Nicholas Taylor-Collins
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‘[D]ithering, blathering’
Seamus Heaney, the diseased word-hoard, and the Historian
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The Conclusion draws together the ideas argued in the preceding chapters. The argument hangs around a coincidence at the National Theatre, London, in summer 2016, when outside a performance of Sean O’Casey’s The Plough and the Stars there was an exhibition commemorating the National Theatre’s five productions of Hamlet since it opened. Both these – the play and the exhibition – rely on commemorative memory, but side by side produce an interesting analytical collision.

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