Potter & Williams Collection on Irish Culture
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Identity, Authority and Myth-Making: Politically-Motivated Prisoners and the Use of Music During the Northern Irish Conflict, 1962 - 2000
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Identity, authority and myth-making: Politically-motivated prisoners and the use of music during the Northern Irish conflict, 1962 - 2000 Claire Alexandra Green Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy 1 I, Claire Alexandra Green, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Date: 29/04/19 Details of collaboration and publications: ‘It’s All Over: Romantic Relationships, Endurance and Loyalty in the Songs of Northern Irish Politically-Motivated Prisoners’, Estudios Irlandeses, 14, 70-82. 2 Abstract. In this study I examine the use of music by and in relation to politically-motivated prisoners in Northern Ireland, from the mid-1960s until 2000. -
Napper Tandy
Napper Tandy The Story of a real Irish Patriot by Brian Igoe, Published: 2016 J J J J J I I I I I Table of Contents Introduction & Chapter 1 … The Last Invasion of Ireland. Chapter 2 … Meath and Dublin. Chapter 3 … London, Philadelphia. Chapter 4 … North Sea and Bergen. Chapter 5 … Hamburg. Chapter 6 … London. Chapter 7 … Dublin. Chapter 8 … Lifford. Chapter 9 … Bordeaux. Historical Note. Principal Sources. J J J J J I I I I I Introduction I met with Napper Tandy and he took me by the hand, How is dear old Ireland, and how does she stand? It's the most disgraceful country that I have ever seen, They're hanging men and women for the wearing of the green . —Anon, 1798 If you ask most people today, they will never have heard of Napper Tandy, unless they are Irish. Then they may, just MAY, remember the words of the ballad quoted above. By way of introduction, some words on the state of Ireland in general and Dublin in particular in the second half of the 18th century, the backdrop against which much of this story is painted, may be of interest. If not, skip forward to Chapter 1. It was in many respects a lawless place, quite literally, for there was no effective police force until well into the 19th century. And yet they were an extremely litigious crowd, those Georgian Irish. They fought with their tongues and their pens with great skill. But equally they fought with their swords and their pistols too. -
A Short History of Irish Memory in the Long Twentieth Century
Thomas Bartlett (ed.), The Cambridge History of Ireland Irish Memory in the Long Twentieth Century (Cambridge, 2018), vol. IV: 1800 to Present would later be developed by his disciple Maurice Halbwachs, who coined the term collective memory ('la memoire collective'). By calling attention to the social frameworks in which memory is framed ('les cadres sociaux de la 23 · memoire'), Halbwachs presented a sound theoretical model for understand ing how individual members of a society collectively remember their past. 3 A Short History of Irish Memory in The impression that modernisation had uprooted people from tradition and the Long Twentieth Century that mass society suffered from atomised impersonality gave birth to a vogue GUY BEINER for commemoration, which was seen as a fundamental act of communal soli darity, in that it projected an illusion of continuity with the past.4 Ireland, outside of Belfast, did not undergo industrialisation on a scale comparable with England, and yet Irish society was not spared the upheaval On the cusp of the twentieth century; Ireland was obsessed with memoriali of modernity. The Great Famine had decimated vernacular Gaelic culture sation. This condition reflected a transnational zeitgeist that was indicative of and resulted in massive emigration. An Irish variant of fin de siecle angst over a crisis of memory throughout Europe. The outcome of rapid modernisa degeneration fed on apprehensions that British rule would ultimately result tion, manifested through changes ushered in by such far-reaching processes in the loss of 'native' identity. The perceived threat to national culture, artic as industrialisation, urbanisation, commercialisation and migration, raised ulated in Douglas Hyde's manifesto on 'The Necessity for De-Anglicising fears that the rituals and customs through which the past had been habitually Ireland' (1892), stimulated a vigorous response in the form of the Irish Revival remembered in the countryside were destined to be swept away. -
Irish Ballads 1. "The Shan Van Vocht" Thomas Moore (Romanticism) 2
Irish Ballads 1. "The Shan Van Vocht" Thomas Moore (Romanticism) 2. "The Minstrel Boy" 3. "The Harp That Once Through Tara's Halls" Anonymous 19th Century 4. "The Old Orange Flute" 5. "The Croppy Boy" Young Ireland 6. “Arthur McBride” (first collected in 1840) 7. "My Dark Rosaleen" (Clarence Mangan) 8. "The West's Asleep" (Thomas Davis) Fenian 9. "The Rising of the Moon" (John Keegan Casey) Easter Rising 10. "Boulavogue" (P. J. McCall, 1898) 11. "Whack Fol the Diddle" (Peadar Kearney, 1916) Contemporary: 1960s and 70s 12. "Four Green Fields" (Tommy Makem) 13. “Free the People” (Phil Coulter, performed by the Dubliners) 14. “The Town I Loved So Well” (Phil Coulter, performed by the Dubliners) 1. The Shan Van Vocht By Anonymous OH! the French are on the say, Says the Shan Van Vocht; The French are on the say, Says the Shan Van Vocht; Oh! the French are in the Bay, 5 They’ll be here without delay, And the Orange will decay, Says the Shan Van Vocht. Oh! the French are in the Bay, They’ll be here by break of day 10 And the Orange will decay, Says the Shan Van Vocht. And where will they have their camp? Says the Shan Van Vocht; Where will they have their camp? 15 Says the Shan Van Vocht; On the Curragh of Kildare, The boys they will be there, With their pikes in good repair, Says the Shan Van Vocht. 20 To the Curragh of Kildare The boys they will repair And Lord Edward will be there, Says the Shan Van Vocht. -
Erin's Hope Song Book
THE ERIN'S HOPE SONG BOOK. ~ A Collection of Patriotic Songs and Recitations. CONTENTS: Lift your Heart up, Mother Et'ln !The Memory of the Dead Despair Not I Betsy Gray . The Gael and the Green I _ The Green Flag Annle, Dear J.:. The Forging of the'Plkes Oh, Breathe not his Name "-A:;Twent Men from Dublin TOWD The Mountain Top 9.. The Men of Ninety-Eight The Maid of SlIevenamon .3 The Croppy Boy Wrap the Green Flag Rouqd m~Eirghe na Gealalghe The Green Isle of Erin .3 The Rising of the Moon Kelly of KlIlann tr- A Nation Once Again The Men of the West 't" Clare's Dragoons The Priests of Ninety-Eight J The West's Asleep Edward Moltoy , r The Patriot Mother Carroll Dawn 6 Ninety·Eight By Memory Inspired 7 . The Horseman of Dunrone DUBLIN: NUGENT AND CO., PUBLISHERS, 45 MIDDLE ABBEY STREET., Printed in Ireland.] PRICE FOURPENCE. / ERIN'S OWN ' RECITER A Collection of Popular Irish and Other Recitations This Collection has been compiled to meet the demand for a cheap .book of Recitations, and contains a number of pieces not to be found in other collections, such as .. Shanahan's QuId, Shebeen," .. A ch, I Dunno," .. Galloping H.ogan," .. Over the Hill," -this latter providing the subject for the famous film of the same name. Forty-eight pages, Crown 8vo, printed in clear type on good pape~ Price 6d. net. NUGENT AND CO., PUBLISHERS, 45 MIDDLE ABBEY ST.. DUBLIN. $ ' . ( 1 THE ERIN'S HOPE SONG BOOK. DESP AI R NOT ! LI FT YOUR HEART UP, MOTHER ERI N J. -
Why Has St. Patrick's Day Become a Global
WHY HAS ST. PATRICK’S DAY BECOME A GLOBAL CELEBRATION? Rudy Ray Seward Monday, 4th March 2018 11:45am, & 1:15pm UNT Denton Campus OLLI Classroom What do you think of first when hear or read of St. Patrick’s Day? Common responses: • Parades • Pubs • Patron Saint • Paddywhackery • Politics • Pugnacious • Patriarchy St Patrick's day is celebrated across the world, especially in America where lots of Irish people moved for work. Why Parades? • Observances include church services, banquets, dances, sporting activities, and drinking sessions. • An special event while others carried out throughout the year. • Street parades distinctive attention seeking collective behavior carried out in public space. • Central observance in most parts of world. • All manner of Irish and allied groups march displaying their connection with Ireland or position in their adopted society. Why Parades? • Offers spectacle and movement via ornate dress, colors, banners, and the like in procession, together with music and feet marching in unison. • Beside stimulating senses it provides a narrative via images, symbols, and messages. • Politics of performance and representation: – Must have a rightful claim to parade publicly. – Must be both lawful and unlikely to cause offence. Irish diaspora or Diaspóra na nGael • Irish people and descendants who live outside the island of Ireland. • Emigration recorded since Early Middle Ages. • Irish raiders settled along the West Coast of Roman Britain and recruited by Roman Army. • Irish missionary monks pioneered a wave of emigration into Great Britain and continental Europe and helped save civilization. • Norman invasion in 1169 marked beginning of over 800 years of English involvement. • In 1600s, England started transporting many Irish by choice and force to Australia, South Africa, Bermuda, among other destinations. -
Empire, Class, and Religion in Lady Gregory's Dramatic Works
‘The Return to the People’: Empire, Class, and Religion in Lady Gregory’s Dramatic Works Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Anna Pilz. July 2013 Anna Pilz University of Liverpool 2013 Abstract ‘The Return to the People’: Empire, Class, and Religion in Lady Gregory’s Dramatic Works Anna Pilz This thesis examines a selection of Lady Gregory’s original dramatic works. Between the opening of the Abbey Theatre in 1904 and the playwright’s death in 1932, Gregory’s plays accounted for the highest number of stage productions in comparison to her co-directors William Butler Yeats and John Millington Synge. As such, this thesis analyses examples ranging from her most well-known and successful pieces, including The Rising of the Moon and The Gaol Gate, to lesser known plays such as The Wrens, The White Cockade, Shanwalla and Dave. With a focus on the historical, bibliographical, and political contexts, the plays are analysed not only with regard to the printed texts, but also in the context of theatrical performances. In order to re-evaluate Gregory’s contribution to the Abbey, this thesis is divided into three chapters dealing with dominant themes throughout her career as a playwright: Empire, class, and religion. Acknowledgements I would like to express my sincerest gratitude to the Institute of Irish Studies, University of Liverpool, for its financial support throughout my postgraduate studies. I am also indebted to the School of Histories, Languages and Cultures and the International Association for the Study of Irish Literatures for their financial assistance in covering travel costs to conferences and archives in the UK and abroad. -
TUNE BOOK Kingston Irish Slow Session
Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected]. -
Special Offer! for a Limited Time, Get an Extra Discount When You Place an Order on Waltons Products
Waltons has been at the forefront of Irish music since the company was founded by Martin Walton in 1922. Their music publications, bodhráns and tin whistles are of quality design and will give many years of pleasure and satisfaction. Hal Leonard is proud to be the new distributor of Waltons products in North America. Browse through this brochure for more details on these quality songbooks, CDs, DVDs and instruments, then contact your Hal Leonard sales rep to place your order today! Special Offer! For a limited time, get an extra discount when you place an order on Waltons products. Call Today! 1-800-554-0626 SongbookS MELODY INSTRUMENT COLLECTIONS 110 Ireland’s 110 Ireland’s 110 TUNES SERIES BEST SESSION BEST SLOW AIRS Tunes – Volume 3 110 of Ireland’s most beautiful with Guitar Chords Volume 3 includes: After the and haunting melodies, compiled by John Canning Sun Goes Down • The Bag including laments, airs from The cream of Irish traditional music is presented in of Potatoes • The Bashful old Gaelic songs and Carolan three core collections of essential session tunes. Each Bachelor • Comely Jane tunes. Suitable for all melody book includes 110 of the most popular and enduring Downing • The Flannel Jacket instruments, but does not session tunes in Ireland and around the world. Join • Flax in Bloom • The Girl Who include guitar chords. Songs in wherever you go with these collections of jigs, Broke My Heart • Johnny Allen include: Carrickfergus • Death reels, hornpipes, polkas, slides, airs and more. All the • The Kerryman’s Daughter • Lady Townsend’s Delight and the Sinner • Eleanor Plunkett • Brian Boru’s March books feature accurate transcriptions in an easy-to-read • Molly on the Shore • The Pigeon on the Gate • The • Blind Mary • Black-Eyed Susan • Easter Snow • Do format, and include guitar chords. -
FEBRUARY 2019 • Volume 13 - Issue 2 an Eejit EDITOR’S CORNER Abroad by CB Makem February 2019 Vol
est. 2006 FEBRUARY 2019 • Volume 13 - Issue 2 An EEjit EDITOR’S CORNER AbroAd By CB Makem February 2019 Vol. 13 Issue 2 A Hallelujah Christmas? Founders Cliff Carlson & John O’Brien, Jr. od understands the weary. Two And said goodbye with a handshake Publisher John O’Brien Jr. Gdays after Christmas, I got a text and, “Keep the Faith.” Editor John O’Brien Jr. A Bit of a Reach from Brendan Gorman that George As I held my place in the Honor Design/Production Christine Hahn I think there’s one thing on which we historic city of just under 150,000, on Website Dunne had passed away. I was so sure Guard of former Saints Patrick’s & Jar- Rich Croft @VerticalLift can all agree, and that’s that the Ohio our way to a town an hour west called Columnists he was mistaken, George was only 52. lath’s players, and Georgie was carried Akron Irish Lisa O’Rourke Irish American News has been lacking Sebeș. Now Sebeș is the kind of place I have known George Dunne, Jr. for all out in the arms of his brothers, neph- An Eejit Abroad CB Makem a column on Transylvania for quite that when an immigration official asks of our lives. Born six months apart, I ews and family, I thought of George Sr. At Home Abroad Regina Costello some time. I blame it on the Sports how long you’re staying and you say “90 have memories of George Jr. and I, John waiting, sitting with legs stretched out Behind the Hedge John O’Brien, Jr. -
PAPERS of SÉAMUS DE BÚRCA (James Bourke)
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 74 PAPERS OF SÉAMUS DE BÚRCA (James Bourke) (MSS 34,396-34,398, 39,122-39,201, 39,203-39,222) (Accession Nos. 4778 and 5862) Papers of the playwright Séamus De Búrca and records of the firm of theatrical costumiers P.J. Bourke Compiled by Peter Kenny, Assistant Keeper, 2003-2004 Contents INTRODUCTION 12 The Papers 12 Séamus De Búrca (1912-2002) 12 Bibliography 12 I Papers of Séamus De Búrca 13 I.i Plays by De Búrca 13 I.i.1 Alfred the Great 13 I.i.2 The Boys and Girls are Gone 13 I.i.3 Discoveries (Revue) 13 I.i.4 The Garden of Eden 13 I.i.5 The End of Mrs. Oblong 13 I.i.6 Family Album 14 I.i.7 Find the Island 14 I.i.8 The Garden of Eden 14 I.i.9 Handy Andy 14 I.i.10 The Intruders 14 I.i.11 Kathleen Mavourneen 15 I.i.12 Kevin Barry 15 I.i.13 Knocknagow 15 I.i.14 Limpid River 15 I.i.15 Making Millions 16 I.i.16 The March of Freedom 16 I.i.17 Mrs. Howard’s Husband 16 I.i.18 New Houses 16 I.i.19 New York Sojourn 16 I.i.20 A Tale of Two Cities 17 I.i.21 Thomas Davis 17 I.i.22 Through the Keyhole 17 I.i.23 [Various] 17 I.i.24 [Untitled] 17 I.i.25 [Juvenalia] 17 I.ii Miscellaneous notebooks 17 I.iii Papers relating to Brendan and Dominic Behan 18 I.iv Papers relating to Peadar Kearney 19 I.v Papers relating to Queen’s Theatre, Dublin 22 I.vi Essays, articles, stories, etc. -
Scotland's Easter Rising Veterans and the Irish Revolution
Studi irlandesi. A Journal of Irish Studies, n. 9 (2019), pp. 271-302 DOI: http://dx.doi.org/10.13128/SIJIS-2239-3978-25517 Scotland’s Easter Rising Veterans and the Irish Revolution Thomas Tormey Trinity College, Dublin (<[email protected]>) Abstract: In 1916 members of the Scottish unit of the Irish Volunteers were deeply involved in preparations for the Easter Rising in Dublin and some re- publican activists travelled from the west of Scotland to participate in the rebellion. What follows is a limited prosopography of the revolu- tionary involvement of those members of the Irish Republican Broth- erhood (IRB), the Irish Volunteers, or Cumann na mBan, who were resident in Scotland between 1913 and 1915 and who fought in Ire- land in 1916, or who were prevented from doing so because they were imprisoned. By covering militant activity in both Ireland and Britain, this treatment will argue that Scotland’s Irish republicans were highly integrated with the wider separatist movement in Ireland and beyond, while being very much of the Glasgow, and Europe, of their time. Keywords: Irish Diaspora in Scotland, Irish Republicanism, Irish Revolution, Militant Activism 1. Introduction A part of Scottish life for over 200 years, Scotland’s Irish community has also been part of the global Irish diaspora during that time. As such it has played a major role in the transnational movements associated with the campaigns for various forms of Irish independence. This was vividly illus- trated throughout the Irish revolution as there were Scottish connections to separatist activity in Britain, Ireland and beyond.