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Luigne Breg and the Origins of the Uí Néill. Proceedings of the Royal Irish Academy: Archaeology, Culture, History, Literature, Vol.117C, Pp.65-99
Gleeson P. (2017) Luigne Breg and the Origins of the Uí Néill. Proceedings of the Royal Irish Academy: Archaeology, Culture, History, Literature, vol.117C, pp.65-99. Copyright: This is the author’s accepted manuscript of an article that has been published in its final definitive form by the Royal Irish Academy, 2017. Link to article: http://www.jstor.org/stable/10.3318/priac.2017.117.04 Date deposited: 07/04/2017 Newcastle University ePrints - eprint.ncl.ac.uk Luigne Breg and the origins of the Uí Néill By Patrick Gleeson, School of History, Classics and Archaeology, Newcastle University Email: [email protected] Phone: (+44) 01912086490 Abstract: This paper explores the enigmatic kingdom of Luigne Breg, and through that prism the origins and nature of the Uí Néill. Its principle aim is to engage with recent revisionist accounts of the various dynasties within the Uí Néill; these necessitate a radical reappraisal of our understanding of their origins and genesis as a dynastic confederacy, as well as the geo-political landsape of the central midlands. Consequently, this paper argues that there is a pressing need to address such issues via more focused analyses of local kingdoms and political landscapes. Holistic understandings of polities like Luigne Breg are fundamental to framing new analyses of the genesis of the Uí Néill based upon interdisciplinary assessments of landscape, archaeology and documentary sources. In the latter part of the paper, an attempt is made to to initiate a wider discussion regarding the nature of kingdoms and collective identities in early medieval Ireland in relation to other other regions of northwestern Europe. -
Phases of Irish History
¥St& ;»T»-:.w XI B R.AFLY OF THE UNIVERSITY or ILLINOIS ROLAND M. SMITH IRISH LITERATURE 941.5 M23p 1920 ^M&ii. t^Ht (ff'Vj 65^-57" : i<-\ * .' <r The person charging this material is re- sponsible for its return on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. University of Illinois Library • r m \'m^'^ NOV 16 19 n mR2 51 Y3? MAR 0*1 1992 L161—O-1096 PHASES OF IRISH HISTORY ^.-.i»*i:; PHASES OF IRISH HISTORY BY EOIN MacNEILL Professor of Ancient Irish History in the National University of Ireland M. H. GILL & SON, LTD. so UPPER O'CONNELL STREET, DUBLIN 1920 Printed and Bound in Ireland by :: :: M. H. Gill &> Son, • • « • T 4fl • • • JO Upper O'Connell Street :: :: Dttblin First Edition 1919 Second Impression 1920 CONTENTS PACE Foreword vi i II. The Ancient Irish a Celtic People. II. The Celtic Colonisation of Ireland and Britain . • • • 3^ . 6i III. The Pre-Celtic Inhabitants of Ireland IV. The Five Fifths of Ireland . 98 V. Greek and Latin Writers on Pre-Christian Ireland . • '33 VI. Introduction of Christianity and Letters 161 VII. The Irish Kingdom in Scotland . 194 VIII. Ireland's Golden Age . 222 IX. The Struggle with the Norsemen . 249 X. Medieval Irish Institutions. • 274 XI. The Norman Conquest * . 300 XII. The Irish Rally • 323 . Index . 357 m- FOREWORD The twelve chapters in this volume, delivered as lectures before public audiences in Dublin, make no pretence to form a full course of Irish history for any period. -
On the Topology of Celtic Knot Designs
On the Topology of Celtic Knot Designs Gwen Fisher Mathematics Department California Polytechnic State University San Luis Obispo, CA 93407 [email protected] Blake Mellor Mathematics Department Loyola Marymount University Los Angeles, CA 90045-2659 [email protected] Abstract We derive formulas for counting the number of strands in a variety of knotwork designs inspired by traditional Celtic designs, including rectangular panels, circular borders, rectangular borders, and half frames. We include graphic examples for each of these types of designs. 1. Introduction There is a long tradition of abstract geometric designs in the art of the Celtic peoples of ancient Britain, Scotland and Ireland, including spirals, key patterns and, in the Christian era, knots and interlacings [1]. Complex knotwork patterns were used profusely in the Celtic illuminated manuscripts, such as in the Books of Durrow (early 5th to early 6th century), Kells (middle 6th to early 8th century), Lindesfarne (late 7th century), and Grimbald of St. Bertin (early 11th century). In these manuscripts, interlacing designs (both purely geometric, as in Figure 1, and incorporating animal figures) fill areas and are used as borders for text and illustrations. Françoise Henry called these designs a “sacred riddle” [7], and their symbolic meaning is a fascinating and unresolved issue in Celtic art history. James Trilling [10] has theorized that knotwork designs were, like the crosses that they commonly accompanied, protections against evil: the complex designs would trap and confuse the “evil eye”. Figure 1: A knotwork design, from [5] Whatever their meaning, the complexity of Celtic knotwork designs is evidence of substantial mathematical sophistication [4], and their design and analysis lead to many mathematical questions. -
IRELAND C.980-1229 Máire Ní Mhaonaigh
PERCEPTION AND REALITY: IRELAND c.980-1229 Máire Ní Mhaonaigh Hi Kalaind Auguist cen ail tiagtís ind cech tress blíadain; agtís secht ngraifne im gním nglé secht laithe na sechtmaine. And luaitís fri bága bil certa ocus cána in cóicid, cech recht ríagla co rogor cech tress blíadna a chórogod. ‘On the kalends of August free from reproach they would go thither every third year: they would hold seven races, for a glorious object, seven days in the week. There they would discuss with strife of speech the dues and tributes of the province, every legal enactment right piously every third year it was settled.’1 This eleventh-century depiction of a gathering (óenach) held at regular intervals at Carmain provides an imagined glimpse of medieval Ireland at work and play. Conventionally but misleadingly translated ‘fair’, the óenach was an institution in which the wider community played a part. Among those said to have been assembled on this particular occasion were ‘the clerics and laity of the Leinstermen, as well as the wives of the nobility’ (clérig, láeich Lagen ille, mnái na ndagfher). Fasting was undertaken there ‘against wrong and oppression’ (ra 1 Metrical Dindshenchas, iii, 18-19 (lines 208-16). I am grateful to my colleague, Dr Fiona Edmonds, for perceptive comments on what follows. 1 anrecht, ra écomlund).2 Misconduct was forbidden;3 knowledge was imparted of various kinds.4 Kings controlled these occasions, convening an óenach for a variety of reasons. It was to celebrate his accession to the kingship of Leinster that the óenach at Carmain was held by Donnchad mac Gilla Phátraic in 1033 and this poem may mark that specific event.5 Máel Sechnaill mac Domnaill, king of Mide, had earlier hosted a similar assembly at Tailtiu [Teltown, County Meath] in 1007, when he had already been ruling for more than a quarter of a century and had achieved considerable success.6 His revival of óenach Tailten was designed to bolster his authority further, and it too was commemorated in a composition attributed to Máel Sechnaill’s court-poet, Cúán ua Lothcháin. -
General Introduction the Evergreen: a Northern Seasonal (1895- 1896/97)
GENERAL INTRODUCTION THE EVERGREEN: A NORTHERN SEASONAL (1895- 1896/97) “Four seasons fill the measure of the year; There are four seasons in the mind of man.” Epigraph to The Evergreen, from John Keats’s “The Human Seasons” Evergreen flyleaf ornament. Published as a semi-annual by Patrick Geddes & Colleagues in the Lawnmarket of Edinburgh and by T. Fisher Unwin in London, The Evergreen: A Northern Seasonal was produced out of interlacing connections as complex as those of the Celtic knot work it showcased. These include arts and crafts, Scottish Renascence, Pan-Celticism, and an urban renewal enhanced with what we would today call an ecological concern with nature and green space in the modern world. With local roots and international aspirations, The Evergreen sought to express a message of social regeneration by uniting art and science in the architecture of the page and the built environment. Expressed in Geddes’s triad of “sympathy, synergy, and synthesis,” this vision was embodied in the emblem of three flying black birds, each carrying a leaf in its beak, which decorated the openings of The Evergreen’s four volumes (Burbridge 73). As Regina Hewitt observes, Geddes conceptualized The Evergreen “as a resource for—and 1 perhaps even a manifesto of—cultural evolution” (“Patrick Geddes”). Although The Evergreen’s print run lasted less than two years, this innovative, interdisciplinary magazine had far-reaching impact. In his review for Pall Mall Magazine, Israel Zangwill highlighted the importance of the local and the social to this illustrated periodical. “’Till I went to Edinburgh,” he wrote, “I did not know what the ‘Evergreen’ was. -
Celtic Patterns to Colour Pdf, Epub, Ebook
CELTIC PATTERNS TO COLOUR PDF, EPUB, EBOOK Struan Reid,David Thelwell | 32 pages | 01 Jul 2014 | Usborne Publishing Ltd | 9781409574651 | English | London, United Kingdom Celtic Patterns to Colour PDF Book You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. There were Celts through most of Europe and even Asia, so these coloring sheets are Celtic favorites all over! Celtic Dogs Design. Knotted Celtic Art Design. Celtic Dublin. Triquetra Knot. Celtic Art Coloring Pages to Print. Cross Shape. Print all of our Celtic Coloring pages for free. Follow the lines. Patrick Celtic Coloring. Coloring pages. It can seem like a tangled maze, so some pre-thinking is in order for many of these coloring pages! Quad Celtic Knot. Copyright Disclaimer Disclosure Privacy Terms. Christmas Patterns to Colour Emily Bone. Also, get your favorite crayons, coloring pencils, and watercolors ready for my relaxing adult coloring pages! Trinity Celtic Triangle. Round Pattern. Accept all Manage Cookies. Celtic Heraldry. That's why there were so many intertwined animals, knots, vines, leaves and other decorations behind the main artwork. Celtic Knot Pattern. Swan Celtic Animals. Easy Celtic Bird. Designs are taken from stone carvings, pottery and jewellery and include the intricate knotwork patterns for which the Celts were famous. Vine Motif. Celtic Style Shamrock. Abigail Wheatley. Printable Celtic Symbol Coloring Pages. Beautiful Celtic Coloring Pages. Celtic Owl Design. Small Celtic Knots. They shared common languages, religious beliefs, traditions and of course artwork. Celtic Leaves. Celtic Triquetra Circle Interlaced. Dispatched from the UK in 1 business day When will my order arrive? Celtic Design. -
Thesis&Preparation&Appr
THESIS&PREPARATION&APPROVAL&FORM& & Title&of&Thesis:& Scottish&Fiddling&in&the&United&States:&Reviving&a&Tradition&and&Maintaining&a&Community& & & I. To&be&completed&by&the&Student:& & I&certify&that&this&document&meets&the&preparation&guidelines&as&presented&in&the& Style&Guide&and&Instructions&for&Preparing&Theses&and&Dissertations.&& & & _________________________________& &_______________& (Signature&of&Student)&& & (Date)& & & II. To&be&completed&by&thesis&advisor:& & I&certify&that&this&document&is&suitable&for&submission.& & & _________________________________&& _______________& (Signature&of&Advisor)&& & (Date)& & III. To&be&completed&by&School&Director:& & I&certify,&to&the&best&of&my&knowledge,&that&the&required&procedures&have&been& followed&and&the&preparation&criteria&have&been&met&for&this&thesis/dissertation.&& & & _________________________________& &_______________& (Signature&of&Director)&& & (Date)& & & xc:&Graduate&Coordinator& SCOTTISH FIDDLING IN THE UNITED STATES: REVIVING A TRADITION AND MAINTAINING A COMMUNITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Deanna T. Nebel May, 2015 Thesis written by Deanna T. Nebel B.M., Westminster College, 2013 M.A., Kent State University, 2015 Approved by ____________________________________________________ Jennifer Johnstone, Ph.D., Advisor ____________________________________________________ Ralph Lorenz, Ph.D., Acting Director, School of Music ____________________________________________________ -
Icons of the Iron Age: the Celts in History and Archaeology Course Guide
ICONS OF THE IRON AGE: THE CELTS IN HISTORY AND ARCHAEOLOGY COURSE GUIDE Professor Susan A. Johnston GEORGE WASHINGTON UNIVERSITY Icons of the Iron Age: The Celts in History and Archaeology Professor Susan A. Johnston George Washington University Recorded Books™ is a trademark of Recorded Books, LLC. All rights reserved. Icons of the Iron Age: The Celts in History and Archaeology Professor Susan A. Johnston Executive Producer John J. Alexander Executive Editor Donna F. Carnahan RECORDING Producer - David Markowitz Director - Matthew Cavnar COURSE GUIDE Editor - James Gallagher Design - Edward White Lecture content ©2008 by Susan A. Johnston Course guide ©2008 by Recorded Books, LLC 72008 by Recorded Books, LLC Cover image: Celtic knot design on a stone cross, Ballyroebuck, Ireland © Tom O’Brien/shutterstock.com #UT129 ISBN: 978-1-4361-5001-9 All beliefs and opinions expressed in this audio/video program and accompanying course guide are those of the author and not of Recorded Books, LLC, or its employees. Course Syllabus Icons of the Iron Age: The Celts in History and Archaeology About Your Professor...................................................................................................4 Introduction...................................................................................................................5 Lecture 1 The Creation of the Celts ......................................................................6 Lecture 2 The Documentary Sources..................................................................10 Lecture -
Celebrating the Celtic Imagination Midsummer 2008
Celebrating the Celtic Imagination Midsummer 2008 52 NEW Items! welcome to gaelsong Midsummer 2008 Midsummer night has always been a night for love magic…as the heat of the sun gives way to the cool of the evening, lovers meet in the enchanted air and make merry in song and dance all the night long. It is a time to envision the future and revel in the present. A walk through the dew on midsummer morn brings Colleen Connell, magical rewards, as we delight in the beauty of Founder the new day. At GaelSong, we hope to add beauty and magic to your life. We present beautiful gifts in the Celtic style, made all over the world. Many items we offer are hand-crafted by artisans devoted actual size to keeping traditional Celtic handiwork and design alive. Whether you seek wisdom by reflecting on the past or seek beauty and inspiration in the present, we hope our products will warm and enchant you. NEW! TRINITY KN O T BLOSSOM FAIRY HOUSES … A trinity knot and sparkling gem form an ever-flowering EV E RY W H ERE ! silver blossom on a delicate tendril of silver vine. Discover a world of Framed in sunny 14k gold or moonlight Sterling silver. whimsical habitats constructed from J1037 Trinity Knot Blossom Earrings, sterling $48 natural materials. J2055 Trinity Knot Blossom Pendant, sterling $48 Building diminutive J1042 Trinity Knot Blossom Earrings, houses from found 14k gold and sterling $248 materials (twigs, J2056 Trinity Knot Blossom Pendant, shells, pinecones and 14k gold and sterling $248 such) is a delightful pastime—and a sweet way to invite FLOWER FAIRIES the fairies. -
Who Were the Celts?
Who Were the Celts? The Celts were groups of people who lived in Europe during the Iron Age (800 BC-AD). The Iron Age was the period of time when iron replaced bronze in the making of tools and weapons. It was discovered that iron could be produced from iron ore in a process called smelting. Iron was harder than bronze so made better objects. Who Were the Celts? There were three main Celtic groups; the Gauls (in Northern mainland Europe), the Britons (in England) and the Gaels (in Ireland). Iron Age Celts lived in Britain and Ireland from 750 BC. Celts lived in tribes, each with their own king or queen. Celtic tribes, in what is now Britain, included the Iceni, the Cornovii and the Ordovices. The Celts ruled Britain until the Romans invaded in AD 43. Celtic Art Because the Celtic people lived all over Europe, Celtic art is varied. Some of it came in the form of stone carvings, jewellery, pottery, tools and other objects. “The Guard” by Patrimonio Nacional Galegois licensed under CC BY 2.0 “Image from page 379 of "The arts in early England" (1903)” “Celticy widdly-woo” by gajtalbot licensed under CC BY 2.0 “Glasnevin Cemetery” by William Murphy is licensed under CC BY 2.0 by Internet Archive Book Images is licensed under CC BY 2.0 How Do We Know About Celtic Art? There are only very limited records from the Celtic period so our knowledge of Celtic art comes from archaeology. This is the study of history through excavating sites and studying “Newgrange” by Sean MacEntee licensed under CC BY 2.0 artefacts and other remains. -
Lughnasadh 2013 © July 2013 No Portion of This Publication May Be Used Without the Author Or Artist’S Permission
Pooka’s Page for Grownups We listen to you! A parent and teacher wrote to me that one of things she enjoyed most about the magazine were that the Pooka stories explained the sabbats so well to her children and students. However, she was disappointed with past Lughnasadh tales. She said they were very enjoyable, but that they didn’t go far enough in explaining about the holiday. Perhaps others of you have felt the same? She had a good point and so, with this story, I’ve tried to do better. If any of you have similar concerns, or if there’s something you particularly like and want to see more of, if you have a question or idea or even just want to say “Hi”, pop over to our Pooka Pages Team Facebook page and leave a comment . (And by the way, this is the best place to stay current on Pooka Pages news including the fastest way to learn when a new issue is posted. We announce it there first!) facebook.com/PookaPagesTeam In the last issue, we began a couple of on-going projects and lessons for kids including Nathalie Dussault’s Wheel of the Year Plaque and Christine’s Rune Lessons. Beginning with this issue, Laura Cordelia will be teaching children about magical symbols. If you’re new to Pooka Pages or have missed one of these projects for some reason, they will eventually be posted on the Pooka Pages website. In the meanwhile, you can write to me at: [email protected] and I’ll e-mail them to you. -
Oak & Acorn Necklet Page 49
PRSRT STD U.S. Postage P.O. Box 15388 Seattle, WA 98115 PAID www.gaelsong.com GaelSong customer number Celebrating the Celtic Imagination Winter Solstice 2010 key code 88 NEW Items! Printed in USA on recycled paper (minimum post-consumer 10% waste); certified by Forest Stewardship Council. NEW! UNDer THe misTleToe Bring the tradition of mistletoe to your holidays! This festive ornament captures the look without ever losing leaves. Hang it on a tree, or hang it from the ceiling and wait to steal a kiss. Solid pewter; hand-enameled. 2 ½" wide. Handcrafted in USA. D92011 Mistletoe Ornament $21 actual size EXCLUSIVE! Oak & Acorn Necklet page 49 Heroic Gems In centuries past, explorers sailed the world, seeking gems and precious metals NEW! JULIET WORE VELVeT fit for royalty. Celebrate the age of heroes with this garnet and silver set. The Spend your day in a reverie of romance. Flowing empire-waist velvet Hand-patinaed bronze oak leaves uncommonly large, spectacular deep-red garnet gemstone, surrounded by tunic suggests a storied past, with look that goes anywhere. The deep silver knotwork, adds a noble touch to any ensemble. Sterling silver; pendant on color shimmers with each movement. Luxurious silk velvet drapes with hand-formed glass acorns 18" chain. beautifully—and is machine washable and dryable! Sizes XS-XXL. J13570 Heroic Earrings $40 | J20020 Heroic Pendant $76 82% rayon/18% silk. Made in USA. In Cranberry (above), Bronze, SAVE $20! Buy both for $96 Deep Teal and Black (see page 8). A60018 Velvet Juliet Tunic $96 actual size NEW! celTic santas The spirit of giving is universal, and Santa comes in many different guises.