Search results

You are looking at 11 - 20 of 30 items for :

  • "Gaelic Irish" x
  • Literature and Theatre x
  • Refine by access: All content x
Clear All
The Silence in the Garden
Derek Hand

come to a bay known as Elador’s Bay, called after one of the first Rollestons (15). Gaelic Ireland has been translated into English, and the Rolleston name firmly links the family to the location. In the opening pages the reader is confusedly bombarded with names: place names, proper names and nicknames of the people who live and work in the house. In the modern world words are prone to slide and fragment even as something solid and fixed is being sought. As a consequence, the reader is compelled from this moment on to connect people and names to subsequent events

in William Trevor
Amy C. Mulligan

particular. A central mechanism, exhibited in Gerald’s works as well, situates key places in Ireland, but ensures that the Gaelic Irish themselves have no agency, cannot maintain control and are unable to manage the landscape; rather, Ireland and Irish purgatorial spaces are offered to those who are aligned with and act on behalf of Christian Europe, especially England, in its many forms. Here these lessons are worked out in terms of the Church and reform rather than in the more explicit terms of

in A landscape of words
Two tales of 1861–2
W. J. McCormack

(1633), the editing of which was to constitute in 1896 Standish James O’Grady’s most striking contribution to the Irish literary revival. Stafford had been an obscure traveller and soldier who, inheriting certain papers from the archives of the Elizabethan commander Sir George Carew, had assembled a vivid account of the war in Munster and the final destruction of Gaelic Ireland

in Dissolute characters
Abstract only
The wild Irish boy and the national tale
Christina Morin

). Correspondingly, as Joep Leerssen contends, ‘[d]espite its Morgan-derived title, the book is not at all “Wild Irish”’. Instead, with a majority of the action located within the hero’s upper-class social milieu, Leerssen maintains, ‘the only shadow of Gaelic Ireland is vested in . . . minor characters’ who remain marginal in and marginalised by the text. 3 Similarly, Jacqueline

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Abstract only
The Dindshenchas Érenn and a national poetics of space
Amy C. Mulligan

of deibide verse describes the territories of the northern half of Ireland, and Ó hUidhrín later contributes 792 lines (also deibide ) covering the southern half of Ireland. Though they write almost 200 years after the English invasion of Ireland, both poets completely erase all evidence of English presence, colonial conquest and the dispossession of Gaelic Irish families from ancestral lands—their verbalized topographies depict Irish families in control of territories that were by then the

in A landscape of words
Tamsin Badcoe

-minded story of history’. 34 For Spenser’s Faerie Queene , which falls somewhere between the neat binary of ‘single-minded’ epic and subversive romance, the resulting hybrid forms are heir to the island-logic of both poets and propagandists. And indeed, as Andrews writes, ‘unlike Shakespeare’s Illyria, Gaelic Ireland was no place for feeding one’s knowledge of the town’, where the allusion to the setting of Shakespeare’s Twelfth Night recalls the audience’s first glimpse of a safe harbour for the play’s storm-tossed protagonists. 35 As a locus of both conflict and

in Edmund Spenser and the romance of space
Alan Bryson

. after 1566). She perhaps knew him through Thynne, who was a friend and fellow evangelical. St Loe came from the senior gentry of Somerset, was a wealthy and successful soldier, and one of Elizabeth I’s most trusted servants and captain of the guard. About forty at the time, he was well educated, intelligent, charming, active and generous.36 ‘A man of grett hope: whose hardy, painfull, discrett, chargeable, and co[n]tynuall, good service’ was commended by the lord deputy of Ireland, St Loe could be ruthless, as when he defeated Gaelic Irish rebels in late summer 1548

in Bess of Hardwick
Tales of origins in medieval and early modern France and England
Dominique Goy- Blanquet

ascendancy to support his argument for the suppression of Gaelic Irish and reform of degenerated Old English settlers. Edmund Spenser, A View of the Present State of Ireland , ed. William Lindsay Renwick (Oxford: Clarendon Press, 1970), esp. pp. 48–68. 65 Eugene M. Waith attributes those lines to

in Interweaving myths in Shakespeare and his contemporaries
Abstract only
Textual spectrality and Finnegans Wake
Matthew Schultz

palimpsest lying over ancient Ireland. By bringing these two seemingly disparate moments into contention, Joyce challenges all claims of historical authenticity and ethnic purity. The period during which Joyce wrote Finnegans Wake (1922–1939) coincided with the founding and development of the Irish Free State, and was thus marked by a prevailing republican creed of self-sufficient Irish independence, supported by claims of Gaelic Irish distinctiveness. Mutt’s history lesson contends with such notions of Irish distinctiveness. His story returns to a site of impurity, where

in Haunted historiographies
Violence, masculinity, and the colonial project in Derricke’s Image of Irelande
John Soderberg

11 crop fruite Land 12 land soyle Gaelic Appendix III: Summary data for animal references in the poem Animal Group Animal Sub-group Gaelic English Non-Gaelic Irish Land Catholic

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne