Memoir Le Fanu Family
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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
Irish Playwrights and the Dunedin Stage in 1862: Theatre Patrons Performing Civility
Irish Playwrights and the Dunedin Stage in 1862: Theatre Patrons Performing Civility PETER KUCH Irish Plays on the Dunedin Stage in 1862 A first-rate actor of Irish characters is indispensible on a London Stage. Cumberland’s British Theatre, 1828. Between 1862 and 1869 there were some 300 performances of Irish plays in Dunedin‘s theatres. Kuch, Irish Society for Theatre Research, 2010. A mere 14 years after it was founded by Presbyterians as a distinctly Scottish city that was ―in the world but not of the world,‖ Dunedin possessed two splendid theatres that during their first decade of operation staged some 300 performances of Irish plays and plays by Irish playwrights. How did this happen? Why Irish plays? Why Irish playwrights? And why were two theatres, with capacities of 1500 and 1330 persons, opened in Dunedin a year before Otago Boys High School was founded, five years before the foundations of First Church were laid, and seven years before the Provincial Council turned its attentions to establishing a University?1 Initially, it was the theatres that were a source of civic pride. According to an 1862 issue of the Otago Witness, Dunedin possessed ―two of the handsomest theatres in the Australian colonies.‖ 2 While there are doubtless many explanations for this rush to build theatres, the short answer is that the city was overtaken by the very world it had sought to isolate itself from. But this is an answer that invites explanation. First, it has to do with what was on offer on stage. It has been well established by theatre historians that Irish playwrights (particularly Dion Boucicault) and Irish plays (particularly comedy and melodrama) dominated the nineteenth-century stage—whether in Dublin or London or New York.3 It is also well known that, by the time the Theatre Royal and The Princess Theatre were opened in Dunedin, the ―legitimate drama‖4 had become widely if not firmly established as the secular vehicle for social and cultural improvement. -
Obituaries, Death Notices, Etc. - L
Obituaries, death notices, etc. - L Surname Forename Date of Newspaper Address Notes La Nauze Richard 13/05/1871 Omagh for more than 20 years County Surveyor of Limerick Lacey Brian 14/08/1944 St. Ita's Terrace, Newcastlewest, Co. aged 35; died from drowning Limerick Lacey Christopher, Brother 31/07/1948 Glenstal Abbey, Murroe, Co. Limerick native of Naas, first death of Benedictine monk at Glenstal, first burial in Monastery Cemetery Lacey female (Mrs.) 31/10/1785 wife of Mr. Thomas Lacey Lacey female (Mrs.) 06/06/1801 Lock Quay widow of late Thomas Lacey Lacey Francis (Mr.) 01/05/1812 of this City, apothecary Lacey Stephen 16/03/1805 The Canal, Limerick drowned Lacey Thomas 18/06/1800 Newgate Lane grocer Lacey Thomas 20/01/1810 classical tutor, died at house of Mayor, Francis Lloyd Lacey Thomas 18/09/1861 Abbey late of Dromcolloher Lacey Thomas 04/12/1902 'Lacey's Cross', Newcastle West husband of Johanna Lacey; inquest report Lacy Alicia 16/11/1836 Clare Street widow of Edy Lacy, sister of the late John Connell of this city, brewer Lacy Edy 08/12/1824 Clare Street Lacy female (Mrs.) 26/09/1785 North Strand, Limerick wife of Richard Lacy, of Leitrim, Co. Kerry Lacy Francis 10/02/1783 Ballingarry, Co. Limerick Lacy Hugh 04/05/1839 Mary Street builder Lacy J.P. 28/06/1906 Edgbaston report, Limerick native (death notice 30/6/1906) Lacy John 20/04/1789 haberdasher Surname Forename Date of Newspaper Address Notes Lacy male (Mr.) 02/06/1832 Arthur's Quay cholera Lacy Rose 11/03/1854 Mungret Street wife of Stephen Lacy Laffan Alice 15/01/1925 Killonan mother of Bartholomew Laffan, Chairman of Limerick County Council; death notice (obituary, 15/01/1925) Laffan Anne 04/05/1869 Killonan Cottage wife of Bartholomew Laffan Laffan Batt 02/06/1947 Kilonan, Co. -
By Joseph Sheridan Le Fanu
CARMILLA BY JOSEPH SHERIDAN LE FANU Irish Studies James MacKillop, Series Editor Other titles in the Irish series Collaborative Dubliners: Joyce in Dialogue Vicki Mahaffey, ed. Gender and Medicine in Ireland, 1700–1950 Margaret Preston and Margaret Ó hÓgartaigh, eds. Grand Opportunity: The Gaelic Revival and Irish Society, 1893–1910 Timothy G. McMahon Ireland in Focus: Film, Photography, and Popular Culture Eóin Flannery and Michael Griff n, eds. The Irish Bridget: Irish Immigrant Women in Domestic Service in America, 1840–1930 Margaret Lynch-Brennan Irish Theater in America: Essays on Irish Theatrical Diaspora John P. Harrington, ed. Joyce, Imperialism, and Postcolonialism Leonard Orr, ed. Making Ireland Irish: Tourism and National Identity since the Irish Civil War Eric G. E. Zuelow Memory Ireland, Volume 1: History and Modernity, and Volume 2: Diaspora and Memory Practices Oona Frawley, ed. The Midnight Court / Cúirt an Mheán Oíche Brian Merriman; David Marcus, trans.; Brian Ó Conchubhair, ed. Carmilla by Joseph Sheridan Le Fanu A CRITICAL EDITION • edited and with an introduction by Kathleen Costello-Sullivan SYRACUSE UNIVERSITY PRESS Copyright © 2013 by Syracuse University Press Syracuse, New York 13244-5290 All Rights Reserved First Edition 2013 13 14 15 16 17 18 6 5 4 3 2 1 Illustrations courtesy of the Special Collections/Research Center, Syracuse University Library. ∞ The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. For a listing of books published and distributed by Syracuse University Press, visit our website at SyracuseUniversityPress.syr.edu. -
APPENDIX. Have Extensive Schools Also Here
738 .HISTOBY . OF LIMERICK. projected, from designs by 5. J. M'Carthy, Esq., Dublia, by the Very Rev. Jsmes O'Shea, parish priest, and the parishioners. The Sister of Mercy have an admirable convent and school, and the Christian Brothers APPENDIX. have extensive schools also here. s~a~s.-Rathkede Abbey (G. W: Leech, Esq.), Castle Matrix, Beechmount (T. Lloyd, Esq , U.L.), Ba1lywillia.m (D. Mansell, Esq.), and Mount Browne (J. Browne, Ey.) There is a branch of the Provincial Bank of Ireland, adof the National PgqCJPhL CHARTERS OF LIMERICK, Bank of Ireland here. Charter granted by John ... dated 18th December, 1197-8 . ,, ,, Edward I., ,, 4th February, 1291 ,, ,, ,, Ditto ,, 6th May, 1303 ,, ,, Henry IV. ,, 26th June, 1400 ,, ,, Henry V. ,, 20th January, 1413 The History of Limerick closes appropriately with the recognition by ,, ,, ,, Henry VI. ,, 27th November, 1423 the government of Lord Palmerston, who has since been numbered ~6th ,, ,, ,, Ditto, ,, 18th November, l429 ,. ,, ,, Henry VI., ,, 26th July, 1449 the dead, of the justice and expediency of the principle of denominational ,, ,, ,, Edward VI. ,, 20th February, 1551 education, so far at least as the intimation that has been given of a liberal ,, ,, ,, Elizabeth, ,, 27th October, 1575 modification of the Queen's Culleges to meet Catholic requirements is con- ,, ,, ,, Ditto, ,, 19th March, 15b2 , Jrrmes I. ,, 8d March, 1609 cerned. We have said appropriately", because Limerick was the first Amsng the muniments of the Corporation is an Inspex. of Oliver Cromwell, dated 10th of locality in Ireland to agitate in favour of that movement, the author of February, 1657 ; and an Inspex. of Charles 11. -
Lesbianism and the Uncanny in Sheridan Le Fanu's Carmilla
Lesbianism and the Uncanny in Sheridan Le Fanu’s Carmilla Sergio Ramos Torres Trabajo de Fin de Grado en Estudios Ingleses Supervised by Constanza del Río Álvaro Diciembre 2016 Universidad de Zaragoza 0 Contents Introduction 2 1. The vampire in literature and popular culture 5 1.1 Female vampires 10 2. Lesbianism and the uncanny in Carmilla 13 2.1 Contextualisation 13 2.2 Lesbianism and the Uncanny in Carmilla 16 Conclusion 23 Works Cited 25 1 Introduction The figure of the vampire has been present in most cultures, and the meanings and feelings these supernatural creatures represent have been similar across time and space. For human beings they have been a source of fear and superstition, their significance acquiring religious connotations all over the world. The passing of time has modified this ancient horror and the myth has changed little by little, most of the time being softened, giving birth to diverse conceptions and representations that differ a lot from the evil spawn – originating in myth, legend and folklore – that ancient people were afraid of. These creatures have been represented not as part of the human being, but as a nemesis, as the “other”, and as something that is dead but, at the same time, alive, threatening the pure existence of the human by disrupting the carefully constructed borders that civilization has erected between the self and the other, the human and the animal, between life and death. They are, like Rosemary Jackson said, “our relation to death made concrete” (68) and thus, they “disrupt the crucial defining line which separates real life from the unreality of death” (69). -
Joseph Sheridan Le Fanu, an Initiator of the Psychological Thriller
MEISART, MICHELE F. Joseph Sheridan Le Fanu: An Initiator of the Psychological Thriller. (1973) Directed by: Dr. Arthur W. Dixon. Pp.100. Joseph Sheridan Le Fanu, an important figure in the world of supernatural literature, was born in Ireland and as a writer could never escape his Irish origin. In his short stories the themes as well as the characters are Irish and in his novels the atmosphere is definitely Irish. The Irish people furnished Le Fanu with a never ending source for the psychological study of characters of his novels. His power of penetration into the human mind was enhanced by his own neurosis and his personal grief (when his wife died he became a recluse). His neurosis and his grief also caused his novels to become more indepth studies of death, murder and retribution. The strength of his stories lies in the fact that they are based on his own experience. The bases for his weirdly horrible tales, specifically the novels Uncle Silas, Checkmate, Wylder's Hand and Willing to Die are the following: one, the reader shares in the hallu- cinations and premonitions of the victim, two, he also shares in the identity of the agent of terror. In supernatural literature Le Fanu is between the gothic period and the modern supernatural fiction. There are elements of both in his own stories. The natural elements, typically gothic, condition the reader psychologically. Le Fanu, deeply learned in Swedenborgianism, believed that "men are constantly surrounded by preternatural powers," represented by vegetation, the moon or a house. These preternatural influences create an effect on the characters in the stories. -
Irish Marriages, Being an Index to the Marriages in Walker's Hibernian
— .3-rfeb Marriages _ BBING AN' INDEX TO THE MARRIAGES IN Walker's Hibernian Magazine 1771 to 1812 WITH AN APPENDIX From the Notes cf Sir Arthur Vicars, f.s.a., Ulster King of Arms, of the Births, Marriages, and Deaths in the Anthologia Hibernica, 1793 and 1794 HENRY FARRAR VOL. II, K 7, and Appendix. ISSUED TO SUBSCRIBERS BY PHILLIMORE & CO., 36, ESSEX STREET, LONDON, [897. www.genespdf.com www.genespdf.com 1729519 3nK* ^ 3 n0# (Tfiarriages 177.1—1812. www.genespdf.com www.genespdf.com Seventy-five Copies only of this work printed, of u Inch this No. liS O&CLA^CV www.genespdf.com www.genespdf.com 1 INDEX TO THE IRISH MARRIAGES Walker's Hibernian Magazine, 1 771 —-1812. Kane, Lt.-col., Waterford Militia = Morgan, Miss, s. of Col., of Bircligrove, Glamorganshire Dec. 181 636 ,, Clair, Jiggmont, co.Cavan = Scott, Mrs., r. of Capt., d. of Mr, Sampson, of co. Fermanagh Aug. 17S5 448 ,, Mary = McKee, Francis 1S04 192 ,, Lt.-col. Nathan, late of 14th Foot = Nesbit, Miss, s. of Matt., of Derrycarr, co. Leitrim Dec. 1802 764 Kathcrens, Miss=He\vison, Henry 1772 112 Kavanagh, Miss = Archbold, Jas. 17S2 504 „ Miss = Cloney, Mr. 1772 336 ,, Catherine = Lannegan, Jas. 1777 704 ,, Catherine = Kavanagh, Edm. 1782 16S ,, Edmund, BalIincolon = Kavanagh, Cath., both of co. Carlow Alar. 1782 168 ,, Patrick = Nowlan, Miss May 1791 480 ,, Rhd., Mountjoy Sq. = Archbold, Miss, Usher's Quay Jan. 1S05 62 Kavenagh, Miss = Kavena"gh, Arthur 17S6 616 ,, Arthur, Coolnamarra, co. Carlow = Kavenagh, Miss, d. of Felix Nov. 17S6 616 Kaye, John Lyster, of Grange = Grey, Lady Amelia, y. -
They Were Always Doing Shakespeare: Antebellum Southern
They Were Always Doing Shakespeare: Antebellum Southern Actresses and Shakespearean Appropriation Robin O. Warren, University of Georgia Abstract Antebellum actresses performed in a wide variety of plays meant to appeal to the diversity of spectators who attended the nineteenth-century theater. Theater historians agree, though, that plays by William Shakespeare dominated standard repertory offerings. No one has recognized, however, that many of the non-Shakespearean plays actually appropriate Shakespearean plots, a phenomenon that may partly account for the popularity of these dramas. While many plays popular on Old South stages appropriated Shakespearean plots, four especially stand out for paralleling closely their early modern inspirations. Evadne (1819), by Richard Lalor Sheil, draws on Much Ado About Nothing (1600); Virginius (1820), by James Sheridan Knowles, uses Titus Andronicus (1592) as a guide; The Wife (1833), also by Knowles, follows the plot of Othello (1603); and The Honey Moon (1805), by John Tobin, corresponds to The Taming of the Shrew (1592). Evadne and Virginius stress the necessity of protecting a young, unmarried woman's purity while The Wife and The Honey Moon emphasize the importance of wifely fidelity and deference. As the experience of antebellum actresses Eliza Logan, Jane Placide, Frances Denny Drake, and Julia Dean Hayne shows, however, women who performed the lead female parts in these plays did not always live up to the expectations espoused in their stage roles; instead, they often exposed the artificiality of rigidly prescribed gender roles in their daily lives by transgressing against the very norms they affirmed on stage. In 1820, Jane Placide, a young actress from Charleston, South Carolina, debuted with Charles Gilfert's Virginia Company in John Tobin's The Honey Moon (1805), an appropriation of William Shakespeare's The Taming of the Shrew (1592). -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title "Furbish'd Remnants": Theatrical Adaptation and the Orient, 1660-1815 Permalink https://escholarship.org/uc/item/0998z0zz Author Del Balzo, Angelina Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Angelina Marie Del Balzo 2019 Ó Copyright by Angelina Marie Del Balzo 2019 ABSTRACT OF THE DISSERTATION “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 by Angelina Marie Del Balzo Doctor of Philosophy in English University of California, Los Angeles, 2019 Professor Felicity A. Nussbaum, Chair Furbish’d Remnants argues that eighteenth-century theatrical adaptations set in the Orient destabilize categories of difference, introducing Oriental characters as subjects of sympathy while at the same time defamiliarizing the people and space of London. Applying contemporary theories of emotion, I contend that in eighteenth-century theater, the actor and the character become distinct subjects for the affective transfer of sympathy, increasing the emotional potential of performance beyond the narrative onstage. Adaptation as a form heightens this alienation effect, by drawing attention to narrative’s properties as an artistic construction. A paradox at the heart of eighteenth-century theater is that while the term “adaptation” did not have a specific literary or theatrical definition until near the end of the period, in practice adaptations and translations proliferated on the English stage. -
Downloaded on 2017-02-12T14:01:46Z DP ,Too 0 OO'dtj
Title Edmund Burke and the heritage of oral culture Author(s) O'Donnell, Katherine Publication date 2000 Original citation O'Donnell, K. 2000. Edmund Burke and the heritage of oral culture. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b1306492~S0 version Access to the full text of the published version may require a subscription. Rights © 2000, Katherine O'Donnell http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1611 from Downloaded on 2017-02-12T14:01:46Z DP ,too 0 OO'DtJ Edmund Burke & the Heritage of Oral Culture Submitted by: Katherine O'Donnell Supervisor: Professor Colbert Kearney External Examiner: Professor Seamus Deane English Department Arts Faculty University College Cork National University of Ireland January 2000 I gcuimhne: Thomas O'Caliaghan of Castletownroche, North Cork & Sean 6 D6naill as Iniskea Theas, Maigh Eo Thuaidh Table of Contents Introduction - "To love the little Platoon" 1 Burke in Nagle Country 13 "Image of a Relation in Blood"- Parliament na mBan &Burke's Jacobite Politics 32 Burke &the School of Irish Oratory 56 Cuirteanna Eigse & Literary Clubs n "I Must Retum to my Indian Vomit" - Caoineadh's Cainte - Lament and Recrimination 90 "Homage of a Nation" - Burke and the Aisling 126 Bibliography 152 Introduction· ''To love the little Platoon" Introduction - "To love the little Platoon" To be attached to the subdivision, to love the little platoon we belong to in society, is the first principle (the germ as it were) ofpublic affections. -
The Irish Crokers Nick Reddan
© Nick Reddan Last updated 2 May 2021 The Irish CROKERs Nick Reddan 1 © Nick Reddan Last updated 2 May 2021 Table of Contents Table of Contents ....................................................................................................................... 2 Background ................................................................................................................................ 4 Origin and very early records ................................................................................................ 4 Acknowledgments.................................................................................................................. 5 Note ........................................................................................................................................ 5 Origin ......................................................................................................................................... 6 The Settlers ................................................................................................................................ 9 The first wave ........................................................................................................................ 9 The main group .................................................................................................................... 10 Lisnabrin and Nadrid ............................................................................................................... 15 Dublin I ...................................................................................................................................