Performative Landscapes As Conceptual Ecological Environments

Total Page:16

File Type:pdf, Size:1020Kb

Performative Landscapes As Conceptual Ecological Environments Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Re-place: performative landscapes as conceptual ecological environments Author(s) FitzGerald, Lisa Publication Date 2016-09-27 Item record http://hdl.handle.net/10379/6049 Downloaded 2021-09-26T08:24:41Z Some rights reserved. For more information, please see the item record link above. Re-Place: Performative Landscapes as Conceptual Ecological Environments. Author Lisa FitzGerald, M. Res. A dissertation submitted to English Department, School of Humanities College of Arts, Social Sciences, and Celtic Studies National University of Ireland, Galway In Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy August 2016 Supervisor Professor Patrick Lonergan Table of Contents 1) Abstract iv 2) Acknowledgements v 3) List of Illustrations vi 4) Chapter One 1.1 Thesis Introduction 1 Conceptual Ecological Environments 1 1.2 Methodology 6 Culture 9 Nature 10 1.3 Literature Review 14 Ecocriticism 16 Ecocriticism and Space and Place in Irish Studies 37 1.4 Conclusion 60 5) Chapter Two Conceptualizing the West 2.1 Introduction 63 2.2 Riders to the Sea 65 2.3 The Well of Saints 73 2.4 Druid/Synge 86 2.5 Conclusion 96 i 6) Chapter Three Beckett’s Fragmented Environments 3.1 Introduction 99 3.2 All That Fall 100 3.3 Urban Sustainability and Not I 114 3.4 Pan Pan’s Staging of Beckett’s Radio Plays 127 3.5 Conclusion 135 7) Chapter Four Conceptualizing the North 4.1 Introduction 137 4.2 Translations 142 Mapping 145 Hedge Schools 151 4.3 Exile and the North in Making History 156 4.4 Ouroboros/Making History 161 4.5 Conclusion 167 ii 8) Chapter Five Digital Environments 5.1 Introduction 172 5.2 Druid Archive as Conceptual Environment 180 5.3 The Ongoing Performativity of Digital Documentation 184 5.4 Material Networks: Contesting Ephemerality 192 5.5 Conclusion 198 9) Overall Conclusions 6.1 Introduction 200 6.2 Reflecting on Transformations: Careers. Disciplines and Methods 207 6.3 Recommendations for Future Research 209 10) Works Cited 212 iii Abstract This dissertation aims to integrate Irish theatre history into a wider discourse of the environmental humanities. Combining material ecocritical thinking and theories of space and place, this thesis contends firstly, that grouping the selected theatrical, radiophonic, and digital landscapes under the umbrella term conceptual ecological environments will offer a way to examine disparate landscapes thematically. Secondly, that this thematic amalgamation, with its emphasis on inclusivity, bridges the division of nature and culture. That is, it can challenge (at least on a textual and performative level) the human/non- human dynamic that has facilitated the collapse of nature in the face of anthropocentrism. I intend to read the performances (and the corresponding digital documentation) as a material response to the environment it depicts, examining, as Serenella Iovino writes, “matter as a text, as a site of narrativity” (“Stories” 451). In examining the environmental rather than the cultural in these plays, this thesis challenges the polarization of both. iv Acknowledgements First and foremost, I would like to thank my supervisor, Professor Patrick Lonergan, whose support and advice has been invaluable over the course of this research project. It has been a privilege to have you oversee, critique, and offer stimulating and productive analysis. My growth and development as a scholar, over the last four years, is a testament to your mentorship. This research would not have been possible without the financial support of the Digital Arts and Humanities (DAH) PhD program. The opportunity that I have benefited from, to study, travel, liaise with scholars, and present my ongoing research is thanks to the generosity of this funding body. Special thanks to Dr Trish McGuire and Dr Justin Tonra for reading over initial drafts and giving me invaluable feedback. My gratitude goes to Dr Bernie McCarthy and Dr Emma Bidwell of West Cork College for their help with the proof-reading of this material. I would like to thank the staff at the Moore Institute for Research in the Humanities and Social Studies, in particular, Martha Shaughnessy and Kate Thornhill for their help and support. Finally, I am grateful for the endless support and resolute goodwill of my family through many years in university. Special appreciation goes to my parents, Matthias, David, Maria, Emma, Breda, the wee baby Séamus, and – in the non-anthropocentric spirit of this study – extended to my lovely dog Molly. I am indebted to you all. v List of Illustrations Fig 1: Opening scene from Riders to the Sea. DruidSynge: The Plays of John Millington Synge. Screen Dir. Rónán Fox. Wildfire Films/Druid, 2007. DVD. Fig 2: Beginning of Act 2, The Playboy of the Western World. Still from Wildfire/Druid documentary, 2007. Fig 3: Set for Pan Pan’s All That Fall. Photographer: Ros Kavanagh, 2011. Fig 4: Set for Pan Pan’s Embers. Photographer: Ros Kavanagh, 2013. Fig 5: Castle Hill, Dungannon. Outdoor scene looking over the Sperrin Mountains. Ouroboros Archive. vi Chapter 1 1.1 Introduction This dissertation aims to integrate Irish theatre history into a wider discourse of the environmental humanities. Combining material ecocritical thinking and theories of space and place, this thesis contends firstly, that grouping the selected theatrical, radiophonic, and digital landscapes1 under the umbrella term conceptual ecological environments will offer a way to examine disparate performative spaces thematically. Secondly, that this thematic amalgamation, with its emphasis on inclusivity, bridges the division of nature and culture. That is, it can challenge (at least on a textual and performative level) the human/non- human dynamic that has facilitated the collapse of nature in the face of anthropocentrism2. I intend to read the performances (and the corresponding digital documentation) as a material response to the environment it depicts, examining, as Serenella Iovino writes, “matter as a text, as a site of narrativity” (“Stories” 451). In examining the environmental rather than the cultural in these plays, this thesis challenges the polarization of both. Conceptual Ecological Environments Before continuing I would like to define conceptual ecological environments as it is the central idea around which I build the study. Ecology is the holistic 1 For the purposes of this dissertation, I define landscape as place framed by human culture. This definition of landscape is not without controversy and I realise that there is a nature outside of the cultural realm. For the purposes of this study, I am focusing on nature as conceived and performed by mankind rather than the natural world that exists outside of that remit. 2 One of the reasons that digital materiality is included in this dissertation is that it challenges anthropocentric narratives, as Rosi Braidotti has argued, “contemporary technologically mediated bodies…marks a shift from anthropocentrism, in favour of a new emphasis on the mutual interdependence of material, biocultural, and symbolic forces in the making of social and political practices” (“The Politics” 203-4). My dissertation emphasizes (in line with Bradiotti’s point about interdependence) a more biocentric reading of performative texts. 1 understanding of the interconnectedness between all entities.3 The analyses in this thesis are ecologically driven: that is, they aspire to capture the human and nonhuman aspects of the plays and performances. The term, ecology, comes from the Greek oikos (meaning house) and logos (meaning study). I have used the term ecological environments as it reflects this breaking down of boundaries. Hubert Zapf has argued that “the sense of a shared and complex world is the fundamental impulse of ecological thought” (55). I intend to embrace this dictum of thinking ecologically (and the materialist implications of a shared and complex world) and read the following performances as material rather than cultural projects. That includes all the material generated in its production, from the authors’ first description of landscape, to the medium of transmission, to the environments that new types of digital documentation create.4 The term ecological is important as a tool for all-inclusivity. Timothy Morton writes that to think ecologically is to have a “radical openness” to an immeasurably diverse collection of factors (Ecological 15). These are the parameters of the term, ecological, in this research. In accepting the immeasurability of the myriad actors in creativity, I acknowledge that the scope would be too large to capture all participants but, nevertheless, I hope to capture the spirit of total inclusivity. I will be using the term, conceptual ecological environment, because there are two types of environment being studied in this thesis: the aestheticized environments in the plays (such as Ballybeg), and the total environment of that play’s production (such as the radiophonic aspect of All That Fall). Embracing inclusivity of all material as part of the play’s environment means that the 3 It is worth noting that Greg Garrard has critiqued the discourse around “pastoral ecology” writing that the “metaphor of Nature as a harmonious and stable machine remained at the heart of the new science of ecology as it emerged in the early twentieth century, and shaped the rhetoric of later environmental movements even as scientific ecologists became increasingly sceptical of the ‘balance of nature’” (Ecocriticism 56). 4 This thesis seeks to establish an environmental narrative of materiality – whilst not suggesting that these playwrights deliberately sought to create this type of narrative. 2 human aspect is just a constitutional element of the play’s production. Conceptual art is so named because its ideas take precedence over its aesthetic concerns. Conceptual environments work the same way in that the idea that the landscape generates is more important (for the purposes of this research) than the landscape itself.
Recommended publications
  • Making History
    Retorica e Storia in Making History di Brian Friel Manfredi Bernardini to tell the best possible narrative. Isn’t that what history is, a kind of story-telling? […] Imposing a pattern on events that were mostly casual and haphazard and shaping them into a narrative that is logical and interesting. […] I’m not sure that ‘truth’ is a primary ingredient – is that a shocking thing to say? Maybe when the time comes, imagination will be as important as information. But one thing I will promise you: nothing will be put down on paper for years and years. History has to be made - before it’s remade1. Brian Friel, Making History Non sappiamo che cosa sarebbe una cultura nella quale non si sappia più che cosa significhi raccontare2. Paul Ricoeur, Tempo e Racconto Fin dalle epoche più remote le storie sono state un veicolo di trasmissione di cultura e sapere. Prima della diffusione della scrittura le antiche civiltà trasmettevano oralmente immensi patrimoni di conoscenza, affidando alle immagini dei miti e degli archetipi il compito fondamentale di perpetuare l’esperienza, la storia e l’identità stessa di un popolo. 1 Cfr. Friel, Brian, Making History, Londra, Faber and Faber, 1989: 257-258. 2 Cfr. Ricoeur, Paul, Temps et récit, Parigi, Le Seuil, 1983, trad. it. Tempo e Racconto, Milano, Jaca Book, 1994: 54.. Between, vol. III, n. 5 (Maggio/ May 2013) Manfredi Bernardini, Retorica e Storia in Making History di Brian Friel La tradizione del racconto orale, delle folk tales narrate intorno al focolare, della memoria culturale, storica (e mitica) condivisa e tramandata di generazione in generazione, costituisce un’attività in cui poeti e cantori, bardi e moderni scrittori si sono cimentati con esiti abbastanza duraturi.
    [Show full text]
  • Digital Preservation: an Introduction
    © HATII, University of Glasgow – Delos Summer School Digital Preservation: An Introduction 12 July 2002 Delos Summer School, PISA Dr Seamus Ross Director, Humanities Computing & Information Management Humanities Advanced Technology and Information Institute--HATII University of Glasgow & Director, ERPANET © HATII, University of Glasgow – Delos Summer School HATII Humanities Advanced Technology and Information Institute http://www.hatii.arts.gla.ac.uk/ [email protected] Seamus Ross--'An Introduction to Digital Preservation' 2 © HATII, University of Glasgow – Delos Summer School What Will I talk about • Background to Preservation • Obstacles • Mechanisms for Preservation • Case study of Electronic Records (e.g. email & digital documents) • What is Authenticity Seamus Ross--'An Introduction to Digital Preservation' 3 © HATII, University of Glasgow – Delos Summer School What’s Happening in Preservation • Collaborative Projects— – From Pittsburgh, InterPARES, NEDLIB, to CEDARS/CAMiLEON, Presto • National Initiatives led by Libraries & Archives – Such as ….. UK (NDAD), NEDLIB • Gap between commercial activity and the knowledge in the public sector about these • Legal Challenges to digital preservation (IPR, privacy) but FOI & legal requirements • Recognition that our cultural memory is at risk and that it is composed of many types of digital objects (e.g. audio, VR) Seamus Ross--'An Introduction to Digital Preservation' 4 © HATII, University of Glasgow – Delos Summer School Documents & Records = Institutional Assets Maintaining the Accessibility & Reusability of Intellectual Capital Storage Access Authenticity Seamus Ross--'An Introduction to Digital Preservation' 5 © HATII, University of Glasgow – Delos Summer School Digital resources & problems • Retroconversion of analogue materials (e.g. print, sound, images) • Online resources: electronic journals, books, newsletters • Databases, image & sound banks • Multimedia productions Fundamental Problem: Specially created resources as opposed to purchased products delivered on portable media.
    [Show full text]
  • Synge's Conception of the Drama
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1945 Synge's Conception of the Drama Mary Laurette Spehn Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Spehn, Mary Laurette, "Synge's Conception of the Drama" (1945). Master's Theses. 375. https://ecommons.luc.edu/luc_theses/375 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1945 Mary Laurette Spehn 7(r4'-l IV9 SYNGE'S CONCEPTION OF THE DRAMA BY MARY LAURETTE SPEHN A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LOYOLA UNIVERSITY JUNE . 1945 VITA Mary Laurette Spehn was born in Chica­ go, Illinois, January 25, 1919. She was graduated from Rosary College, River Forest, Illinois, June, 1939, and re­ ceived a teachers certificate from Chicago Teachers College, Chicago, Illinois, Janu­ ary, 1941. T.he Bachelor of Arts degree with a ma­ jor in Speech was conferred by Rosary Col­ lege, June, 1939. From 1941 to 1945 the writer has been engaged in teaching Braille in the Chicago Public Schools. DEDICATION To Bridget Who has been so generous of her time and assistance in my·behalf. TABLE OF CONTENTS CHAPTER PAGE I.
    [Show full text]
  • Language and Communication Strategies in Brian Friel’S TraSlatioS and DaCiG at LughAsa”
    FACULTADE DE FILOLOXÍA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS “LANGUAGE AND COMMUNICATION STRATEGIES IN BRIAN FRIEL’S TRANSLATIONS AND DANCING AT LUGHNASA” OLIVIA DANS CASTRO ANO ACADÉMICO: 2012/2013 Language and Communication Strategies… Table of contents 1. Foreword ................................................................................................................................ 3 2. Introduction ............................................................................................................................ 4 3. Author and historical background.......................................................................................... 7 4. Translations............................................................................................................................ 9 4.1 Friel and Steiner ............................................................................................................. 12 4.2 Translating the Irish ....................................................................................................... 17 4.2.1 Language and politics.............................................................................................. 24 4.2.2 Names...................................................................................................................... 26 4.2.3 Place and memory ................................................................................................... 28 4.2.4 The three Irelands...................................................................................................
    [Show full text]
  • European Television History Online History and Challenges
    Journal of European History and Culture | Vol. 1, 1, 2012 European Television History Online History And Challenges Sonja de Leeuw Utrecht University | Muntstraat 2A 3512 EV Utrecht | The Netherlands | [email protected] Abstract: Increasingly television heritage is being digitized and made accessible to non- industry users, enabling ‘the archival turn’: the study of online archives so as to revisit the dominant dis- courses in television historiography. This article discusses both conceptual and practical perspec- tives on online television heritage within a broader European frame- work. It starts from the notion of connectivity, pointing to the development of the archive as a network of connections and con- tinues to address the dynamics involved in the trans- formation of the television archive into an online presentation including the most relevant actors. With the help of examples from Dutch and European television heritage projects the article discusses how the new archive is capable of me- diating between the past and present, between history and memory, between curatorial perspec- tives and popular uses. It concludes on the challenges that (European) online television heritage offers in the field of television historiography and theory. Keywords: European television heritage, cultural heritage, popular memory, television history 1 It’s All About Connectivity Online European television heritage is a fact. It represents what has been coined ‘the archival turn’.1 Television programming material that was until recently locked into archival vaults and mainly used by professionals has now become available and accessible to non-industry users.2 The range of these potential users is large. Ad- dressing their needs requires multi-layered access and a diversity of navigational routes, tailor-made functionali- ties, and tools to help make sense of the data.
    [Show full text]
  • Brian Friel's Appropriation of the O'donnell Clan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2008 Celtic subtleties : Brian Friel's appropriation of the O'Donnell clan. Leslie Anne Singel 1984- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Singel, Leslie Anne 1984-, "Celtic subtleties : Brian Friel's appropriation of the O'Donnell clan." (2008). Electronic Theses and Dissertations. Paper 1331. https://doi.org/10.18297/etd/1331 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. "CELTIC SUBTLETIES": BRIAN FRIEL'S APPROPRIATION OF THE O'DONNELL CLAN By Leslie Anne Singel B.A., University of Dayton, 2006 A Thesis Submitted to the Faculty of the Graduate School at the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky May 2008 “CELTIC SUBLETIES”: BRIAN FRIEL’S APPROPRIATION OF THE O’DONNELL CLAN By Leslie Anne Singel B.A., University of Dayton, 2006 A Thesis Approved on April 9, 2008 by the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to the McGarry family and to Roger Casement 111 ABSTRACT "CELTIC SUBTLETIES": BRIAN FRIEL'S APPROPRIATION OF THE O'DONNELL CLAN Leslie Anne Singel April 11, 2008 This thesis is a literary examination of three plays from Irish playwright Brian Friel, Translations, Philadelphia, Here I Come! and Aristocrats, all of which feature a family ofthe O'Donnell name and all set in the fictional Donegal village of Ballybeg.
    [Show full text]
  • Program in Culture and Technology, University of Toronto
    The Fifteenth Annual Convention of the Media Ecology Association June 19 – 22, 2014 Ryerson University Toronto, Canada Creativity and the Creative Industries in Global Perspective !"#$%"&'"()*+,-.++ •! /0)+1&'2343)+"5+6)&)(78+$)97&2:'+ •! /0)+;73)(0"4')+<79=8-+1&'2343)+ •! 6=&>?"+@()''+ •! 1&3)88):3+A3*B+ •! C&=D)('=3-+"5+/"("&3"+@()''+ •! E=887&"D7+C&=D)('=3-+ ! 1 | Page CALL FOR PAPERS for “Making Sense” through Time-Binding Sponsored by the Institute of General Semantics Co-Sponsored by the New York Society for General Semantics Media Ecology Association Friends of the Institute of Noetic Sciences October 24-26, 2014 Princeton Club 15 West 43 Street New York, New York Featuring the 62nd Annual Alfred Korzybski Memorial Lecture to be delivered by Jack El-Hai The General-Semantics Psychiatrist and the Nazi Send papers, proposals, and inquiries by August 31, 2014 to [email protected] or contact Martin H. Levinson, President of the Institute of General Semantics c/o Institute of General Semantics, 72-11 Austin Street #233 Forest Hills, New York 11375 212.729.7973 (voice) / 718.793.2527 (fax) 2 | Page THE 15th ANNUAL CONVENTION OF THE MEDIA ECOLOGY ASSOCIATION CONFRONTING TECHNOPOLY: CREATIVITY AND THE CREATIVE INDUSTRIES IN GLOBAL PERSPECTIVE RYERSON UNIVERSITY JUNE 19-22, 2014 SPECIAL THANKS TO: Gerd Hauck, Dean, Faculty of Communication and Design, Ryerson Donald J. Gillies, Professor Emeritus, School of Image Arts, Ryerson The Canadian Communication Association ACKNOWLEDGEMENTS: Thom Gencarelli, Sheena Hyndman, Paul Soukup, Ainsley Moore, Corey Anton, Valerie Peterson, Lance Strate, Natasha Flora, Alex Kuskis, Julie Frahar, Mark Lipton, Barbara Boraks, Ed Tywoniak, Karen Lollar, Philip Savage, Marilyn and Sheldon Richmond, Bob Logan, Dominique Sheffel-Dunand, John Oswald, Shirley Lewchuk, Barry Liss, Brett Lunceford, Arthur W.
    [Show full text]
  • Brian Friel: Titles Plays: Translations / Making History
    Brian Friel: Titles This is a compilation of some of the titles submitted by centres in Summer 2009. It is not a definitive or prescriptive list of titles but it will give an idea as to different approaches to the task. Some student devised titles have not been listed as, while many have been successful due to the interest of the student, they may not be as successful if given to a class. Titles with a similar focus, but with e.g. a different location or form of writing, have been subsumed into each other to keep a concise list of approaches. Plays: Translations / Making History Flashback of Hugh O’Donnell remembering how he marched to Sligo to take part in the 1798 United Irishmen Rebellion, along with his friend Jimmy Jack Cassie. Hugh remembers that he decided to return to Ballybeg instead of going through with the rebellion. He feels a sense of shame that he did not take part in the uprising. Hugh is visited by a vision of Hugh O’Neill (from Making History). Create the scene. Write a scene in which Yolland from Translations and Mabel from Making History engage in dialogue, discussing their lives. Write a scene in which Lieutenant Yolland from Translations and Hugh O’Neill from Making History engage in dialogue and discuss their lives. Write a scene in which Lieutenant Yolland from Translations and Mabel O’Neill from Making History engage in dialogue and discuss their lives. Through having the characters of Hugh O’Donnell and Hugh O’Neill “meet”, develop a dialogue, exploring the connections and comparisons between the themes of identity, language , history which are evident in both plays.
    [Show full text]
  • Changing Trains at Wigan: Digital Preservation and the Future of Scholarship
    National Preservation Office Changing Trains at Wigan: Digital Preservation and the Future of Scholarship Dr Seamus Ross, HATII, University of Glasgow NPO Preservation Guidance Occasional Papers Author Dr Seamus Ross, Humanities Advanced Technology and Information Institute (HATII), University of Glasgow Design The British Library Design Office © Dr Seamus Ross, 2000 November 2000 Changing Trains at Wigan: Digital Preservation and the Future of Scholarship* 1. Introduction This paper examines the impact of the emerging digital landscape on long term access to material created in digital form and its use for research; it identifies and examines challenges, risks and expectations. It is 6:20 on Monday morning. The Virgin train taking me towards St Helens just lurched from Glasgow Central Station. As the train races southward through what will soon be the mist of Dumfries and then the beautiful rolling countryside of Cumbria, I know I face four uncertainities: will my train arrive on time; will the battery in my laptop last the three and a half hours; more troublingly, how am I going to explain to the Museum I am about to visit that the system designs they have produced will not translate into viable and effective computer-based interactive programmes; and most importantly for you, how am I going to convert the weekend’s worth of formal notes, jottings of ill-formed ideas, and unrecorded musings into a coherent examination of digital preservation and its impact on research and learning in the future. All four fears share the same roots: they are about using past experience to manage the uncontrollable, the need to prophecy about the unpredictable, and they are about technology.
    [Show full text]
  • 6 X 10.5 Long Title.P65
    Cambridge University Press 978-0-521-66686-2 - The Cambridge Companion to Brian Friel Edited by Anthony Roche Frontmatter More information The Cambridge Companion to Brian Friel Brian Friel is widely recognized as Ireland’s greatest living playwright, win- ning an international reputation through such acclaimed works as Transla- tions (1980) and Dancing at Lughnasa (1990). This collection of specially commissioned essays includes contributions from leading commentators on Friel’s work (including two fellow playwrights) and explores the entire range of his career from his 1964 breakthrough with Philadelphia, Here I Come! to his most recent success in Dublin and London with The Home Place (2005). The essays approach Friel’s plays both as literary texts and as performed drama, and provide the perfect introduction for students of both English and Theatre Studies, as well as theatregoers. The collection considers Friel’s lesser-known works alongside his more celebrated plays and provides a comprehensive crit- ical survey of his career. This is the most up-to-date study of Friel’s work to be published, and includes a chronology and further reading suggestions. anthony roche is Senior Lecturer in English and Drama at University College Dublin. He is the author of Contemporary Irish Drama: From Beckett to McGuinness (1994). © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66686-2 - The Cambridge Companion to Brian Friel Edited by Anthony Roche Frontmatter More information THE CAMBRIDGE COMPANION TO BRIAN FRIEL
    [Show full text]
  • Dancing at Lughnasa, Dublin and New York
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Dancing on a one-way street: Irish reactions to Dancing at Lughnasa in New York Author(s) Lonergan, Patrick Publication Date 2009 Lonergan, Patrick. (2009). Dancing on a One-Way Street: Irish Publication Reactions to Dancing at Lughnasa in New York In John P. Information Harrington (Ed.), Irish theater in America : essays on Irish theatrical diaspora New York: Syracuse University Press. Publisher Syracuse University Press Link to publisher's http://www.syracuseuniversitypress.syr.edu/ version Item record http://hdl.handle.net/10379/6789 Downloaded 2021-09-27T12:30:41Z Some rights reserved. For more information, please see the item record link above. 1 Dancing on a One-Way Street: Irish Reactions to Dancing at Lughnasa in New York Brian Friel’s Dancing at Lughnasa is an important example of the inter-relationship of American and Irish theatre, particularly since 1990. Its script draws heavily on American culture, bringing us songs by Cole Porter and an approach to the narration of remembered events that is highly reminiscent of the work of Tennessee Williams. And its production was one of the first of many Irish successes on the New York stage from the 1990s onwards, being followed by productions of plays by Martin McDonagh, Conor McPherson and indeed by Brian Friel himself, whose Faith Healer was a critical and commercial success on Broadway in 2006. Dancing at Lughnasa premiered on 24 April 1990 at the Abbey Theatre, where it was directed by Patrick Mason.
    [Show full text]
  • Interoperability for Digital Repositories: Towards a Policy and Quality Framework
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by BieColl - Bielefeld eCollections OR2010 – 5 th International Conference on Open Repositories Madrid, Spain, July 6 th - 9 th 2010 Interoperability for digital repositories: towards a policy and quality framework Giuseppina Vullo 1, Perla Innocenti 2, Seamus Ross 3 1Humanities Advanced Technology & Information Institute (HATII), University of Glasgow; 2Faculty of Information, University of Toronto {g.vullo, p.innocenti}@hatii.arts.gla.ac.uk; [email protected] Abstract Interoperability is a property referring to the ability of diverse systems and organisations to work together. Today interoperability is considered a key-step to move from isolated digital repositories towards a common information space that allow users to browse through different resources within a single integrated environment. In this conference we describe the multi-level challenges that digital repositories face towards policy and quality interoperability, presenting the approaches and the interim outcomes of the Policy and Quality Working Groups within the EU-funded project DL.org (http://www.dlorg.eu/). 1. Introduction At the heart of digital libraries lays a digital repository. As outlined in the DELOS Digital Library Manifesto (Candela et al. 2008), the digital library universe is a complex framework in which at least three types of conceptually different “systems” can be identified, namely, digital libraries (DLs), digital library systems (DLSs) and digital library management systems (DLMSs). Architecture, personalization, quality, policy and usability are essential to the design and deployment of digital libraries. Digital libraries represent the confluence of many interdisciplinary fields, from data management, information retrieval, library sciences, document management to web services, information systems, image processing, artificial intelligence, human-computer interaction, and digital curation.
    [Show full text]