Featuring twelve original essays by leading Beckett scholars and media theorists, this book provides the first sustained examination of the relationship between Beckett and media technologies. The chapters analyse the rich variety of technical objects, semiotic arrangements, communication processes and forms of data processing that Beckett’s work so uniquely engages with, as well as those that – in historically changing configurations – determine the continuing performance, the audience reception, and the scholarly study of this work. Greatly enlarging the scope of earlier discussions, the book draws on a variety of innovative theoretical approaches, such as media archaeology, in order to discuss Beckett’s intermedial oeuvre. As such it engages with Beckett as a media artist and examine the way his engagement with media technologies continues to speak to our cultural situation.
You're not logged in.
You're not logged in.
You're not logged in.
You're not logged in.
The Introduction charts the parallel concerns with memory evident in early modern England, revolution-era Ireland, and twenty-first-century Ireland. In each case, memory emerges as a cultural practice that is not limited to itself. In Renaissance England, for instance, the art of memory is on the wane, but finds its last staging post in the early modern theatre – in particular (in the case of Robert Fludd) in Shakespeare’s proprietary Globe theatre. There is also evidence that characters such as Hamlet are disciples of humanist memory theorists such as Petrus Ramus. In early twentieth-century Ireland, the theatrical also offered a way of serving up memory to Irish citizens. Whether through the national theatre at the Abbey, or through the ‘performance’ of the Easter Rising (notwithstanding its tragedies), Irish revolutionaries recognised the dual power of memory and of theatre to cohere a singular sense of Irishness in rejection of British colonialism. Not coincidentally, much of the rhetoric on the topic – as on Irish nationalism generally – built on (and remembered) Shakespeare’s revolutionary potential. Finally, the focus on commemoration in the Decade of Centenaries (1913–23) also builds on the theatrical. The 2016 ‘re-enactment’ of Pádraic Pearse’s declaration of the Irish Free State by Capt Kelleher of the Irish Army expanded and glorified – ‘dismemorialised’ – what was originally a drab affair. Coinciding with Shakespeare’s quatercentenary, it becomes clear that ‘Irish cultural memory’ (Frawley, 2011) is bound up with Shakespeare’s own memorial practice, thus establishing the premise for the case studies that follow.
-
-
Part I: Part I: Ghosts
-
Part II: Bodies
-
Part III: Land
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 60 | 60 | 8 |
| Full Text Views | 4 | 4 | 1 |
| PDF Downloads | 2 | 2 | 1 |
Pageantry and power
A cultural history of the early modern Lord Mayor’s Show, 1585-1639
The London Lord Mayors' Shows were high-profile and lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. The Show was staged annually to celebrate the inauguration of the new Lord Mayor. The London mayoralty was not simply an entity of civic power, but always had its ritual and ceremonial dimensions. Pageantry was a feature of the day's entertainment. This book focuses on the social, cultural and economic contexts, in which the Shows were designed, presented and experienced, and explores the Shows in textual, historical, bibliographical, and archival and other contexts. It highlights the often-overlooked roles of the artificer and those other craftsmen who contributed so valuably to the day's entertainment. The Show was the concern of the Great Twelve livery companies from the ranks of one of which the Lord Mayor was elected. The book discusses, inter alia, the actors' roles, the props, music and costumes used during the Show and looks at how important emblems and imagery were to these productions. Pageant writers and artificers took advantage of the space available to them just as dramatists did on the professional stage. From 1585 onwards the Lord Mayor's Show was with increasing frequency transmitted from event to text in the form of short pamphlets produced in print runs ranging from 200 to 800 copies. The book also demonstrates the ways in which the Shows engaged with the changing socio-economic scene of London and with court and city politics.
Irish literature since 1990
Diverse voices
This book focuses on the drama and poetry published since 1990. It also reflects upon related forms of creative work in this period, including film and the visual and performing arts. The book discusses some of the most topical issues which have emerged in Irish theatre since 1990. It traces the significance of the home in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke. The book also focuses on the reconfigurations of identity, and the complex intersections of nationality, gender and race in contemporary Ireland. It shows how Roddy Doyle's return to the repressed gives articulation to those left behind by globalisation. The book then examines the ways in which post-Agreement Northern fiction negotiates its bitter legacies. It also examines how the activity of creating art in a time of violence brings about an anxiety regarding the artist's role, and how it calls into question the ability to re-present atrocity. The book further explores the consideration of politics and ethics in Irish drama since 1990. It talks about the swirling abundance of themes and trends in contemporary Irish fiction and autobiography. The book shows that writing in the Irish Republic and in the North has begun to accommodate an increasing diversity of voices which address themselves not only to issues preoccupying their local audiences, but also to wider geopolitical concerns.