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Daddy, Daddy/Mammy, Mammy: Sylvia Plath and Thomas Kinsella Andrew Browne, National University of Ireland, Galway
Plath Profiles 50 Daddy, Daddy/Mammy, Mammy: Sylvia Plath and Thomas Kinsella Andrew Browne, National University of Ireland, Galway In his memoir The Kick: a Life among Writers , Richard Murphy recalls Thomas and Eleanor Kinsella joining Sylvia Plath, Ted Hughes and himself in Ireland (Murphy, 226-27). Kinsella softens any profound inferences from this meeting in a 1989 interview with Dennis O’Driscoll. In response to O’Driscoll’s comment on the ‘torrid atmosphere’ of the meeting Kinsella says: It doesn’t strike me in retrospect as having been very torrid. It was just a couple of people having trouble. It didn’t have the heavy implications that her subsequent suicide gave it. We went out fishing and, as far as I am concerned, those fish coming up on the hooks were the exciting thing. But we did enjoy her company, and we did drive her back to Dublin; and that’s as much as I remember of it. (O’Driscoll, 59) This remark does not support any spectacular influence between Kinsella and Plath, and this critic is in no position to infer a direct impact upon Kinsella’s work from Plath’s, yet this essay will show connections between Plath’s and Kinsella’s poetry in their psychological imagery. I will also highlight differences while making certain assumptions about the way images of the masculine and feminine are interrogated, and how they impact their personal lives. There is a significant influence from Lowell’s work and there are resonances between the confessional style and parts of Kinsella’s oeuvre. -
The Gallery Press
The Gallery Press The Gallery Press’s contribu - The Gallery Press has an unrivalled track record in publishing the tion to the cultural life of this first and subsequent collections of poems by now established Irish country is ines timable. The title poets such as Eiléan Ní Chuilleanáin, Eamon Grennan, ‘national treasure’ is these days Michael Coady, Dermot Healy, Frank McGuinness and Peter conferred, facetiously for the Sirr . It has fostered whole generations of younger poets it pub - most part, on almost any old lished first including Ciaran Berry, Tom French, Alan Gillis, thing — person or institution — Vona Groarke, Conor O’Callaghan, John McAuliffe, Kerry but The Gallery Press truly is an Hardie, David Wheatley, Michelle O’Sullivan and Andrew enterprise to be treasured by the Jamison . It has also published seminal career-establishing titles nation. by Ciaran Carson, Paula Meehan, Nuala Ní Dhomhnaill, — John Banville Justin Quinn, Seán Lysaght and Gerald Dawe . The Press has published books by Seamus Heaney, Paul Muldoon and John Banville and repatriated authors such as Brian Friel, Derek Peter Fallon’s Gallery Press is the Mahon and Medbh McGuckian who previously turned to living fulcrum around which the London and Oxford as a publishing outlet. swarm ing life of contemporary Irish poetry rotates. Fallon’s is a Gallery publishes the work of Ireland’s leading women poets truly extraordinary Irish life, and and playwrights including Eiléan Ní Chuilleanáin, Nuala Ní it goes on still, unabated. Dhomhnaill, Medbh McGuckian, Michelle O’Sullivan, Sara — Thomas McCarthy, Irish Berkeley Tolchin, Vona Groarke, Ailbhe Ní Ghearbhuigh, Literary Supplement Aifric MacAodha and Marina Carr . -
Contemporary Irish Women Poets and the National Tradition
Colby College Digital Commons @ Colby Senior Scholar Papers Student Research 1998 From Image to Image Maker: Contemporary Irish Women Poets and the National Tradition Rebecca Troeger Colby College Follow this and additional works at: https://digitalcommons.colby.edu/seniorscholars Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation Troeger, Rebecca, "From Image to Image Maker: Contemporary Irish Women Poets and the National Tradition" (1998). Senior Scholar Papers. Paper 548. https://digitalcommons.colby.edu/seniorscholars/548 This Senior Scholars Paper (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Senior Scholar Papers by an authorized administrator of Digital Commons @ Colby. Rebecca Troeger From Image to Image Maker: Contemporary Irish Women Poets and the National Tradition • The Irish literary tradition has always been inextricably bound with the idea of image-making. Because of ueland's historical status as a colony, and of Irish people's status as dispossessed of their land, it has been a crucial necessity for Irish writers to establish a sense of unique national identity. Since the nationalist movement that lead to the formation of the Insh Free State in 1922 and the concurrent Celtic Literary Re\'ivaJ, in which writers like Yeats, O'Casey, and Synge shaped a nationalist consciousness based upon a mythology that was drawn only partially from actual historical documents, the image of Nation a. -
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. -
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. -
PDF Download Further Requirements: Interviews
FURTHER REQUIREMENTS: INTERVIEWS, BROADCASTS, STATEMENTS AND REVIEWS, 1952-85 PDF, EPUB, EBOOK Philip Larkin,Anthony Thwaite | 416 pages | 04 Nov 2002 | FABER & FABER | 9780571216147 | English | London, United Kingdom Further Requirements: Interviews, Broadcasts, Statements and Reviews, 1952-85 PDF Book When you have read it, take me by the hand As children do, loving simplicity. Shopbop Designer Modemarken. In Thwaite's poems there is rarely much in the way of display and few extravagant local effects. Geben Sie Feedback zu dieser Seite. Andere Formate: Gebundenes Buch , Taschenbuch. Cookies akzeptieren Cookie-Einstellungen anpassen. Thwaite is also an accomplished comic poet. Author statement 'If I could sum up my poetry in a few well-chosen words, the result might be a poem. Entdecken Sie jetzt alle Amazon Prime-Vorteile. Poetry and What is Real. Philip Larkin remains England's best-loved poet - a writer matchlessly capable of evoking his native land and of touching all readers from the most sophisticated intellectual to the proverbial common reader. Etwas ist schiefgegangen. Next page. Weitere Informationen bei Author Central. Philip Larkin. Anthony Thwaite. While Larkin views them in terms of the personal life, or at most, of England, Thwaite, who has travelled widely and worked overseas for extended periods, can also find them in an alien setting, for example in North Africa. Previous page. Artists, cultural professionals and art collective members in the UK and Southeast A… 1 days ago. Sind Sie ein Autor? Urbane, weary, aphoristic, certain that nothing and everything changes, the poems draw both on Cavafy and Lawrence Durrell. This entirely new edition brings together all of Philip Larkin's poems. -
The 'Nothing-Could-Be-Simpler Line': Form in Contemporary Irish Poetry
The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry Brearton, F. (2012). The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry. In F. Brearton, & A. Gillis (Eds.), The Oxford Handbook of Modern Irish Poetry (pp. 629-647). Oxford University Press. Published in: The Oxford Handbook of Modern Irish Poetry Document Version: Early version, also known as pre-print Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:26. Sep. 2021 OUP UNCORRECTED PROOF – FIRST PROOF, 04/19/2012, SPi c h a p t e r 3 8 ‘the nothing-could- be-simpler line’: form in contemporary irish poetry f r a n b r e a r t o n I I n ‘ Th e Irish Effl orescence’, Justin Quinn argues in relation to a new generation of poets from Ireland (David Wheatley, Conor O’Callaghan, Vona Groarke, Sinéad Morrissey, and Caitríona O’Reilly among them) that while: Northern Irish poetry, in both the fi rst and second waves, is preoccupied with the binary opposition of Ireland and England . -
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. -
The Writing of the Words Upon the Window-Pane
Colby Quarterly Volume 17 Issue 2 June Article 3 June 1981 "Out of a Medium's Mouth" the Writing of The Words Upon the Window-pane Mary Fitzgerald Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 17, no.2, June 1981, p.61-73 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. Fitzgerald: "Out of a Medium's Mouth" the Writing of The Words Upon the Windo "Out of a medium's mouth": the Writing of The Words upon the Window-pane by MARY FITZGERALD NSCRIBING James A. Healy's copy of the Cuala Press edition of The I Words upon the Window-pane (1934), W. B. Yeats noted: "I wrote this playas a help to bring back a part of the Irish mind which we have been thrusting out as it were foreign. Now that our period of violent protest is over we claim the Anglo-Irish eighteenth century as our own." 1 Although this affirmation of the Anglo-Irish protestant ascen dancy was a new theme for Yeats's plays, it was already familiar to readers of his poetry and prose. He had given it defiant and memorable formulation on 11 June 1925 in an address to the Irish Senate: ...I am proud to consider myself a typical man of that [Anglo-Irish] minority. We ... are no petty people. We are one of the great stocks of Europe. -
A Reappraisal of the Short Stories of Mary Lavin
A Reappraisal of the Short Stories of Mary Lavin Theresa Wray A Thesis submitted in Candidature for The Degree of Doctor of Philosophy Cardiff University July 2013 i Summary This thesis re-examines selected short stories of Irish writer Mary Lavin, placing a particular focus on fiction she published from the early 1940s to the late 1950s. Drawing on extensive archival research into Lavin’s unpublished correspondence, it uncovers how the transatlantic aspects of Lavin’s biography intersect with key elements of the social and cultural history of mid-twentieth-century Ireland. It also provides vital new evidence to scholars through its explicit use of correspondence between Lavin’s father, Tom Lavin, and his employers, the Bird family. The thesis shows how a mixture of autobiographical experience, social and political context and an empathetic awareness of the significance of various cultural inheritances, inflects Lavin’s realist style. Analysing important stories across the main span of her writing, the thesis contends that Lavin is a major figure, with a unique perspective on her times. Despite valuable early literary studies in the late 1970s and early 1980s, and some increasing attention during the 1990s, we have only recently begun to see a more sustained resurgence of interest in Lavin’s fiction. While such a shift is welcome, this thesis argues that a perceived lack of complexity in Lavin’s fiction still remains and needs to be challenged in order to reveal the true value of her oeuvre. The thesis offers a new analysis of Lavin’s writing that tracks major themes, appraises her use of the novella form, and recognises the richness and significance of her contribution to the Irish literary canon. -
Stan Smith – Irish Poetry and the Construction
139 Book Reviews: Writers at Work in Ireland and England Irish Poetry and the Construction of Modern Identity: Ireland between Fantasy and History. By Stan Smith. Dublin: Irish Academic Press, 2005. x + 238 pp. $65.00 cloth, $29.50 paper. The world is not wanting in histories of Irish poetry, or even of twen- tieth-century Irish poetry in particular: I know of at least ten since 1988. Nevertheless, Stan Smith’s Irish Poetry and the Construction of Modern Identity represents an important accomplishment. Smith’s color title, “Ire- land between Fantasy and History,” suggests precisely what he’s after—the ways in which poetry has functioned in the self-conscious shaping of mod- ern Irish identities. Smith’s interest in what he calls, while discussing Pa- draic Fallon, “the compounding and interpretation of story and history” (39), develops from the work he’s undertaken in such books as Inviolable Voice: History and 20th-Century Poetry (1982) or The Origins of Mod- ernism: Eliot, Pound, Yeats and the Rhetorics of Renewal (1994). Smith has always attended to how ideology yokes together signifier and signified. In this book, however, perhaps because questions of tradition and nation have been more overtly a part of nation-building in Ireland than in Britain, post-structuralist and post-colonial theory have inflected Smith’s atten- tion in ways rather more dramatic than I have seen in his earlier work. Theory is rarely Smith’s overt topic; it shows up rather in his ability to see organization rather than organicism, history subjected to question rather than nature subjecting us. -
'Muting the Klaxon: Poetry, History, and Irish Modernism'1
1 Tim Armstrong 1 ‘Muting the Klaxon: Poetry, History, and Irish Modernism’ This is an uncorrected and reset version of the original article which appeared as: ‘Muting the Klaxon: Poetry, History, and Irish Modernism,’ in Modernism and Ireland: The Poetry of the 1930s , ed. Patricia Coughlan and Alex Davies (Cork: Cork University Press, 1995), pp.43-74. In the winter of 1923-24 a periodical called The Klaxon appeared in Dublin. It was the only issue of what was hopefully announced as a ‘seasonal’ quarterly. The table of contents makes interesting reading: 2 Confessional . L. K. E. Beauty Energised . F. R. H. The Midnight Court (from the Irish). Percy Ussher North. H. Stuart Cheese . .John W. Blaine The Will of God. Sechilienne The Ulysses of Mr. James Joyce . Lawrence K. Emery Cleopatra. F. R. Higgins An Inghean Dubh. G. Coulter Picasso, Mamie Jellett and Dublin Criticism. Thomas McGreevy Seeking, as its editorial note suggests, to link itself to International Modernism, The Klaxon has a Brancusi-like cover device and a ‘Negro sculpture in wood’ as frontispiece. The ‘Confessional’ by Lawrence Emery which opens this Irish Blast has a fine ranting tone: ‘We railed against the psychopedantic parlours of our elders and their old maidenly consorts, hoping the while with an excess of Picabia and banter, a whiff of Dadaist Europe to kick Ireland into artistic wakefulness.’ The aggressive Modernism of the doomed journal, and the harshness of the context it expects to insert itself into, is evident in its defense of Joyce and Picasso against philistine taste. The inclusion of Ussher’s translation of ‘The Midnight Court’ also carries a political weight – its bawdy invoking a different Irish tradition from that of the Celtic Twilight (it was to be republished in 1926 with an polemical introduction by Yeats).