Where Did You Get Your Irish?
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Poem-Book of Gael. Translations from Irish Gaelic Poetry Into English
THE POEM-BOOK OF THE GAEL Mil ,|| líi £ £ O £ Iflíl iiil í 2- ?: Ji JP^ c ^ ^ r:u ^^ ilfil lílU' ^ llfÍJ ^íí Printed bj' Ballantyne, Hanson &>» Co. At the Uallantyne Press, Edinburgh THE POEM-BOOK OF THE GAEL Translations from Irish Gaelic Poetry into English Prose and Verse SELECTED AND EDITED BY ELEANOR HULL AUTHOR OF "THE CUCHULLIN SAGA IN IRISH LITERATURE" "A TEXT-BOOK OF IRISH LITERATURE," ETC. WITH A FRONTISPIECE LONDON CHATTO (^ WINDUS 1912 K^ r [A// rights reservci{\ CONTENTS ( Where not otherwise indicated, the translation or poetic setting is by the ciithor.) PAGE Introduction xv THE SALTAIR NA RANN, OR PSALTER OF THE VERSES í I. The Creation of the Universe . 3 II. The Heavenly Kingdom . II III. The Forbidden Fruit 20 IV. The Fall and Expulsion from Paradise 22 V. The Penance of Adam and Eve 31 VI. The Death of Adam .... 43 ANCIENT PAGAN POEMS The Source of Poetic Inspiration (founded on transla- tion by Whitley Stokes) 53 Amorgen's Song (founded on translation by John MacNeill) 57 25719? viii THE POEM-BOOK OF THE GAEL PAGE The Song of Childbirth . 59 Greeting to the New-born Babe 6i What is Love ? . 62 Summons to Cuchulain . Laegh's Description of Fairy-land 65 The Lamentation of Fand when she is about to leave Cuchulain 69 Mider's Call to Fairy- land 71 The Song of the Fairies . A. H. Leahy 73 The great Lamentation of Deirdre for the Sons of Usna 74 OSSIANIC POETRY First Winter-Song . Alfred Perciv al Graves 81 Second Winter-Song 82 In Praise of May . -
The$Irish$Language$And$Everyday$Life$ In#Derry!
The$Irish$language$and$everyday$life$ in#Derry! ! ! ! Rosa!Siobhan!O’Neill! ! A!thesis!submitted!in!partial!fulfilment!of!the!requirements!for!the!degree!of! Doctor!of!Philosophy! The!University!of!Sheffield! Faculty!of!Social!Science! Department!of!Sociological!Studies! May!2019! ! ! i" " Abstract! This!thesis!explores!the!use!of!the!Irish!language!in!everyday!life!in!Derry!city.!I!argue!that! representations!of!the!Irish!language!in!media,!politics!and!academic!research!have! tended!to!overKidentify!it!with!social!division!and!antagonistic!cultures!or!identities,!and! have!drawn!too!heavily!on!political!rhetoric!and!a!priori!assumptions!about!language,! culture!and!groups!in!Northern!Ireland.!I!suggest!that!if!we!instead!look!at!the!mundane! and!the!everyday!moments!of!individual!lives,!and!listen!to!the!voices!of!those!who!are! rarely!heard!in!political!or!media!debate,!a!different!story!of!the!Irish!language!emerges.! Drawing!on!eighteen!months!of!ethnographic!research,!together!with!document!analysis! and!investigation!of!historical!statistics!and!other!secondary!data!sources,!I!argue!that! learning,!speaking,!using,!experiencing!and!relating!to!the!Irish!language!is!both!emotional! and!habitual.!It!is!intertwined!with!understandings!of!family,!memory,!history!and! community!that!cannot!be!reduced!to!simple!narratives!of!political!difference!and! constitutional!aspirations,!or!of!identity!as!emerging!from!conflict.!The!Irish!language!is! bound!up!in!everyday!experiences!of!fun,!interest,!achievement,!and!the!quotidian!ebbs! and!flows!of!daily!life,!of!getting!the!kids!to!school,!going!to!work,!having!a!social!life!and! -
Eoghán Rua Ó Suilleabháin: a True Exponent of the Bardic Legacy
134 Eoghán Rua Ó Suilleabháin: A True Exponent of the Bardic Legacy endowed university. The Bardic schools and the monastic schools were the universities of their day; they bestowed privileges and Barra Ó Donnabháin Symposium: status on their students and teachers, much as the modern university awards degrees and titles to recipients to practice certain professions. There are few descriptions of the structure and operation of Eoghán Rua Ó Suilleabháin: A the Bardic schools, but an account contained in the early eighteenth century Memoirs of the Marquis of Clanricarde claims that admission True Exponent of the Bardic WR %DUGLF VFKRROV ZDV FRQÀQHG WR WKRVH ZKR ZHUH GHVFHQGHG from poets and had within their tribe “The Reputation” for poetic Legacy OHDUQLQJ DQG WDOHQW ´7KH TXDOLÀFDWLRQV ÀUVW UHTXLUHG VLF ZHUH Pádraig Ó Cearúill reading well, writing the Mother-tongue, and a strong memory,” according to Clanricarde. With regard to the location of the schools, he asserts that it was necessary that the place should “be in the solitary access of a garden” or “within a set or enclosure far out of the reach of any noise.” The structure containing the Bardic school, we are told, “was snug, low, hot and beds in it at convenient distances, each within a small apartment without much furniture of any kind, save only a table, some seats and a conveniency for he poetry of Eoghan Rua Ó Súilleabháin (1748-1784)— cloaths (sic) to hang upon. No windows to let in the day, nor any Tregarded as one of Ireland’s great eighteenth century light at all used but that of candles” according to Clanricarde,2 poets—has endured because of it’s extraordinary metrical whose account is given credence by Bergin3 and Corkery. -
180605 Report on the Effectiveness of Apps and Web Games in the Area Of
A review and report on the effectiveness of apps and web games in the area of education through Irish or in the teaching of Irish Prepared by: Aidan Harney Current Draft: May 2018 Confidentiality Agreement This is a confidential document prepared to review and report on the effectiveness of apps and web games in the area of education through Irish or in the teaching of Irish. The research was carried out with the support of COGG. While all information provided in this document was prepared and developed with the support of COGG, the viewpoint portrayed in it is not one that is held by COGG. COGG has permission to use the results of this research and to upload any or all of this text to their website. It is taken that any other reader of the document agrees not to disclose it without the express written permission of Aidan Harney and/or COGG. Copyright Copyright. All rights reserved. No part of this report may be copied or reproduced by any means without prior written permission from Aidan Harney and/or COGG. Effectiveness of apps and Webgames in the area of education through Irish or in the teaching of Irish TABLE OF CONTENTS EXECUTIVE SUMMARY 1 1 INTRODUCTION & LITERATURE REVIEW 2 1.1 AIMS AND OBJECTIVES 2 1.2 RESEARCH DESIGN AND METHODOLOGY 2 1.3 LITERATURE REVIEW 2 2 DESKTOP RESEARCH 5 2.1 SELECTED WEB GAMES 5 2.2 SELECTED APPS 6 2.3 SELECTED SURVEY AND INTERVIEW POOL 6 3 DATA COLLECTION 8 3.1 SURVEY 8 3.2 INTERVIEW 9 3.3 RESULTS OF INTERVIEWS 9 4 RESEARCH STUDY RESULTS 10 4.1 SUMMARY OF SURVEY RESPONSES 10 4.2 THE GENERAL USE OF WEB -
Ad Hoc Committee Bill of Rights on the 15Th April, 10Am Conradh Na Gaeilge
Ad Hoc Committee Bill of Rights on the 15th April, 10am Conradh na Gaeilge Before I begin this discussion, I should mention, and I'm conscious of my colleagues and fellow activists who have been here in previous weeks giving evidence across a broad range of issues from social housing, the bill of rights, the LGBT community, the women's sector, and others. We are privileged to work alongside them as a part of the equality coalition and support the initiative for a rights-based return to the institutions and in the introduction of a Bill of Rights here in the north. As you know, the focus of our talk, discussion, and submission today relate to the question of language rights here in the context of a bill of rights. In the Good Friday Agreement of 1998, a new era of equality was promised for the Irish language in the north. Specific and strong commitments were given regarding the promotion and protection of the Irish language, including: In the context of active consideration currently being given to the UK signing the Council of Europe Charter for Regional or Minority Languages, the British Government will in particular in relation to the Irish language, where appropriate and where people so desire it: • take resolute action to promote the language; • facilitate and encourage the use of the language in speech and writing in public and private life where there is appropriate demand; • seek to remove, where possible, restrictions which would discourage or work against the maintenance or development of the language; • make provision for liaising -
Brian Ó Nualláin/O'nolan
Brian Ó Nualláin/O’Nolan Scholarly Background & Foreground* Breandán Ó Conaire St Patrick’s College, Dublin City University ‘Ní fhéadaim cuimhneamh ar aon scríbhneoir mór anois a bhféadfá fear léannta a thabhairt air’ (I cannot think of any major writer at present who could be called a man of learning). – Seán Ó Ríordáin 1 ‘Brian Ó Nualláin, afterwards alias Myles na gCopaleen, alias Flann O’Brien, and, as it turned out, the most gifted bilingual genius of half a century’ – Cearbhall Ó Dálaigh, Irish President (1974–76)2 Family Background From his early years, Brian O’Nolan lived in a family environment in which education, literature, the Irish language, culture, and learning held significant importance. This milieu was reflected in the skills, talents, and accomplishments of members of the extended family. His paternal grandfather Daniel Nolan from Munster was a national teacher and taught music at the Model School in Omagh, Co. Tyrone. He was an excellent singer and an accomplished violinist. He had a special fondness for theatre and opera, performances of which he frequently attended with his young wife. A special concert was organised in his honour in Omagh prior to his transfer to Belfast in the early 1880s. In July 1867 Daniel married Jane Mellon3 a former pupil at the Omagh school and fourth daughter of James Mellon, a strong farmer from Eskeradooey in Co. Tyrone. The marriage took place at Knockmoyle Catholic Church in Cappagh parish where Jane was born. The parish priest, Rev. Charles McCauley, was the celebrant. In the national census entries for 1901 and for 1911, when Jane, also known as ‘Sinéad,’ lived with the O’Nolan family in Strabane, her competence in both Irish and English was recorded. -
The Interpretation of Tradition by Alan Titley
_____________________________________________________________________ The Interpretation of Tradition by Alan Titley. This essay is taken from the forthcoming collection: Hilary Lennon (ed.), Frank O’Connor: Critical Essays (Dublin: Four Courts Press, 2007) www.four-courts-press.ie/cgi/bookshow.cgi?file=foc_essay.xml Essay has been downloaded from www.frankoconnor.com _____________________________________________________________________ In the introduction to his survey of Irish literature, The backward look, Frank O'Connor asks, ‘Is there such a thing as an Irish literature, or is it merely two unrelated subjects linked together by a geographical accident?’1 This question has been central to studies of literature in Ireland for more than a hundred years and has been answered, as could be expected, in at least two different ways. On the one hand scholars of the Irish language or of what is sometimes quaintly called ‘the Gaelic tradition’ have tended to ignore writing in English; while those involved in what used to be known as ‘the Anglo-Irish tradition’ generally treat writing in Irish as a kind of background which validates but doesn't disturb their own point of view. Thus standard works such as Douglas Hyde's A literary history of Ireland or Robin Flower's The Irish tradition and Seamus Deane's A short history of Irish literature or Maurice Harmon's Modern Irish literature, 1800-1967 seem to be dealing with entirely different universes. It doth seem that ‘Irish’ in these interminable debates can mean anything the author chooses it to mean within a clearly defined ideological position. Although Frank O'Connor was never one to shirk a good row or hide his heart up his sleeve, it appears that his wrestling with this problem of one or two Irish literatures was genuine. -
Molly Vs. Bloom in Midnight Court James Joyce Quarterly 41: 4
1 Joyce’s Merrimanic Heroine: Molly vs. Bloom in Midnight Court James Joyce Quarterly 41: 4 (Summer 2004): 745-65 James A. W. Heffernan In 1921, just one year before Ulysses first appeared, T.S. Eliot wrote the prescription for the kind of writer--Eliot’s word was “poet”--who would be required to produce it. He--male of course-- must bring to his work a “historical sense,” a capacity to integrate the life and literature of “his own generation” and “his own country” with “the whole of the literature of Europe from Homer” onward.12 Ulysses manifests Joyce’s command of that tradition on almost every page. Besides initiating a radically modern retelling of The Odyssey in a language that includes scraps of Greek, Latin, and French (with bits of German and Italian to come), the very first chapter of the novel spouts Homeric epithets, references to ancient Greek history and rhetoric, Latin passages from the Mass and Prayers for the Dying, allusions to Dante’s Commedia and Shakespeare’s Macbeth, and quotations from Hamlet and Yeats’s Countess Cathleen. Yet conspicuous by its absence from this multi-cultural stew is anything explicitly Gaelic, anciently Irish.3 Standing by the parapet of a tower built by the English in the late eighteenth century to keep the French from liberating Ireland, Stephen hears Mulligan’s proposal to “Hellenise” the island now (1.158) with something less than nationalistic fervor or Gaelic fever running through his head. “To ourselves . new paganism . omphalos,” he thinks (U 1.176). With “to ourselves” he alludes to Sinn Fein, meaning “We Ourselves,” the Gaelic motto of a movement that was founded in the 1890s to revive Irish language and culture and that became about 1905 the name of a political movement which remains alive and resolutely--if not militantly--nationalistic to this very day. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
Download (4MB)
Grinnstaidéar ar an nGaol Gabhlánach: Anailís Shochstairiúil ar Nádúr an Dátheangachais Shochaíoch in Éirinn le linn an Fichiú hAois Gráinne Ní Bhreithiún Tá an tráchtas seo á chur faoi bhráid Ollscoil na hÉireann, Má Nuad don chéim dochtúireachta ag Gráinne Ní Bhreithiún, B.A. Scoil an Léinn Cheiltigh, Ollscoil na hÉireann, Má Nuad, Co. Chill Dara, Éire. Stiúrthóir: An Dr Tadhg Ó Dúshláine Roinn na Nua-Ghaeilge Ollamh na Nua-Ghaeilge: An tOll. Ruairí Ó hUiginn Aibreán 2014 Imleabhar 2/2 Clár an Ábhair Liosta na dTáblaí i Liosta na Léaráidí ii !! "#$%$&$'(#()*#+,-.(/0123$-,*($(45$167(869$&*(:#(;*#:<#(========================(>! 7.1! Réamhrá(========================================================================================================================(>! 7.2! Creatlach UNESCO(====================================================================================================(?! 7.3! Tabhairt Isteach na Gaeilge i Réimsí Nua Úsáide(=============================================(>@! 7.4! Tátal(=============================================================================================================================(A?! @! "#$%$&$'(#(,B+,-.(CD*#<#$D-(&0(45$167(#<36(&0(E,*9$:(F3#(================(AG! 8.1! Réamhrá(======================================================================================================================(AG! 8.2! Creatlach UNESCO(==================================================================================================(AG! 8.3! Réimse na hOibre(======================================================================================================(?>! -
In Auraicept Na N-Éces, a Fifth Group of Letters Called Forfeda Is Also Listed
Show difference between vertical verse horizontal. a, b, c, d, e, f, g, h, i, l, m, n, ng, o, q, r, s, t, u, z, ea, oi, ui, ia, ae Ogham (Irish slash writing) http://www.ancientscripts.com/ogham.html The Ogham script recorded the earliest Old Irish texts dating between the 3rd and the 6th century CE (Common Era). Ogham inscriptions are found exclusively in Ireland, Scotland, and Wales. The Ogham letters are divided into four groups, each containing five letters. This yields a total of 20 Ogham letters. When inscribed on stones, Ogham is written vertically from bottom to top. In some cases, mostly in manuscripts, Ogham is written horizontally from right to left. The following chart lists all Ogham letters in their horizontal forms. b l f s n h d t c q m g ng z r a o u e i Sometimes the vowels use dots rather than lines intersecting the vertical axis. http://housebarra.com/EP/ep02/05ogham.html When vertical, Ogham is read from the bottom right to the top and then down on the left. The gray line that the dots, dashes and slashes touch or cross represents the edge of a stone or piece of wood. a o u e i In Auraicept na n-Éces, a fifth group of letters called forfeda is also listed. These extra letters did not appear in stone inscriptions before the 6th century CE, and most likely were added to represent new sounds introduced by natural changes in the Irish language after the 6th century CE. -
The Celtic Languages in Contact
Late Modern Irish and the Dynamics of Language Change and Language Death Feargal Ó Béarra (National University of Ireland, Galway) 1. Introduction My comments are informed by the experience of the last 20-25 years, as someone who grew up in the Cois Fharraige Gaeltacht in south Conamara, and who has seen the language retreat further and further westwards and inwards as the Gaeltacht continues to dwindle. In these few years, I have also seen the last remaining pockets of Gaeltacht in areas such as Bearna, Na Forbacha, Mionlach, Leamhchoill, and Maigh Cuilinn all but disappear, never to return. There are few things in Ireland as complicated or as controversial as the language question. We agree on very little. Be that as it may, I believe we can all agree that the form of Irish spoken today is not that of 25 years ago, for example. What passes for Irish today would not have passed for Irish 25 years ago. Others will say to me that what passed for Irish 25 years ago would not have passed for Irish in 1958 when An Caighdeán Oifigiúil1 was published and so on. Of course, this should come as no surprise to us as languages are always in a state of flux. In most cases, except in the case of contemporary Irish, as I hope to show in this paper, language change is a fairly natural and unconscious devel- opment which forms an essential part of the life cycle of any language. Each generation creates its own version of the language it acquires from the previous generation.