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Manx Gaelic and Physics, a Personal Journey, by Brian Stowell
keynote address Editors’ note: This is the text of a keynote address delivered at the 2011 NAACLT conference held in Douglas on The Isle of Man. Manx Gaelic and physics, a personal journey Brian Stowell. Doolish, Mee Boaldyn 2011 At the age of sixteen at the beginning of 1953, I became very much aware of the Manx language, Manx Gaelic, and the desperate situation it was in then. I was born of Manx parents and brought up in Douglas in the Isle of Man, but, like most other Manx people then, I was only dimly aware that we had our own language. All that changed when, on New Year’s Day 1953, I picked up a Manx newspaper that was in the house and read an article about Douglas Fargher. He was expressing a passionate view that the Manx language had to be saved – he couldn’t understand how Manx people were so dismissive of their own language and ignorant about it. This article had a dra- matic effect on me – I can say it changed my life. I knew straight off somehow that I had to learn Manx. In 1953, I was a pupil at Douglas High School for Boys, with just over two years to go before I possibly left school and went to England to go to uni- versity. There was no university in the Isle of Man - there still isn’t, although things are progressing in that direction now. Amazingly, up until 1992, there 111 JCLL 2010/2011 Stowell was no formal, official teaching of Manx in schools in the Isle of Man. -
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”. -
Pressreader Newspaper Titles
PRESSREADER: UK & Irish newspaper titles www.edinburgh.gov.uk/pressreader NATIONAL NEWSPAPERS SCOTTISH NEWSPAPERS ENGLISH NEWSPAPERS inc… Daily Express (& Sunday Express) Airdrie & Coatbridge Advertiser Accrington Observer Daily Mail (& Mail on Sunday) Argyllshire Advertiser Aldershot News and Mail Daily Mirror (& Sunday Mirror) Ayrshire Post Birmingham Mail Daily Star (& Daily Star on Sunday) Blairgowrie Advertiser Bath Chronicles Daily Telegraph (& Sunday Telegraph) Campbelltown Courier Blackpool Gazette First News Dumfries & Galloway Standard Bristol Post iNewspaper East Kilbride News Crewe Chronicle Jewish Chronicle Edinburgh Evening News Evening Express Mann Jitt Weekly Galloway News Evening Telegraph Sunday Mail Hamilton Advertiser Evening Times Online Sunday People Paisley Daily Express Gloucestershire Echo Sunday Sun Perthshire Advertiser Halifax Courier The Guardian Rutherglen Reformer Huddersfield Daily Examiner The Independent (& Ind. on Sunday) Scotland on Sunday Kent Messenger Maidstone The Metro Scottish Daily Mail Kentish Express Ashford & District The Observer Scottish Daily Record Kentish Gazette Canterbury & Dist. IRISH & WELSH NEWSPAPERS inc.. Scottish Mail on Sunday Lancashire Evening Post London Bangor Mail Stirling Observer Liverpool Echo Belfast Telegraph Strathearn Herald Evening Standard Caernarfon Herald The Arran Banner Macclesfield Express Drogheda Independent The Courier & Advertiser (Angus & Mearns; Dundee; Northants Evening Telegraph Enniscorthy Guardian Perthshire; Fife editions) Ormskirk Advertiser Fingal -
Celts and Celtic Languages
U.S. Branch of the International Comittee for the Defense of the Breton Language CELTS AND CELTIC LANGUAGES www.breizh.net/icdbl.htm A Clarification of Names SCOTLAND IRELAND "'Great Britain' is a geographic term describing the main island GAIDHLIG (Scottish Gaelic) GAEILGE (Irish Gaelic) of the British Isles which comprises England, Scotland and Wales (so called to distinguish it from "Little Britain" or Brittany). The 1991 census indicated that there were about 79,000 Republic of Ireland (26 counties) By the Act of Union, 1801, Great Britain and Ireland formed a speakers of Gaelic in Scotland. Gaelic speakers are found in legislative union as the United Kingdom of Great Britain and all parts of the country but the main concentrations are in the The 1991 census showed that 1,095,830 people, or 32.5% of the population can Northern Ireland. The United Kingdom does not include the Western Isles, Skye and Lochalsh, Lochabar, Sutherland, speak Irish with varying degrees of ability. These figures are of a self-report nature. Channel Islands, or the Isle of Man, which are direct Argyll and Bute, Ross and Cromarly, and Inverness. There There are no reliable figures for the number of people who speak Irish as their dependencies of the Crown with their own legislative and are also speakers in the cities of Edinburgh, Glasgow and everyday home language, but it is estimated that 4 to 5% use the language taxation systems." (from the Statesman's handbook, 1984-85) Aberdeen. regularly. The Irish-speaking heartland areas (the Gaeltacht) are widely dispersed along the western seaboards and are not densely populated. -
What's It Like to Be Black and Irish?
“What’s it like to be black and Irish?” “Like a pint of Guinness.” The above quote is taken from an interview with Phil Lynott, the charismatic lead singer of the Celtic rock band Thin Lizzy, on Gay Byrne’s ‘The Late Late Show’. Lynott’s often playful and bold responses to such questions about his identity served to mask his overwhelming feelings of insecurity and ambivalent sense of belonging. As an illegitimate black child brought up in the 1950s in a strict Catholic family in Crumlin, a working-class district of Dublin, Lynott was seen to have a “paradoxical personality” (Bridgeman, qtd. in Thomson 4): his upbringing imbued him “with an acute sense of national and gender identity” (Smyth 39), yet his skin color and illegitimacy made him the target of racial and social abuse in a predominantly white and conservative Ireland. For Lynott, becoming a rockstar offered an opportunity to reinvent himself and be whoever he wanted to be. While he played up to the rock and roll lifestyle in which he was embedded, Lynott is often considered to have been a man trapped inside a caricature (Thomson 301). Geldof (qtd. in Putterford 182) believes that this rocker persona was Lynott’s ultimate downfall and led to his untimely death at just 36 years of age in 1986. For all his swagger and bravado, behind the mask, Lynott was a troubled, young man searching for a place to belong. While many books have been written about the life of Phil Lynott (e.g. Putterford; Lynott; Thomson), few have drawn attention to the notion of identity and the way in which music provided Lynott with an outlet to explore his self. -
Enforcement Decision Series (No
ENFORCEMENT DECISION SERIES (NO. E/05/001) Competition Act 2002 Decision of The Competition Authority (Case COM/05/03) The alleged predation by the Drogheda Independent Company Limited in the market for advertising in local newspapers in the greater Drogheda area Date of Decision: 7th December 2004 EXECUTIVE SUMMARY The Competition Authority (“the Authority”) has taken the view that alleged predatory conduct by the Drogheda Independent Company Limited (“the DIC”) does not breach the Competition Act 2002. This view is taken on the basis that the DIC is not dominant nor could its alleged conduct constitute an abuse. The alleged conduct is arguably pro-consumer and more indicative of intense competition in the market than predatory conduct by a dominant undertaking. The Authority’s investigation was prompted by complaints from the publisher of the Drogheda Leader (“the Leader”) alleging that the DIC was abusing a dominant position by: launching the Drogheda Independent Weekend Extra (“the Extra”) in 1997, selling advertising below cost since 1997, and selectively discounting the price of advertising in the Extra during January and February 2003. The Authority rejected the first two of these allegations on the basis that the DIC’s actions could not plausibly be considered as predation and the theory of predation was inconsistent with market facts. The Authority therefore only outlines in detail its analysis of the allegation of below cost selling of advertising space in the Extra during early 2003 in this decision note. The Authority considers that the relevant market in which the DIC competes is the market for advertising in local newspapers in the greater Drogheda area. -
Oswestry, Hay-On-Wye and Berwick-Upon-Tweed: Football Fandom, Nationalism and National Identity Across the Celtic Borders
Oswestry, Hay-on-Wye and Berwick-upon-Tweed: Football fandom, nationalism and national identity across the Celtic borders Robert Bevan School of Welsh Cardiff University 2016 This thesis is submitted to the School of Welsh, Cardiff University in partial fulfilment of the requirements for the degree of PhD. All rights reserved. 1 Form: PGR_Submission_2014 NOTICE OF SUBMISSION OF THESIS FORM: POSTGRADUATE RESEARCH APPENDIX 1: Specimen layout for Thesis Summary and Declaration/Statements page to be included in a Thesis DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of ………………………… ( PhD) Signed ………………………………………… (candidate) Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. -
Revisiting Heslinga's 'The Irish Border As a Cultural Divide'
Centre for International Borders Research Papers produced as part of the project Mapping frontiers, plotting pathways: routes to North-South cooperation in a divided island NATIONALIST MYTHS: REVISITING HESLINGA’S “THE IRISH BORDER AS A CULTURAL DIVIDE” Kevin Howard Project supported by the EU Programme for Peace and Reconciliation and administered by the Higher Education Authority, 2004-06 WORKING PAPER 16 NATIONALIST MYTHS: REVISITING HESLINGA’S “THE IRISH BORDER AS A CULTURAL DIVIDE” Kevin Howard MFPP Working Papers No. 16, 2006 (also printed as IBIS working paper no. 66) © the author, 2006 Mapping Frontiers, Plotting Pathways Working Paper No. 16, 2006 (also printed as IBIS working paper no. 66) Institute for British-Irish Studies Institute of Governance ISSN 1649-0304 Geary Institute for the Social Sciences Centre for International Borders Research University College Dublin Queen’s University Belfast ABSTRACT BIOGRAPHICAL INFORMATION NATIONALIST MYTHS: REVISITING HESLINGA’S Kevin Howard is a lecturer in politics and sociology in Dundalk Institute of Technol- “THE IRISH BORDER AS A CULTURAL DIVIDE” ogy’s Department of Humanities. He was formerly a post-doctoral researcher on the Mapping frontiers, plotting pathways project at the Institute for British-Irish Studies at This paper offers a critique of MV Heslinga’s argument that the geographical struc- University College Dublin. His research interests are in the general fields of ethnic ture of these islands has for millennia served to funnel interchange in an east-west mobilisation and the politics of identity. His most recent publication is “Constructing direction, resulting in a deeply embedded cultural cleavage between the northern the Irish of Britain: ethnic identification and the 2001 UK censuses”, Ethnic and ra- and southern regions of both Ireland and Great Britain. -
Maltese Immigrants in Detroit and Toronto, 1919-1960
Graduate Theses, Dissertations, and Problem Reports 2018 Britishers in Two Worlds: Maltese Immigrants in Detroit and Toronto, 1919-1960 Marc Anthony Sanko Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Sanko, Marc Anthony, "Britishers in Two Worlds: Maltese Immigrants in Detroit and Toronto, 1919-1960" (2018). Graduate Theses, Dissertations, and Problem Reports. 6565. https://researchrepository.wvu.edu/etd/6565 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Britishers in Two Worlds: Maltese Immigrants in Detroit and Toronto, 1919-1960 Marc Anthony Sanko Dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Kenneth Fones-Wolf, Ph.D., Chair James Siekmeier, Ph.D. Joseph Hodge, Ph.D. Melissa Bingmann, Ph.D. Mary Durfee, Ph.D. Department of History Morgantown, West Virginia 2018 Keywords: Immigration History, U.S. -
A Post-Nationalist History of Television in Ireland
A Post-Nationalist History of Television in Ireland “Brennan’s book does what good history writing should do: it tells compelling stories of the past, while also helping us to understand the present and look ahead to the future. The critical focus on audience memories is especially inno- vative, and makes for engaging, thought-provoking reading. This should be an essential text, not just in Ireland, but—in keeping with its ‘post-nationalist’ approach—for an international readership.” —David Buckingham, Loughborough University, UK “This is a clever and original book which narrates the history of Irish television through the experience of its viewers. Because it is so different, and so well writ- ten and insightful, it will be of wide interest to people outside Ireland engaged in studying cultural history or investigating media infuence.” —James Curran, Goldsmiths, University of London, UK “Modern media are now so over-arching, complex, and interdependent that any fresh analysis faces extraordinary challenges. Traditional approaches generally give pride of place to the power of the media—real or assumed. This book breaks new ground, and has a sinewy, research-rich and original basis for its fascinating approach to media historiography. This not only poses a highly relevant challenge to more narrowly focused academic approaches, including the historical ones, but will enrich public understanding of the media generally.” —John Horgan, Dublin City University, Ireland “A creative re-examination of the history of television in Ireland that describes and analyses the way this new medium penetrated into domestic life and shaped people’s lifestyles, attitudes and understanding of themselves.” —Tom Inglis, University College Dublin, Ireland “This is an original, theoretically sophisticated and historically informed book. -
Buffalo Irish Center Dedicates Mural, Mise Eire
Buffalo Irish Times - 1 - October Edition 2018 $2.00BUFFALOIRISHTIMES www.buffaloirishcenter.com Inside This Edition: Dargans dance Music line-up Halloween- with Riverdance at Buffalo The Celtic Feast in Dublin Irish Center of Samhain PAGE 2 PAGE 3 PAGE 16 October 2018 Gaelic American Athletic Association of Buffalo, NY Buffalo Irish Center dedicates mural, Mise Eire On Sat. Sept. 22, the Buffalo Irish Center Mayo to name but a few. Carpenters, elec- this project evolved. orand Erin Reilly Terry Walkowski John mural, Mise Eire was dedicated. Although tricians, brick layers, cooks, musicians and The stone tower campaign has contribut- Klaffka Chris Hoag. They worked relent- WNY is alive with public art murals, the Buf- dancers shared their talent and time to build ed over $50,000 to the Center—more than lessly on many of the hottest days in memory. falo Irish Center Mural Project, Mise Erie was a better home for family, a better city for all enough to cover mural costs, lighting and Judi’s vision translated the committee sugges- unique in purpose and funding. Created to and a heritage center that would become the security. We thank you for supporting the tions into the story we see today. Thank You for sharing your talent with the BIC. share the contributions made by this immi- fulcrum for the Irish American community to campaign and standing with us as we strive to Special thanks to the BIC Mural committee grant community, the project was funded by learn, share and celebrate our Irish Heritage. keep the traditions alive. who worked for almost 2 years to plan and im- love, respect, honor and friendship. -
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].