<Insert Cover>

Total Page:16

File Type:pdf, Size:1020Kb

<Insert Cover> ` An Chomhairle Ealaíon An Dara Tuarascáil Bhliantúil is Tríocha maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1983. Tíolachadh don Rialtas agus leagadh faoi bhráid gach T1 den Oireachtas de bhun Altanna 6(3) agus 7(1) den Acht Ealaíon 1951 (P1.2619). Thirty-second Annual Report and Accounts for the year ended 31st December 1983. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6(3) and 7(1) of the Arts Act, 1951 ISBN 0 906627 06 0 ISSN 0790-1593 Cover. Photograph by Jaimie Blandford of The Slide File, of the gold tore symbol of Aosdána. The torc, which was made by Pat Flood, is worn by the Saoi. Members (Until December 1983) (From January 1984) James White, Chairman Mairtin McCullough, Chairman Robert Ballagh John Banville Kathleen Barrington Vivienne Bogan Brian Boydell Breandán Breathnach Máire de Paor David Byers Andrew Devane Patrick Dawson Brian Friel Máire de Paor Arthur Gibney Bríd Dukes J. B. Kearney Vincent Ferguson Proinsias MacAonghusa Mairéad Furlong Patrick J. Murphy Garry Hynes Donald Potter Barry McGovern Nóra Relihan Patrick J. Murphy Michael Scott Éilís O’Connell Richard Stokes Seán Ó Mordha T. J. Walsh Michael Smith James Warwick Michael Taylor Staff Director Adrian Munnelly (from July) Director Colm Ó Briain (until July) Drama and Dance Officer Arthur Lappin Opera and Music Officer Marion Creely Traditional Music and Regional Development Officer Paddy Glackin Education and Community Arts Officer Adrian Munnelly (until July) Literature and Combined Arts Officer Laurence Cassidy Visual Arts Officer/Grants Medb Ruane Visual Arts Officer I Exhibitions Patrick Murphy Finance Officer David McConnell Administration Research and Film Officer Phelim Donlon Executive Assistant Nuala O'Byrne Secretarial Assistants Patricia Callaly Antoinette Dawson Sheilah Harris Kevin Healy Patricia Moore Bernadette O'Leary Suzanne Quinn Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685 An Chomhairle Ealaíon An Chomhairle Ealaíon/The Arts Council is an independent organisation set up under the Arts Acts 1951 and 1973 to promote the arts. It operates through a wide-ranging programme of financial assistance and special services, offered to both individuals and organisations. The Council also acts as an adviser on artistic matters to the Government and Government Departments and is one of four bodies which have a statutory right to make representations to planning authorities in connection with applications for planning permission in areas of special amenity throughout the country and in cases where proposed developments might detract from the artistic or architectural appearance of buildings of interest. The Council consists of a board of not more than seventeen members appointed by the Taoiseach. The board went out of office in December and a new board was appointed whose term of office will expire in 1988. The board usually meets ten times a year to set Council policies and make decisions within the terms of the Arts Acts. These policies and decisions are implemented by a staff headed by a Director, appointed by the Council. The Council reports to the Oireachtas through the Taoiseach and its accounts are audited by the Comptroller and Auditor General. Annual grants from the Oireachtas are the Council's main source of income. These grants are supplemented by income from local authorities and private organisations. The Council also administers a number of trust funds, set up privately for specific purposes. The arts are defined in the Arts Acts and include: the Visual Arts (painting, photography, sculpture, architecture, print-making, design); the Performing Arts (theatre, dance, music, opera); Literature; Film; Crafts. Contents Page Chairman's Introduction 5 Review of the Year 6 Artists Programmes 9 Aosdána 11 Literature 14 Visual Arts 16 Drama 22 Dance 26 Traditional Music 27 Opera 28 Music 29 Film 33 Arts Centres and Festivals 34 Community Arts 36 Education 37 Regions 39 Capital 43 Regional Arts Committees 44 Analysis of 1982 Grant Aid 46 Accounts 49 Chairman’s Introduction In this introductory note to the Report of the Arts Council for 1983 I should like to begin by paying special tribute to my predecessor, James White, and to the outgoing Council. It is edifying that, in trying times, in which unceasing demands were being made upon the Council, he, as its Chairman, zealously promoted its independence and integrity. The explosion in arts activity in the country between 1979 and 1983 - the period of his Chairmanship — was due, in large measure, to the work of the Council under his inspiring leadership. These years witnessed a huge growth not just in the quantity but in the quality of Irish publishing and a significant increase in the amount of art displayed in public places. The growing availability of music of all kinds was striking and — of great importance - access to professional theatre throughout the country was greatly improved by the establishment of the Arts Council Theatre Touring Scheme. During the period 1979 to 1983 the policies and efforts of the Arts Council contributed to the creation of a climate in which the arts can flourish. The pursuit of those policies has resulted in the growth of a much more positive attitude towards the arts in our schools where, we are all agreed, such attitudes must be fostered. The emphasis which the Council placed on support for the individual artist and on the dignity of the artist in society, culminated in the establishment of Aosdána, the affiliation of artists who have made outstanding contributions to the arts in Ireland. Colm Ó Briain, the Council's first full-time Director, resigned in July 1983 having served the Council most ably for over eight years. The arts and artists in Ireland are grateful for his vision, imagination and dynamism during a period of continuous expansion. In March, "Audiences, Acquisitions and Amateurs", a survey of participation in the arts in Ireland, was published by the Council. This survey clearly identified the barriers of attitude and access to greater participation in the arts. The newly appointed Arts Council will continue to break down these barriers and create the greatest possible participation in the arts in Ireland to the benefit of the individual, the community and the country as a whole. This pursuit of greater participation creates, perhaps, a tension between increased involvement and excellence; it remains, however, the duty of the Council to strive for excellence at all times and to promote, in a balanced way, all the arts throughout the entire country - a huge task, given the unfortunately limited resources made available by Government. For many years there has been close practical co-operation between the Arts Council of Northern Ireland and An Chomhairle Ealaíon. This positive relationship operates to the benefit of the arts throughout our island and has strengthened considerably in recent times. It is a relationship which I wish to see continued and developed under my chairmanship. Mairtin McCullough Chairman. Review of the Year April 14th 1983 was a most significant date for the arts in Ireland. On this day Aosdána — the affiliation of creative artists who have contributed significantly to the arts in Ireland -- was formally inaugurated in the presence of An Taoiseach, Dr Garret FitzGerald, T.D. and two former Taoisigh, Mr Charles J. Haughey T.D. and Mr Jack Lynch T.D. This inaugural meeting was held in the House of Lords of the former Irish Parliament Building, College Green, Dublin, which was very graciously made available by the Bank of Ireland. In his remarks at the opening the Taoiseach said: "This first meeting of Aosdána is one of the most important developments in recent years in the cultural life of the country. It inaugurates a scheme which will be of considerable benefit to artists not only in enhancing their status in society, but also in assisting individual artists..." For artists the significance of the event was that in Irish society the artist had finally come of age, being recognised by the State in an institution devoted exclusively to the concerns of all artists and made up exclusively of artists. The creative arts represented by Aosdána are literature, the visual arts and music. At the end of 1983 there were ninety-six artists in Aosdána. (A list appears on page 12). Of these, fifty were in receipt of the Cnuas - an annual grant of £5,000 payable for a five-year term, available to those members who wish to devote their energies on a full-time basis to their art and whose financial circumstances are such that this can only be achieved by having a Cnuas. (The Cnuas is awarded by the Arts Council on the basis of a detailed examination of the financial circumstances of each applicant). A resume of the activities of Aosdána, which is now an independent organisation with a secretariat provided by the Council, appears on page 11. Another event of importance for the work of the Council in 1983 and the years beyond was the publication in March of the survey of participation in the arts in Ireland, "Audiences, Acquisitions and Amateurs". This survey was carried out by Lansdowne Market Research Ltd for the Council, which for some considerable time had recognised that the level of participation in the various art forms was not as high as it would wish. The survey threw up few surprises. It demonstrated that only two-thirds of Irish adults over sixteen years claimed to have participated to any degree in the arts during 1980, the best aggregated attendance figures at live events being only 20% Comparison with similar data from the U.S.A. shows that, relatively, Ireland lags far behind that country in attendances at film, theatre, and musical performances.
Recommended publications
  • Études Irlandaises, 34.2 | 2009, « Figures De L'intellectuel En Irlande » [En Ligne], Mis En Ligne Le 02 Février 2012, Consulté Le 22 Septembre 2020
    Études irlandaises 34.2 | 2009 Figures de l'intellectuel en Irlande Representations of the Intellectual in Ireland Maurice Goldring et Carle Bonafous-Murat (dir.) Édition électronique URL : http://journals.openedition.org/etudesirlandaises/1456 DOI : 10.4000/etudesirlandaises.1456 ISSN : 2259-8863 Éditeur Presses universitaires de Caen Édition imprimée Date de publication : 30 septembre 2009 ISBN : 978-2-7535-0982-5 ISSN : 0183-973X Référence électronique Maurice Goldring et Carle Bonafous-Murat (dir.), Études irlandaises, 34.2 | 2009, « Figures de l'intellectuel en Irlande » [En ligne], mis en ligne le 02 février 2012, consulté le 22 septembre 2020. URL : http://journals.openedition.org/etudesirlandaises/1456 ; DOI : https://doi.org/10.4000/ etudesirlandaises.1456 Ce document a été généré automatiquement le 22 septembre 2020. Études irlandaises est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. 1 SOMMAIRE Introduction Maurice Goldring et Carle Bonafous-Murat Maurice Goldring et Carle Bonafous-Murat (éd.) Richard Lovell Edgeworth, or the paradoxes of a “philosophical” life Isabelle Bour A Panacea for the Nation : Berkeley’s Tar-water and Irish Domestic Development Scott Breuninger “Is that the word ?” Samuel Beckett and the Port-Royal Philosophy of Language Mélanie Foehn Aristotle’s concept of energeia in Autumn Journal by Louis MacNeice, poet, classics scholar and intellectual Mélanie White Emblems of his early adversity
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Press Book from 01.02.2014 to 28.02.2014
    Press Book from 01.02.2014 to 28.02.2014 Copyright Material. This may only be copied under the terms of a Newspaper Licensing Ireland agreement (www.newspaperlicensing.ie) or written publisher permission. -2- Table of Contents 15/02/2014 Limerick Leader West Edition - Leader 2: Dolan's win top award.................................................................................................................. 3 06/02/2014 Donegal Democrat: Donegal acts for Other Voices....................................................................................................... 4 27/02/2014 Irish Independent Tabloid-Fit Magazine supplement: Don't give up at the first little roadblock.......................................................................................5 08/02/2014 Limerick Post: IMRO Award for Limerick venue....................................................................................................6 12/02/2014 Bray People: IMRO crowns Mermaid Leinster's top live venue........................................................................... 7 12/02/2014 Wicklow People: IMRO crowns Mermaid Leinster's top live venue........................................................................... 8 08/02/2014 Limerick Leader Saturday City: IMRO gets injunction against Bourke's bar................................................................................... 9 08/02/2014 Limerick Leader Saturday West: IMRO gets injunction against Bourke's bar................................................................................
    [Show full text]
  • Women Writers of the Troubles
    Women Writers of The Troubles Britta Olinder, University of Gothenburg Abstract During the thirty years of the Troubles in Northern Ireland, writing by women was difficult to find, especially concerning the conflict and its violence. The publication of the first three heavy volumes of The Field Day Anthology of Irish Writing towards the end of that period demonstrated the blindness of its male editors to female writing, leading to another two volumes focusing on women and also presenting more than expected on the conflict itself. Through looking at a selection of prose, poretry and drama written by women, this article wishes to illuminate a number of relevant issues such as: How have female writers reacted to the hate and violence, the social and political insecurity in their writing of poetry, plays and fiction? Is Robert Graecen’s question ‘Does violence stimulate creativity?’—in a letter to the Irish Times (18 Jun. 1974)—relevant also for women? In this very partial exploration, I have chosen to discuss a novel by Jennifer Johnston (Shadows on Our Skin, 1977) and one by Deirdre Madden (One by One in the Darkness, 1996), a well-known short story by Mary Beckett (‘A Belfast Woman,’ 1980), together with plays by Anne Devlin (Ourselves Alone, 1986) and Christina Reid (Tea in a China Cup, 1987), as well as poetry, by, among others, Meta Mayne Reid, Eleanor Murray, Fleur Adcock and Sinéad Morrissey. Keywords: women writers; violence; conflict; The Troubles; Jennifer Johnston; Deirdre Madden; Mary Beckett; Anne Devlin; Christina Reid; Meta Mayne Reid; Eleanor Murray; Fleur Adcock; Sinéad Morrissey The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.
    [Show full text]
  • <Insert Image Cover>
    An Chomhaırle Ealaíon An Tríochadú Turascáil Bhliantúil, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1981. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirtieth Annual Report and Accounts for the year ended 31st December 1981. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951. Cover: Photograph by Thomas Grace from the Arts Council touring exhibition of Irish photography "Out of the Shadows". Members James White, Chairman Brendan Adams (until October) Kathleen Barrington Brian Boydell Máire de Paor Andrew Devane Bridget Doolan Dr. J. B. Kearney Hugh Maguire (until December) Louis Marcus (until December) Seán Ó Tuama (until January) Donald Potter Nóra Relihan Michael Scott Richard Stokes Dr. T. J. Walsh James Warwick Staff Director Colm Ó Briain Drama and Dance Officer Arthur Lappin Opera and Music Officer Marion Creely Traditional Music Officer Paddy Glackin Education and Community Arts Officer Adrian Munnelly Literature and Combined Arts Officer Laurence Cassidy Visual Arts Officer/Grants Medb Ruane Visual Arts Officer/Exhibitions Patrick Murphy Finance and Regional Development Officer David McConnell Administration, Research and Film Officer David Kavanagh Administrative Assistant Nuala O'Byrne Secretarial Assistants Veronica Barker Patricia Callaly Antoinette Dawson Sheilah Harris Kevin Healy Bernadette O'Leary Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685. An Chomhaırle Ealaíon An Chomhairle Ealaíon/The Arts Council is an independent organization set up under the Arts Acts 1951 and 1973 to promote the arts.
    [Show full text]
  • Sociopolitical Issues in U2's War and the Joshua Tree
    Études irlandaises 45-2 | 2020 Varia “Flowers of Fire”: Sociopolitical Issues in U2’s War and The Joshua Tree Elena Canido Muiño Electronic version URL: http://journals.openedition.org/etudesirlandaises/10187 DOI: 10.4000/etudesirlandaises.10187 ISSN: 2259-8863 Publisher Presses universitaires de Caen Printed version Date of publication: 31 December 2020 Number of pages: 55-75 ISBN: 978-2-84133-996-9 ISSN: 0183-973X Electronic reference Elena Canido Muiño, ““Flowers of Fire”: Sociopolitical Issues in U2’s War and The Joshua Tree”, Études irlandaises [Online], 45-2 | 2020, Online since 31 December 2020, connection on 14 February 2021. URL: http://journals.openedition.org/etudesirlandaises/10187 ; DOI: https://doi.org/10.4000/ etudesirlandaises.10187 Études irlandaises est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. “Flowers of Fire”: Sociopolitical Issues in U2’s War and The Joshua Tree Abstract: U2 have always managed to hold a narrow line between social awareness and partisan political allegiance, belonging to a broad category of music that Rachel E. Seiler calls “contemporary conscious popular music”, which includes “music of any genre that focuses on social issues and perceived problems in society and may or may not include music that carries an overtly political message”. Consequently, much of the analysis of their songs claim that these are only a mere description of the terrible situation countries such as Ireland and the US were facing at that time. In this paper, however, I will examine the sociopolitical significance of U2’s songs as an appreciator of their cultural contribution and show that the events which formed the backdrop to some of U2’s most explicitly political songs in the 1980s – especially those included in War and The Joshua Tree – are etched indelibly into the text of both Ireland’s and America’s troubled colonial and political history.
    [Show full text]
  • Redalyc.DRUID THEATRE's ECONOMICS: the FIRST DECADE
    Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Troupe, Shelley DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 459-478 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696022 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Druid Theatre's Economics: the First Decade 459 DRUID THEATRE’S ECONOMICS: THE FIRST DECADE Shelley Troupe National University of Ireland Galway Abstract: This article considers the relationship between Druid Theatre’s productions and its administration during the company’s first decade by investigating the links between three features: the company’s fundraising practices; Druid’s infrastructure development in terms of personnel and physical space; and the organisation’s programming choices. Druid’s artistic partnership with Irish playwright Tom Murphy is also examined as it assisted in launching Druid’s international touring when Murphy’s Conversations on a Homecoming was the first Druid production to travel outside of the United States/United Kingdom festival circuit. Keywords: Druid Theatre, Tom Murphy, Ireland, funding, Irish theatre. Druid Theatre commenced production in the summer of 1975 with a repertory of three plays: J.M. Synge’s The Playboy of the Western World, Brian Friel’s The Loves of Cass Maguire and Kevin Laffan’s It’s a Two Foot Six Inches Above the Ground World.
    [Show full text]
  • Educating Popular Musicians: Insights Into Music Teaching and Learning on Higher and Further Education Programmes in Ireland
    Educating Popular Musicians: Insights into Music Teaching and Learning on Higher and Further Education Programmes in Ireland by Miranda Cournane The University of Sheffield Department of Music July 2019 Submitted for the Degree of Master of Philosophy This page intentionally left blank 2 Abstract The aim of this thesis is to investigate approaches to the teaching and learning of popular music in higher and further education institutions in the Republic of Ireland. Despite the proliferation of popular music in contemporary culture, very little research has been conducted into how popular musicians are educated in Ireland. This research presents an analysis of case study data using Interpretative Phenomenological Analysis (IPA) as a framework. The research examines how students of popular music approach their learning and whether their needs are adequately supported in higher and further education settings. The research also investigates how the study of popular music is valued at institutional level. Findings highlight the importance of informal learning, authentic learning environments, technology, performance and industry engagement amongst popular music students and tutors. Findings also show an inconsistent approach to the facilitation of these learning needs within higher and further education institutions in Ireland. Disparate attitudes between students and teaching staff in relation to the value of studying music in higher education is also evidenced in the findings. The research makes an important contribution to the field of popular music education in Ireland and provides a number of recommendations for the delivery of popular music programmes in higher and further education. 3 Acknowledgements I would like to thank the teaching staff and music students who participated in my research study over the past number of years.
    [Show full text]
  • Downloaded from Downloaded on 2020-06-06T01:34:25Z Ollscoil Na Héireann, Corcaigh
    UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann Author(s) Lawlor, James Publication date 2020-02-01 Original citation Lawlor, J. 2020. A cultural history of The Great Book of Ireland – Leabhar Mór na hÉireann. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2020, James Lawlor. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/10128 from Downloaded on 2020-06-06T01:34:25Z Ollscoil na hÉireann, Corcaigh National University of Ireland, Cork A Cultural History of The Great Book of Ireland – Leabhar Mór na hÉireann Thesis presented by James Lawlor, BA, MA Thesis submitted for the Degree of Doctor of Philosophy University College Cork The School of English Head of School: Prof. Lee Jenkins Supervisors: Prof. Claire Connolly and Prof. Alex Davis. 2020 2 Table of Contents Abstract ............................................................................................................................... 4 Declaration .......................................................................................................................... 5 Acknowledgements ............................................................................................................ 6 List of abbreviations used ................................................................................................... 7 A Note on The Great
    [Show full text]
  • Colour in the Plays of Sean O'casey
    “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face: Colour in the Plays of Sean O’Casey Ryan K Evans This thesis is submitted for the degree of Master of Philosophy August 2019 English and Creative Writing “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Declaration This thesis has not been submitted in support of an application for another degree at this or any other university. It is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated. Many of the ideas in this thesis were the product of discussion with my supervisors Tony Pinkney and Tony Sharpe. Ryan Evans Lancaster University, UK Ryan K Evans July 2019 ii “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Abstract This thesis examines the presence and use of colour in the plays of Sean O’Casey and argues that while a portion of colour in the drama is aesthetic, another portion is intentionally utilized as a means to provide additional contextual commentary, be it cultural, religious, political, or artistic in nature. This practice stems, I argue, in part because of O’Casey’s tendency towards an appreciation for beautiful things stemming from his artistic leanings.
    [Show full text]
  • Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
    Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R.
    [Show full text]
  • A Thesis Presented'to Thef~Culty of the Department of English Indiana
    The Renaissance movement in the Irish theatre, 1899-1949 Item Type Thesis Authors Diehl, Margaret Flaherty Download date 06/10/2021 20:08:21 Link to Item http://hdl.handle.net/10484/4764 THE :RENAISSANCE HOVEMENT IN THE IRISH THEATRE 1899... 1949 A Thesis Presented'to TheF~culty of the Department of English Indiana. state Teachers College >" , .. .I 'j' , ;I'" " J' r, " <>.. ~ ,.I :;I~ ~ .~" ",," , '. ' J ' ~ " ") •.;.> / ~ oj.. ., ". j ,. ".,. " l •" J, , ., " .,." , ') I In Partial Fulfillment of the ReqUi:tements for th.eDegree Mast~rofArts in Education by Margaret Flaherty' Diehl June- 1949 i . I .' , is hereby approved as counting toward the completion of the Maste:r's degree in the amount of _L hOUI's' credit. , ~-IU~~~....{.t.}.~~~f...4:~:ti::~~~'~(.{I"''-_' Chairman. Re:prese~ative of Eng /{Sh Depa~ent: b~~~ , ~... PI ACKf.iIUvJLJIDG.fI1:EThTTS The author of this thesis wishes to express her sincere thanks to the members of her committee: (Mrs.) Haze~ T. Pfennig, Ph.D., chairman; (Mrs.) Sara K. Harve,y, Ph.D.; George E. Smock, Ph.D., for their advice and assistance. She appreciates the opportunities fOr research "itlhich have been extended to her, through bo'th Indiana State Teachers College Librar,y and Fairbanks Memoria~ Librar,y. The writer also desires to thank Lennox Robinson and Sean a'Casey fOr their friendly letters" She is espeCially indebted for valuable information afforded her through correspondence with Denis Johnston. Margaret Flaherty Diehl TABLE OF CONTENTS CHAPTER PAGE I.. BEGINNING OF THE DRAMA IN IRELAND ••••• .. ". 1 Need for this study of the Irish Renaissance .. 1 The English theatre in Ireland • • e' • • " ." 1 Foupding of the Gaiety Theatre .
    [Show full text]