Print This Article
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bennett with Photos
Corbies and Laverocks and the Four and Twenty Blackbirds: The Montgomerie Legacy to Folklore and the Mother Tongue MARGARET BENNETT “The State of Play” was the title of a memorable conference held in Sheffield in 1998, with Iona Opie as the keynote speaker. Her long collaboration with her husband, Peter, and their book, The Lore and Language of Schoolchildren, had been the inspiration of those who filled the hall, and for some it marked a milestone in their lives – as John Widdowson humorously said, it had seduced him into folklore.1 While the title of Dr Opie’s talk was “A Lifetime in the Playground” she began by explaining that the playground was not actually the starting point for their work; it was, rather, in books and library collections. The Opies shared a fascination with the history and provenance of nursery rhymes and when their seven year project led to the publication of The Oxford Dictionary of Nursery Rhymes in 1951, the level of interest and success of the book was a turning point: “We decided to do something that had never been done before. We decided to ask the school children themselves …” The scale of their collecting, from Land’s End to Cape Wrath, their approach to the fieldwork, and the duration of their work “had never been done before” in Britain, though American folklorists had been audio-recording in playgrounds and streets since the 1930s.2 Foremost among them was Herbert Halpert, who later introduced his students (of which I was one) to the work of Iona and Peter Opie in his Folklore classes at Memorial University of Newfoundland – The Lore and Language of Schoolchildren (1959) was on the Required Reading List, to be purchased from the MUN Bookstore. -
Challenging the People, the State and the Patriarchy in 1980S Irish Theatre
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Provoking performance: challenging the people, the state and the patriarchy in 1980s Irish Theatre Author(s) O'Beirne, Patricia Publication Date 2018-08-28 Publisher NUI Galway Item record http://hdl.handle.net/10379/14942 Downloaded 2021-09-27T14:54:59Z Some rights reserved. For more information, please see the item record link above. Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre Candidate: Patricia O’Beirne Supervisor: Dr. Ian Walsh School: School of Humanities Discipline: Drama and Theatre Studies Institution: National University of Ireland, Galway Submission Date: August 2018 Summary of Contents: Provoking Performance: Challenging the People, the State and the Patriarchy in 1980s Irish Theatre This thesis offers new perspectives and knowledge to the discipline of Irish theatre studies and historiography and addresses an overlooked period of Irish theatre. It aims to investigate playwriting and theatre-making in the Republic of Ireland during the 1980s. Theatre’s response to failures of the Irish state, to the civil war in Northern Ireland, and to feminist and working-class concerns are explored in this thesis; it is as much an exploration of the 1980s as it is of plays and playwrights during the decade. As identified by a literature review, scholarly and critical attention during the 1980s was drawn towards Northern Ireland where playwrights were engaging directly with the conflict in Northern Ireland. This means that proportionally the work of many playwrights in the Republic remains unexamined and unpublished. -
Goldie, Paul (2019) 'Finding' the Female Irish
Goldie, Paul (2019) ‘Finding’ the Female Irish Catholic Diaspora: a qualitative investigation of the experiences of women in Glasgow. PhD thesis. http://theses.gla.ac.uk/81505/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] ‘Finding’ the Female Irish Catholic Diaspora: a qualitative investigation of the experiences of women in Glasgow Paul Goldie MSc Equality and Human Rights Masters in Social Research with Sociology Submitted in fulfilment of the requirements of the Degree of Doctor of Philosophy in Sociology School of Social and Political Sciences College of Social Sciences University of Glasgow February 2020 2 Abstract There has been much scholarly interest in the Irish Catholic Question in Scotland in recent years. The research which has been conducted has been undertaken largely by quantitative sociologists who seek to ascertain whether structural disadvantages still impact on the life-chances of Catholics in Scotland, with the category Catholic being deployed as a synonym for the Irish in Scotland. However, to date there has been little in the way of qualitative studies examining the actual experiences of people from an Irish Catholic heritage. -
John Bull's Other Ireland
John Bull’s Other Ireland: Manchester-Irish Identities and a Generation of Performance Item Type Thesis or dissertation Authors O'Sullivan, Brendan M. Citation O'Sullivan, B. M. (2017). John Bull’s Other Ireland: Manchester- Irish identities and a generation of performance (Doctoral dissertation). University of Chester, United Kingdom. Publisher University of Chester Download date 28/09/2021 05:41:52 Link to Item http://hdl.handle.net/10034/620650 John Bull’s Other Ireland Manchester-Irish Identities and a Generation of Performance Thesis submitted in accordance with the requirements of the University of Chester for the degree of Doctor of Philosophy by Brendan Michael O’Sullivan May 2017 Declaration The material being presented for examination is my own work and has not been submitted for an award of this, or any other HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis has been undertaken collaboratively, the nature of my individual contribution has been made explicit. ii Table of Contents Preface .......................................................................................................... 2 Locating Theory and Method in Performance Studies and Ethnography. .. 2 Chapter 1 ..................................................................................................... 12 Forgotten but not Gone ............................................................................ 12 Chapter 2 .................................................................................................... -
Folklore: an Emerging Discipline — Selected Essays of Herbert Halpert
Document generated on 09/26/2021 9:58 p.m. Ethnologies Folklore: An Emerging Discipline — Selected Essays of Herbert Halpert. By Martin Lovelace, Paul Smith and J. D. A. Widdowson, eds. (St. John’s: Memorial University of Newfoundland Folklore and Language Publications, 2002. Pp. xxi + 398, ISBN 0-88901-335-7) Cory W. Thorne Littératie Literacy Volume 26, Number 1, 2004 URI: https://id.erudit.org/iderudit/013348ar DOI: https://doi.org/10.7202/013348ar See table of contents Publisher(s) Association Canadienne d'Ethnologie et de Folklore ISSN 1481-5974 (print) 1708-0401 (digital) Explore this journal Cite this review Thorne, C. W. (2004). Review of [Folklore: An Emerging Discipline — Selected Essays of Herbert Halpert. By Martin Lovelace, Paul Smith and J. D. A. Widdowson, eds. (St. John’s: Memorial University of Newfoundland Folklore and Language Publications, 2002. Pp. xxi + 398, ISBN 0-88901-335-7)]. Ethnologies, 26(1), 235–238. https://doi.org/10.7202/013348ar Tous droits réservés © Ethnologies, Université Laval, 2004 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ REVIEWS / COMPTES-RENDUS REVIEWS / COMPTES-RENDUS Folklore: An Emerging Discipline — Selected Essays of Herbert Halpert. By Martin Lovelace, Paul Smith and J. -
Fifty-Ninth Annual Meeting of the American Folklore
FIFTY-NINTH ANNUAL MEETING OF THE AMERICAN FOLKLORE SOCIETY The fifty-ninth annual meeting of the American Folklore Society was held at the Hotel Tuller, Detroit, Michigan, on December 28-29, 1Q47. Meetings were held in conjunction with the Modern Language Association of America. The President, Joseph M. Carrire, presided. The following papers were presented: Horace P. Beck, "The Animal That Can't Lie Down"; Levette J. Davidson, "Hermits of the Rockies"; Robert E. Gard, "To- ward a Folklore Theatre"; GertrudeProkosch Kurath, "Mexican Moriscas:A Prob- lem in Dance Acculturation"; Duncan Emrich, "The London and Paris Folklore Conferences"; Jane I. Zielonko, "The Nature and Causes of Ballad Variation"; Haldeen Braddy, "Pancho Villa, Folk Hero of the Mexican Border"; Herbert Halpert, "Our Approach to American-EnglishFolklore"; Thelma James, "Mosar- dine-jo Tales Found in Detroit." Following the annual banquet and the Presidential Remarks, the International Institute of Detroit, under the direction of Alice L. Sickels, presented a program of songs and dances, in costume, of the various ethnic groups in Detroit. At the business meeting officersfor the year 1948 were elected. (These are printed in full on Cover II of the Journal.) At the meeting of the Council the following reports were read and approved: Secretary's Report The Secretary reports the membershipof the Society as follows: 1947 1946 1945 Honorary Members 7 6 6 Life Members 10 8 8 Old Members 760 648 577 New Members 141 154 135 Total Active Members 911 8io 690 During the year 42 members were removed from the rolls because of non-payment of dues, resignations, or death; 64 were dropped in 1946, and 36 in 1945. -
Irish Symbols – Transcription Lisa – Paddy
Langues en pratiquess DocsDo authentiques ANGLAIS Irish symbols – Transcription Lisa – Paddy Lisa: Hey Paddy, you’ve got some Irish blood in you, right? Paddy: Yeah! Lisa: Maybe you can help me! I’m gonna have a Saint Patrick’s Day party at my apartment and I wanted to partie decorate it in an Irish theme. Do you have any ideas? re 1 Paddy: That sounds cool! You could use the traditional symbols of Ireland, that would be good! Lisa: What are the symbols of Ireland? Paddy: There’s quite a few! The harp is the official symbol of Ireland, which shows how important music is in its culture and traditions. It’s actually the only country in the world which has a musical instrument as its symbol. And legend has it it represents the harp of the old kings of Ireland. I’ve actually got a euro coin here. You can see it, it’s on there, it’s on the coins. Lisa: Oh yeah, that’s right! I hadn’t noticed! Paddy: So you could use that! Another symbol you could use is the shamrock, the three-leaf clover. Legend has it that Saint Patrick used that to explain the Holy Trinity, so the Father, the Son and the Holy Spirit. Lisa: Ok, why do I always hear people talking about four-leaf clovers? Paddy: Well, there’s the phrase ‘the luck of the Irish’ because four-leaf clovers are very rare and hard to find so if you find one it’s supposed to be good luck! Lisa: Oh, I get it, ok! I also wanted to hang up an Irish flag and decorate my apartment in like the colours of the flag but what does it look like? Paddy: It’s a vertical tricolor, green, white and orange. -
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]. -
Code-Switching and Empowerment in the Macaronic Irish Lyric
Code-switching and Empowerment in the Macaronic Irish Lyric Gerald Porter Department of English University of Vaasa Commençant avec la trouvaille de Jonsson (2005) que l’aiguillage d’une langue à l’autre (code- switching) ne nécessairement favorise pas la langue la plus forte socialemente, cette étude examine des chansons poly-macaroniques, ou aiguillantes entre plusieurs langues. Dans telles chansons l’une des langues est habituellement dominante, l’autre socialement subordonnée, et la troisième en quelque cas formalisée ou fixée, associée avec des codes rituels, politiques ou sacrés que surpassent les bords sociales et etniques. Cette espèce de chanson est très favorisée parmi les chansons nationalistes irlandaises, et cette étude suggère que leur fréquence est dialectique, sautante plus de la politique culturelle que d’un besoin à être compris. Keywords: macaronic, Irish rebel song, code-switching, empowerment 1 Code-switching and the macaronic song Macaronic songs, a term used to designate lyrics performed in two or more languages, are a well-established feature of the oral literature of Ireland. In this paper I consider a special development of the macaronic song in Ireland, what I have called the poly- macaronic lyric, where more languages than two are featured. Each of these additional languages, in this case Latin and French, has a specific cultural function in an Irish context, and I suggest that they act interrogatively, further undermining the aspiration of the occupying power to establish English as Ireland’s sole voice. As Brian Friel’s play Translations, first staged in 1980, shows, the history of the Irish language itself has been one of silenced voices, and the struggle for nationhood always linked closely with language, summed up in the Irish saying gan teanga gan tír “no language, no land” (Coughlan 2001: 216). -
Irish Rebel Songs, Sectarianism, and Scotland's Offensive Behaviour Act Millar, Stephen R
CORE Metadata, citation and similar papers at core.ac.uk Provided by ResearchOnline@GCU Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act Millar, Stephen R. Published in: Popular Music DOI: 10.1017/S0261143016000519 Publication date: 2016 Document Version Peer reviewed version Link to publication in ResearchOnline Citation for published version (Harvard): Millar, SR 2016, 'Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act', Popular Music, vol. 35, no. 3, pp. 297-319 . https://doi.org/10.1017/S0261143016000519 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please view our takedown policy at https://edshare.gcu.ac.uk/id/eprint/5179 for details of how to contact us. Download date: 29. Apr. 2020 Let the people sing? Irish rebel songs, sectarianism, and Scotland’s Offensive Behaviour Act1 STEPHEN R. MILLAR School of History, Anthropology, Politics, and Philosophy, Queen’s University Belfast, Northern Ireland BT7 1NN, UK Email: [email protected] Abstract Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. -
The Memorial University of Newfoundland Folklore and Language Archive
THE MEMORIAL UNIVERSITY OF NEWFOUNDLAND FOLKLORE AND LANGUAGE ARCHIVE By Patricia Fulton Archivist www.mun.ca/folklore/munfla.htm The Memorial University of Newfoundland later in his career when he was invited to teach Folklore and Language Archive (MUNFLA) at Memorial University: is Canada's leading repository for recorded and collected items of Newfoundland and ...the people of Newfoundland Labrador folklore, folklife, language, oral have been settled in a comparatively history and popular culture. Founded in 1968, isolated area for a long period of time the Archive, under the direction of Herbert and have developed a unique cultural Halpert (b. Manhattan, 1911-d. St. John's, response to their environment. We 2000), began building on the course have in this province one of the last assignments and materials from fieldwork areas in the English-speaking world expeditions collected during his previous six where customs and practises [sic] years as a university faculty member. The survived long after they died out Archive has since amassed 600fonds, 40,000 elsewhere. The folklorist can still audio recordings, 800 video recordings, learn ftom people who observed these 16,000 manuscripts, 20,000 photographs, customs, how they were performed 1,500 printed documents, 500 oversized and what they meant.' documents, 4,000 commercial discs, 50 course collections, and numerous cultural artifacts Halpert, who had already done and other media. groundbreaking folklore fieldwork and scholarship in the United States, embarked on Described as Herbert Halpert's "crowning a series of summer expeditions with his fellow achievement,"' MUNFLA stands as testimony faculty member, the linguist John D.A. -
Society for Ethnomusicology 59Th Annual Meeting, 2014 Abstracts
Society for Ethnomusicology 59th Annual Meeting, 2014 Abstracts Young Tradition Bearers: The Transmission of Liturgical Chant at an then forms a prism through which to rethink the dialectics of the amateur in Eritrean Orthodox Tewahedo Church in Seattle music-making in general. If 'the amateur' is ambiguous and contested, I argue David Aarons, University of Washington that State sponsorship is also paradoxical. Does it indeed function here as a 'redemption of the mundane' (Biancorosso 2004), a societal-level positioning “My children know it better than me,” says a first generation immigrant at the gesture validating the musical tastes and moral unassailability of baby- Holy Trinity Eritrean Orthodox Church in Seattle. This statement reflects a boomer retirees? Or is support for amateur practice merely self-interested, phenomenon among Eritrean immigrants in Seattle, whereby second and fails to fully counteract other matrices of value-formation, thereby also generation youth are taught ancient liturgical melodies and texts that their limiting potentially empowering impacts in economies of musical and symbolic parents never learned in Eritrea due to socio-political unrest. The liturgy is capital? chanted entirely in Ge'ez, an ecclesiastical language and an ancient musical mode, one difficult to learn and perform, yet its proper rendering is pivotal to Emotion and Temporality in WWII Musical Commemorations in the integrity of the worship (Shelemay, Jeffery, Monson, 1993). Building on Kazakhstan Shelemay's (2009) study of Ethiopian immigrants in the U.S. and the Margarethe Adams, Stony Brook University transmission of liturgical chant, I focus on a Seattle Eritrean community whose traditions, though rooted in the Ethiopian Orthodox Church, are The social and felt experience of time informs the way we construct and affected by Eritrea's turbulent history with Ethiopia.