James Joyce's Revolution
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“Am I Not of Those Who Reared / the Banner of Old Ireland High?” Triumphalism, Nationalism and Conflicted Identities in Francis Ledwidge’S War Poetry
Romp /1 “Am I not of those who reared / The banner of old Ireland high?” Triumphalism, nationalism and conflicted identities in Francis Ledwidge’s war poetry. Bachelor Thesis Charlotte Romp Supervisor: dr. R. H. van den Beuken 15 June 2017 Engelse Taal en Cultuur Radboud University Nijmegen Romp /2 Abstract This research will answer the question: in what ways does the poetry written by Francis Ledwidge in the wake of the Easter Rising reflect a changing stance on his role as an Irish soldier in the First World War? Guy Beiner’s notion of triumphalist memory of trauma will be employed in order to analyse this. Ledwidge’s status as a war poet will also be examined by applying Terry Phillips’ definition of war poetry. By remembering the Irish soldiers who decided to fight in the First World War, new light will be shed on a period in Irish history that has hitherto been subjected to national amnesia. This will lead to more complete and inclusive Irish identities. This thesis will argue that Ledwidge’s sentiments with regards to the war changed multiple times during the last year of his life. He is, arguably, an embodiment of the conflicting loyalties and tensions in Ireland at the time of the Easter Rising. Key words: Francis Ledwidge, Easter Rising, First World War, Ireland, Triumphalism, war poetry, loss, homesickness Romp /3 Table of contents Introduction ................................................................................................................................ 4 Chapter 1 History and Theory ................................................................................................... -
James Joyce and His Influences: William Faulkner and Anthony Burgess
James Joyce and His Influences: William Faulkner and Anthony Burgess An abstract of a Dissertation by Maxine i!3urke July, Ll.981 Drake University Advisor: Dr. Grace Eckley The problem. James Joyce's Ulysses provides a basis for examining and analyzing the influence of Joyce on selected works of William Faulkner and Anthony Bur gess especially in regard to the major ideas and style, and pattern and motif. The works to be used, in addi tion to Ulysses, include Faulkner's "The Bear" in Go Down, Moses and Mosquitoes and Burgess' Nothing Like the Sun. For the purpose, then, of determining to what de gree Joyce has influenced other writers, the ideas and techniques that explain his influence such as his lingu istic innovations, his use of mythology, and his stream of-consciousness technique are discussed. Procedure. Research includes a careful study of each of the works to be used and an examination of var ious critics and their works for contributions to this influence study. The plan of analysis and presentation includes, then, a prefatory section of the dissertation which provides a general statement stating the thesis of this dissertation, some background material on Joyce and his Ulysses, and a summary of the material discussed in each chapter. Next are three chapters which explain Joyce's influence: an introduction to Joyce and Ulysses; Joyce and Faulkner; and Joyce and Burgess. Thus Chapter One, for the purpose of showing how Joyce influences other writers, discusses the ideas and techniques that explain his influences--such things as his linguistic innovations, his use of mythology, and his stream-of consciousness method. -
A League of Extraordinary Gentlemen
THE ROLE OF THE GAELIC LEAGUE THOMAS MacDONAGH PATRICK PEARSE EOIN MacNEILL A League of extraordinary gentlemen Gaelic League was breeding ground for rebels, writes Richard McElligott EFLECTING on The Gaelic League was The Gaelic League quickly the rebellion that undoubtedly the formative turned into a powerful mass had given him nationalist organisation in the movement. By revitalising the his first taste of development of the revolutionary Irish language, the League military action, elite of 1916. also began to inspire a deep R Michael Collins With the rapid decline of sense of pride in Irish culture, lamented that the Easter Rising native Irish speakers in the heritage and identity. Its wide was hardly the “appropriate aftermath of the Famine, many and energetic programme of time for memoranda couched sensed the damage would be meetings, dances and festivals in poetic phrases, or actions irreversible unless it was halted injected a new life and colour DOUGLAS HYDE worked out in similar fashion”. immediately. In November 1892, into the often depressing This assessment encapsulates the Gaelic scholar Douglas Hyde monotony of provincial Ireland. the generational gulf between delivered a speech entitled ‘The Another significant factor participation in Gaelic games. cursed their memory”. Pearse the romantic idealism of the Necessity for de-Anglicising for its popularity was its Within 15 years the League had was prominent in the League’s revolutionaries of 1916 and the Ireland’. Hyde pleaded with his cross-gender appeal. The 671 registered branches. successful campaign to get Irish military efficiency of those who fellow countrymen to turn away League actively encouraged Hyde had insisted that the included as a compulsory subject would successfully lead the Irish from the encroaching dominance female participation and one Gaelic League should be strictly in the national school system. -
W. B. Yeat's Presence in James Joyce's a Portrait of The
udc 821.111-31.09 Joyce J. doi 10.18485/bells.2015.7.1 Michael McAteer Pázmány Péter Catholic University, Budapest, Hungary W. B. YEAT’S PRESENCE IN JAMES JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN Abstract In the context of scholarly re-evaluations of James Joyce’s relation to the literary revival in Ireland at the start of the twentieth century, this essay examines the significance of W.B. Yeats to A Portrait of the Artist as a Young Man. It traces some of the debates around Celtic and Irish identity within the literary revival as a context for understanding the pre-occupations evident in Joyce’s novel, noting the significance of Yeats’s mysticism to the protagonist of Stephen Hero, and its persistence in A Portrait of the Artist as a Young Man later. The essay considers the theme of flight in relation to the poetry volume that is addressed directly in the novel, Yeats’s 1899 collection, The Wind Among the Reeds. In the process, the influence of Yeats’s thought and style is observed both in Stephen Dedalus’s forms of expression and in the means through which Joyce conveys them. Particular attention is drawn to the notion of enchantment in the novel, and its relation to the literature of the Irish Revival. The later part of the essay turns to the 1899 performance of Yeats’s play, The Countess Cathleen, at the Antient Concert Rooms in Dublin, and Joyce’s memory of the performance as represented through Stephen towards the end of the novel. -
Joseph Mary Plunkett - Poems
Classic Poetry Series Joseph Mary Plunkett - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Joseph Mary Plunkett(21 November 1887 – 4 May 1916) Joseph Mary Plunkett (Irish: Seosamh Máire Pluincéid) was an Irish nationalist, poet, journalist, and a leader of the 1916 Easter Rising. <b>Background</b> Plunkett was born at 26 Upper Fitzwilliam Street in one of Dublin's most affluent neighborhoods. Both his parents came from wealthy backgrounds, and his father, George Noble Plunkett, had been made a papal count. Despite being born into a life of privilege, young Joe Plunkett did not have an easy childhood. Plunkett contracted tuberculosis at a young age. This was to be a lifelong burden. His mother was unwilling to believe his health was as bad as it was. He spent part of his youth in the warmer climates of the Mediterranean and north Africa. He was educated at the Catholic University School (CUS) and by the Jesuits at Belvedere College in Dublin and later at Stonyhurst College, in Lancashire, where he acquired some military knowledge from the Officers' Training Corps. Throughout his life, Joseph Plunkett took an active interest in Irish heritage and the Irish language, and also studied Esperanto. Plunkett was one of the founders of the Irish Esperanto League. He joined the Gaelic League and began studying with Thomas MacDonagh, with whom he formed a lifelong friendship. The two were both poets with an interest in theater, and both were early members of the Irish Volunteers, joining their provisional committee. Plunkett's interest in Irish nationalism spread throughout his family, notably to his younger brothers George and John, as well as his father, who allowed his property in Kimmage, south Dublin, to be used as a training camp for young men who wished to escape conscription in England during World War I. -
1. Introduction to Ireland (3 Credits) Instructor: Professor Kevin Whelan
1. Introduction to Ireland (3 credits) Instructor: Professor Kevin Whelan HIST 34430; ANTH 34320; IRST 24208; SOC 34123 Satisfies the University History Requirement Course description The History of Ireland 1798-2010 Evolution of Irish culture from the eighteenth century to the contemporary period; It aims to give students a foundational understanding of the cultural inheritance of the island. While organized in broadly chronological terms, it will also examine crucial thematic concerns—landscape, history, languages, economy, society, politics and government, literature, music, sport. This course explores the broad political, cultural, economic and social history of the island of Ireland from the eighteenth to the twentieth-first century. It also explores the nature of contemporary Irish culture. Themes covered include the 1798 Rebellion, Catholic Emancipation, the Great Irish Famine, emigration, the 1916 Rising and the Northern Ireland Troubles. The lectures will be supported by field trips, museum and theatre visits, and interviews with distinguished modern Irish citizens. Lectures (TBC) 1. Three revolutions (1688, 1776, 1789) and a failure 2. The 1798 Rebellion Act of Union 3. Daniel O‟Connell 4. The Great Famine 5. Post-Famine Ireland 6. The Irish Diaspora in America 7. 1916, the Civil War and Partition: North and South 8. The reciprocity of tears: The Northern Troubles 9. The Celtic Tiger: The contemporary economy 10. Politics and political parties in Ireland 11. Society and culture in contemporary Ireland 12. Understanding James Joyce 13. Sport in modern Ireland 14. Northern Ireland: The peace process 15. The Irish language now 16. History and memory in Ireland 17. From Uilleann pipes to U2: Understanding Irish music 18. -
Irish Working-Class Poetry 1900-1960
Irish Working-Class Poetry 1900-1960 In 1936, writing in the Oxford Book of Modern Verse, W.B. Yeats felt the need to stake a claim for the distance of art from popular political concerns; poets’ loyalty was to their art and not to the common man: Occasionally at some evening party some young woman asked a poet what he thought of strikes, or declared that to paint pictures or write poetry at such a moment was to resemble the fiddler Nero [...] We poets continued to write verse and read it out at the ‘Cheshire Cheese’, convinced that to take part in such movements would be only less disgraceful than to write for the newspapers.1 Yeats was, of course, striking a controversial pose here. Despite his famously refusing to sign a public letter of support for Carl von Ossietzky on similar apolitical grounds, Yeats was a decidedly political poet, as his flirtation with the Blueshirt movement will attest.2 The political engagement mocked by Yeats is present in the Irish working-class writers who produced a range of poetry from the popular ballads of the socialist left, best embodied by James Connolly, to the urban bucolic that is Patrick Kavanagh’s late canal-bank poetry. Their work, whilst varied in scope and form, was engaged with the politics of its time. In it, the nature of the term working class itself is contested. This conflicted identity politics has been a long- standing feature of Irish poetry, with a whole range of writers seeking to appropriate the voice of ‘The Plain People of Ireland’ for their own political and artistic ends.3 1 W.B. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
The New York James Joyce Society
The New York James Joyce Society ZACK BOWEN As a married graduate teaching assistant with a child and working on a masters degree in English, my principal income in 1958 was only about twenty percent of what it had been in my former calling, the used car business. What psychic income there was in the auto- mobile business died with my father the year after I got my B.A., and when I returned to graduate school, I needed even more urgently to continue working part time as a singer and producer of radio com- mercials until I could land a full-time teaching job. At Temple Uni- versity I took Joyce with Mabel Worthington, who at the time was working on an index for her co-authored book with Matthew Hodg- art, Song in the Works of James Joyce. Since I had access to a studio in the Temple University radio station on Tuesday nights (making singing commercials for the Clements agency), and to professional Philadel- phia actors who could do Irish accents, I offered to make a demon- stration tape of a chapter of Ulysses with the actual music referred to in the text as background for Bloom’s thoughts. Mabel agreed to accept it in lieu of a term paper and I was on the way to a career glossing Joyce’s musical references. When I completed the M.A. at Temple I got a job at the State Uni- versity of New York, College of Fredonia, and a scholarship to com- plete my Ph.D. at Buffalo, a major Joyce manuscript repository, where I was privileged to work with Tom Connolly. -
Poems of the Irish Revolutionary Brotherhood
POEMS OF THE ISH REVOLUTIONARY BROTHERHOOD THOMAS MacDONAGH P. H. PEARSE (PADRAIG MacPIARAIS) JOSEPH MARY PLUNKETT SIR ROGER CASEMENT library university tufts Digitized by the Internet Archive in 2016 https://archive.org/details/poemsofirishrevo00colu_0 POEMS OF THE IRISH REVOLUTIONARY BROTHERHOOD POEMS OF THE IRISH REVOLUTIONARY BROTHERHOOD THOMAS MacDONAGH P. H. PEARSE (Padraic MacPiarais) JOSEPH MARY PLUNKETT SIR ROGER CASEMENT Edited by Padraic Cplum AND Edward J. O’Brien Boston Small, Maynard & Company 1916 Copyright, 1916 By Small, Maynard & Company (Incorporated) : CONTENTS Page Introduction vii Prologue: Ways of War. By Lionel Johnson i Thomas MacDonagii: John-John 3 Song from the Irish .... 6 “ ” Envoi to Songs of Myself . 8 Of a Poet Patriot . .11 Death 12 Requies 13 Though Silence Be the Meed of Death 14 Wishes for My Son . .15 O Star of Death . .18 Padraic H. Pearse (Padraic Mac- Piarais) Ideal 24 To Death 26 The World hath Conquered . 27 CONTENTS Page The Dirge of Oliver Grace . 28 On the Fall of the Gael . .33 Joseph Mary Plunkett: White Dove of the Wild Dark Eyes . 36 The Glories of the World Sink Down in Gloom 37 When all the Stars Become a Memory 39 Poppies 40 The Dark Way 41 The Eye-Witness . .44 I See the His Blood upon Rose . 47 1847-1891 48 1867 49 The Stars Sang in God’s Garden . 50 Our Heritage 51 Sir Roger Casement: In the Streets of Catania . .52 Hamilcar Barca . -54 Epilogue: The Song of Red Hanrahan. By W . B. Yeats 56 Notes by P. H. Pearse . .58 Bibliography . .60 INTRODUCTION The years that brought maturity to the three poets who were foremost to sign, and foremost to take arms to assert, Ireland’s Declaration of Inde- pendence, may come to be looked back on as signal days in Irish history. -
James Joyce, Samuel Beckett, Arno Schmidt Friedhelm Rathjen In
THE MAGIC TRIANGLE: James Joyce, Samuel Beckett, Arno Schmidt Friedhelm Rathjen Beckett's work looks entirely different from Joyce's, but this very dissimilarity is the result of Beckett's connection to Joyce. The dynamics at play here can be understood by applying Giordano Bruno's principle of the identity of opposites and further illustrated by comparing Beckett's reactions to Joyce to that of the German novelist Amo Schmidt. The main question is: why does Beckett, under standing and admiring Joyce's aims and instruments so well, tum away from Joyce's work, while Schmidt, misreading fundamental principles of Joyce's work and disliking some of its vital features, turns more and more towards Joyce? There are similarities between Beckett and Schmidt, too, but these have scarcely anything to do with the Joycean impact. In his famous German letter of 193 7, Beckett sets his own concept of a "literature of the unword" against Joyce's "apotheosis of the word". Beckett declares that Joyce's position has nothing to do with his own, "[ u ]nless perhaps Ascension to Heaven and Descent to Hell are somehow one and the same" (1983b, 173, 172). Beckett discussed just such an identity of opposites in the earlier "Dante ... Bruno.Vico . .Joyce", in which he sums up Bruno's principle as follows: "The maxima and minima of particular contraries are one and indifferent. [ ... ] The maximum of cor ruption and the minimum of generation are identical: in principle, cor ruption is generation" (1983b, 21). At least metaphorically, Bruno's prin ciple can be said to fit the Joyce-Beckett relationship: The maximum of Beckett and the minimum of Joyce are identical: in principle, Beckett is Joyce. -
Thomeas Macdonagh
Thomeas MacDonagh (This article is part of an essay written by Rev. Gerard Rice C.C., St Patrick’s Parish 1965) for St. Kieran’s College Record LIKE MANY other Irish patriots, Thomas MacDonagh was of mixed ancestry. His father, Joseph, a Roscommon man whose own father had been a physical force man, had an understandable distrust of patriots. Joseph, given Latin and some education by a priest-uncle went to Marlborough Training College to become a teacher. In 1867, now a teacher in Cloghan, Co. Offaly, he met and married the principal teacher there, Mary Parker, a convert from Unitarianism whose father had come from England to Trinity College, Dublin, as a compositor in Greek at the University Press. She was musical, interested in painting, verse and Victorian music in a rather un-Gaelic way. In time, they came to Cloughjordan, Co. Tipperary, where their fourth child, Thomas, was born in 1878. Thomas was sent to Rockwell College in 1892, with the hope, if things developed in that way, of eventually joining the Holy Ghost Order. It was the custom for such boys to remain on for four years after completing the secondary school course as prefect teachers before going to France to enter the novitiate. MacDonagh remained five years teaching classics, and while there he began to read widely in English, French and Latin literature. He developed a home-given interest in the organ and began seriously to write verse. Deciding that his was not a vocation to the religious life, he left Rockwell to come as a secondary teacher to St.