Immigration Center by sponsoring the Solas Awards Dinner, or you would like to attend the event, please call Mary Kerr, Solas Awards Dinner coordinator, at 617-695-1554 or e-mail her at [email protected]. We wish to thank our generous sponsors: The Law Offices of Gerard Doherty, Eastern Bank and Insurance, Wainwright Bank, State Street Corporation, Arbella Insurance Company, Carolyn Mugar, Blue Cross Blue Shield of Massachusetts, Michael Buckley Worldwide at www.bostonirish.com December 2010 BOSTON IRISH RePORTeR Page 3 ON THE TOWN WITH THE BIR American Ireland Fund Honors Hospice Founder More than 1,000 guests gathered at the Westin Bos- ton Waterfront on Nov.
    [Show full text]
  • Report 2008 Annual
    Annual Report 2008 CONteNts TG4’s Mission, Vision and Values 2 TG4’s Commitments for 2008 4 TG4’s Performance in 2008 9 The Board of Teilifís na Gaeilge and other information 12 Chairman's Report 15 Chief Executive’s Report 21 Corporate Governance 38 Financial Review 41 Financial Statements 45 Annual Report 1 MIssION, VISION AND COre VALUes {Cúla 2 Annual Report 4 MIssION, VISION AND COre VALUes ’TG4’s mission is to provide an attractive and innovative television and content service in Irish, that celebrates Irish creativity and identity – language, culture, music and sport, packaged and presented to be accessible and appealing in order to connect to audiences in Ireland and worldwide”. TG4’s vision is “To continue to promote successfully Irish language and culture using television and web content so as to ensure a central place in Irish people’s lives, both in Ireland and abroad”. While TG4’s vision and mission set-out what the organisation will achieve and the strategies it will use to deliver on its public service objects, TG4’s values influence the way in which they will be achieved, the manner in which it works with its key stakeholders and overall, reflect the principles which are the founding characteristics of the organisation. The culture of the TG4 organisation is built on these values. It is expected that each TG4 employee “lives” these values day-to-day and uses them as their guiding principles to inform and direct their on-the-job behaviours. TG4 Core Values Connection: • To provide a daily link for the Irish Language to every household in the country.
    [Show full text]