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Limits of Orality and Textuality in Ciaran Carson's Poetry
Grzegorz Czemiel Instytut Anglistyki Wydział Neofilologii Uniwersytet Warszawski Limits of orality and textuality in Ciaran Carson’s poetry praca doktorska napisana pod kierunkiem prof. dr. hab. Jerzego Jarniewicza Warszawa, 2012 Table of contents Introduction .............................................................................................................................. 4 Chapter One – The dialectics of orality and textuality ....................................................... 18 I Aspects of orality in The Irish For No ............................................................................ 18 The turn ........................................................................................................................... 18 The revival of the oral tradition .................................................................................... 19 The dialectic .................................................................................................................... 21 The Irish For No ............................................................................................................. 23 The ends of discourse ..................................................................................................... 28 Locality and the reservoir .............................................................................................. 32 The image of speech ....................................................................................................... 34 Ying-yang, I-Ching and politics ................................................................................... -
Issue 6 April 2017 a Literary Pamphlet €4
issue 6 april 2017 a literary pamphlet €4 —1— Denaturation Jean Bleakney from selected poems (templar poetry, 2016) INTO FLIGHTSPOETRY Taken on its own, the fickle doorbell has no particular score to settle (a reluctant clapper? an ill-at-ease dome?) were it not part of a whole syndrome: the stubborn gate; flaking paint; cotoneaster camouflaging the house-number. Which is not to say the occupant doesn’t have (to hand) lubricant, secateurs, paint-scraper, an up-to-date shade card known by heart. It’s all part of the same deferral that leaves hanging baskets vulnerable; although, according to a botanist, for most plants, short-term wilt is really a protective mechanism. But surely every biological system has its limits? There’s no going back for egg white once it’s hit the fat. Yet, some people seem determined to stretch, to redefine those limits. Why are they so inclined? —2— INTO FLIGHTSPOETRY Taken on its own, the fickle doorbell has no particular score to settle by Thomas McCarthy (a reluctant clapper? an ill-at-ease dome?) were it not part of a whole syndrome: the stubborn gate; flaking paint; cotoneaster Tara Bergin This is Yarrow camouflaging the house-number. carcanet press, 2013 Which is not to say the occupant doesn’t have (to hand) lubricant, secateurs, paint-scraper, an up-to-date Jane Clarke The River shade card known by heart. bloodaxe books, 2015 It’s all part of the same deferral that leaves hanging baskets vulnerable; Adam Crothers Several Deer although, according to a botanist, carcanet press, 2016 for most plants, short-term wilt is really a protective mechanism. -
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. -
Table of Contents (Pdf)
Contents Poetry Ireland Review 123 Eavan Boland 5 editorial Nan Cohen 7 a liking for clocks Eamon McGuinness 8 a gift Afric McGlinchey 9 in an instant of refraction and shadow Mara Bergman 10 the night we were dylan thomas Joseph Horgan 11 art history of emigration Maria Johnston 12 review: michael longley, john montague Harry Clifton 17 thérèse and the jug Simon West 18 on a trip to van diemen’s land Maresa Sheehan 20 our last day Niamh Boyce 21 hans ardently collects patients’ art work Alan Titley 22 maolra seoighe Proinsias Ó Drisceoil 23 review: biddy jenkinson, aifric mac aodha John D Kelly 27 the red glove Eva Bourke 28 small railway stations Catherine Phil MacCarthy 29 legacies of empire Richard W Halperin 30 the beach, malahide Matt Kirkham 31 kurt responds to adele’s call to remove a spider from the bathtub Susan Lindsay 32 when they’ve grown another me Jaki McCarrick 34 review: pete mullineaux, noel duffy, patrick moran Stav Poleg 39 listen, you have to read in a foreign language Noel Monahan 40 two women at a window Stephen Spratt 41 subjectivity AB Jackson 42 the mermayd Cathi Weldon 43 in the key of alzheimer’s John F Deane 44 old bones June Wentland 46 ‘their whiteness bears no relation to laundry ...’ Louis Mulcahy 47 potadóireacht na caolóige Harry Clifton 48 review: michael o’loughlin Matt Bryden 52 the lookout Orla Martin 53 the poets Catullus 54 ‘if you’re lucky you’ll dine well’ John Sewell 55 being alive Tess Adams 56 i hate my stinking therapist Patrick Holloway 57 barrage Eleanor Rees 58 st. -
Samuel Beckett (1906- 1989) Was Born in Dublin. He Was One of the Leading Dramatists and Writers of the Twentieth Century. in Hi
Samuel Beckett (1906- 1989) was born in Dublin. He was one of the leading t dramatists and writers of the twentieth century. In his theatrical images and t prose writings, Beckett achieved a spare beauty and timeless vision of human suffering, shot through with dark comedy and humour. His 1969 Nobel Prize for Literature citation praised him for ‘a body of work that in new forms of fiction and the theatre has transmuted the destitution of modern man into his exaltation’. A deeply shy and sensitive man, he was often kind and generous both to friends and strangers. Although witty and warm with his close friends, he was intensely private and refused to be interviewed or have any part in promoting his books or plays. Yet Beckett’s thin angular countenance, with its deep furrows, cropped grey hair, long beak- like nose and gull-like eyes is one of the iconic faces of the twentieth century. Beckett himself acknowledged the impression his Irish origin left on his imagination. Though he spent most of his life in Paris and wrote in French as well as English, he always held an Irish passport. His language and dialogue have an Irish cadence and syntax. He was influenced by Becke many of his Irish forebears, Jonathan Swift, J.M. Synge, William and Jack Butler Yeats, and particularly by his friend and role model, James Joyce. When a journalist asked Beckett if he was English, he replied, simply, ‘Au contraire’. Family_ Beckett was born on Good Friday, 13th April 1906, in the affluent village of Foxrock, eight miles south of Dublin. -
Irish Studies Around the World – 2020
Estudios Irlandeses, Issue 16, 2021, pp. 238-283 https://doi.org/10.24162/EI2021-10080 _________________________________________________________________________AEDEI IRISH STUDIES AROUND THE WORLD – 2020 Maureen O’Connor (ed.) Copyright (c) 2021 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction Maureen O’Connor ............................................................................................................... 240 Cultural Memory in Seamus Heaney’s Late Work Joanne Piavanini Charles Armstrong ................................................................................................................ 243 Fine Meshwork: Philip Roth, Edna O’Brien, and Jewish-Irish Literature Dan O’Brien George Bornstein .................................................................................................................. 247 Irish Women Writers at the Turn of the 20th Century: Alternative Histories, New Narratives Edited by Kathryn Laing and Sinéad Mooney Deirdre F. Brady ..................................................................................................................... 250 English Language Poets in University College Cork, 1970-1980 Clíona Ní Ríordáin Lucy Collins ........................................................................................................................ 253 The Theater and Films of Conor McPherson: Conspicuous Communities Eamon -
A Filmmakers' Guide to Distribution and Exhibition
A Filmmakers’ Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition Written by Jane Giles ABOUT THIS GUIDE 2 Jane Giles is a film programmer and writer INTRODUCTION 3 Edited by Pippa Eldridge and Julia Voss SALES AGENTS 10 Exhibition Development Unit, bfi FESTIVALS 13 THEATRIC RELEASING: SHORTS 18 We would like to thank the following people for their THEATRIC RELEASING: FEATURES 27 contribution to this guide: PLANNING A CINEMA RELEASE 32 NON-THEATRIC RELEASING 40 Newton Aduaka, Karen Alexander/bfi, Clare Binns/Zoo VIDEO Cinemas, Marc Boothe/Nubian Tales, Paul Brett/bfi, 42 Stephen Brown/Steam, Pamela Casey/Atom Films, Chris TELEVISION 44 Chandler/Film Council, Ben Cook/Lux Distribution, INTERNET 47 Emma Davie, Douglas Davis/Atom Films, CASE STUDIES 52 Jim Dempster/bfi, Catharine Des Forges/bfi, Alnoor GLOSSARY 60 Dewshi, Simon Duffy/bfi, Gavin Emerson, Alexandra FESTIVAL & EVENTS CALENDAR 62 Finlay/Channel 4, John Flahive/bfi, Nicki Foster/ CONTACTS 64 McDonald & Rutter, Satwant Gill/British Council, INDEX 76 Gwydion Griffiths/S4C, Liz Harkman/Film Council, Tony Jones/City Screen, Tinge Krishnan/Disruptive Element Films, Luned Moredis/Sgrîn, Méabh O’Donovan/Short CONTENTS Circuit, Kate Ogborn, Nicola Pierson/Edinburgh BOXED INFORMATION: HOW TO APPROACH THE INDUSTRY 4 International Film Festival, Lisa Marie Russo, Erich BEST ADVICE FROM INDUSTRY PROFESSIONALS 5 Sargeant/bfi, Cary Sawney/bfi, Rita Smith, Heather MATERIAL REQUIREMENTS 5 Stewart/bfi, John Stewart/Oil Factory, Gary DEALS & CONTRACTS 8 Thomas/Arts Council of England, Peter Todd/bfi, Zoë SHORT FILM BUREAU 11 Walton, Laurel Warbrick-Keay/bfi, Sheila Whitaker/ LONDON & EDINBURGH 16 article27, Christine Whitehouse/bfi BLACK & ASIAN FILMS 17 SHORT CIRCUIT 19 Z00 CINEMAS 20 The editors have made every endeavour to ensure the BRITISH BOARD OF FILM CLASSIFICATION 21 information in this guide is correct at the time of GOOD FILMS GOOD PROGRAMMING 22 going to press. -
Female Ulster Poets and Sexual Politics
Colby Quarterly Volume 27 Issue 1 March Article 3 March 1991 "Our Lady, dispossessed": Female Ulster Poets and Sexual Politics Jacqueline McCurry Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 27, no.1, March 1991, p.4-8 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. McCurry: "Our Lady, dispossessed": Female Ulster Poets and Sexual Politics "Our1/Our Lady, dispossessed": Female Ulster Poets and Sexual Politics by JACQUELINE MCCURRY OETRY AND POLITICS, like church and state, should be separated," writes P Belfast critic Edna Longley (185); in Eire and in Northern Ireland this is not the case: the marriage of church and state in the Republic has resulted in constitutional bans on divorce and on abortion; Northern Ireland's Scots Presbyterian majority continues to preventminority Irish-Catholic citizens from having full participationin society. Butwhile mencontinue to control church and state, women have begun to raise their voices in poetry and in protest. Northern Ireland's new poets, through the 1960s and 1970s, were exclusively male: Jan1es Simmons, Seamus Heaney, Michael Longley, Derek Mahon, Paul Muldoon, Seamus Deane, Frank Ormsby, Tom Paulin, and Ciaran Carson dominated the literary scene until the early 1980s. In 1982 Medbh McGuckian published her first book ofpoetry. Since then, she has published two additional collections and achieved international fame, while younger women poets like Janet Shepperson and Ruth Hooley have made their debuts in print. -
Irish Bands of the 60S & 70S | Sample Answer
Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”. -
The Early Work of Austin Clarke the Early Work (1916-1938)
THE EARLY WORK OF AUSTIN CLARKE THE EARLY WORK (1916-1938) OF AUSTIN CLARKE By MAURICE RIORDAN, M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University March 1981 DOCTOR OF PHILOSOPHY (1981) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: The Early Work (1916-1938) of Austin Clarke. AUTHOR: Maurice Riordan, B.A. (Cork) M.A. (Cork) SUPERVISOR: Dr. Brian John NUMBER OF Fll.GES: vi, 275 ii ABSTRACT Austin Clarke dedicated himself to the ideal of an independent Irish literature in English. This dedication had two principal consequences for his work: he developed a poetic style appropriate to expressing the Irish imagination, and he found inspiration in the matter of Ireland, in hex mythology and folklore, in her literary, artistic and __ religious traditions, and in the daily life of modern Ireland. The basic orientation of Clarke's work determines the twofold purpose of this thesis. It seeks to provide a clarifying background for his poetry, drama and fiction up to 1938; and, in examining the texts in their prope.r context, it seeks to reveal the permanent and universal aspects of his achievement. Clarke's early development in response to the shaping influence of the Irish Revival is examined in the opening chapter. His initial interest in heroic saga is considered, but, principally, the focus is on his effort to establish stylistic links between the Anglo-Irish and the Gaelic traditions, an effort that is seen to culminate with his adoption of assonantal verse as an essential element in his poetic technique. -
HEANEY, SEAMUS, 1939-2013. Seamus Heaney Papers, 1951-2004
HEANEY, SEAMUS, 1939-2013. Seamus Heaney papers, 1951-2004 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Heaney, Seamus, 1939-2013. Title: Seamus Heaney papers, 1951-2004 Call Number: Manuscript Collection No. 960 Extent: 49.5 linear feet (100 boxes), 3 oversized papers boxes (OP), and AV Masters: 1 linear foot (2 boxes) Abstract: Personal papers of Irish poet Seamus Heaney consisting mostly of correspondence, as well as some literary manuscripts, printed material, subject files, photographs, audiovisual material, and personal papers from 1951-2004. Language: Materials entirely in English. Administrative Information Restrictions on access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland.