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A new church for the unhoused
Michael Cronin

Michael Cronin opens this chapter by observing that the greatest threat to Irish society has been the dominant discourse of neo-liberalism and the Market, which has come to be the deity to which all must bend. The Irish Church has traditionally been associated with a regime of fear and punishment, which is somewhat paradoxical given that the founding message of Christianity is one of hope, of the end of fear. In Cronin’s view, a more radical move for a Church, which has been brought to its knees by a multiplicity of cultural factors, would be to embrace empathy and a politics of hope, which might consist of no longer saying ‘No’, but ‘Yes’. The affirmation of justice for all, a more equal sharing of wealth, the creation of a climate where difference is embraced, these are the life-affirming and Christian principles on which the future of Irish Catholicism should be based.

in Tracing the cultural legacy of Irish Catholicism
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Eamon Maher and Eugene O’Brien

vocation was often still viewed as an austere calling. In addition, Casey was known as a bon viveur who enjoyed socialising and driving fast cars. He was a major force in Irish society, especially when it came to presenting a human face of a monolithic organisation such as the Catholic Church. Casey had charisma, the common touch. He had his finger on the pulse of the Ireland of the 1980s, a time of economic free fall and increasing dissatisfaction with both church and state.   2 2 Tracing the cultural legacy of Irish Catholicism His partner on the stage in Galway

in Tracing the cultural legacy of Irish Catholicism
Joe Cleary

interpret them. Many scholarly works invoke a sense of total collapse or even terminal crisis  –​like bell peals, the funereal book titles toll a   210 210 Challenges in the here and now passing: Irish Catholicism since 1950: The Undoing of a Culture (Fuller 2002); Is Irish Catholicism Dying? Liberating an Imprisoned Church (Kirby 1984); The End of Irish Catholicism? (Twomey 2003); Change or Decay: Irish Catholicism in Crisis (Hoban 2000). Still, while such titles draw legitimate attention to a contemporary sense of an ending, a focus on ‘the death of Irish

in Tracing the cultural legacy of Irish Catholicism
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Cara Delay

. The story of modern Irish Catholicism and lay women therefore is complex, marked by losses and gains. The complexity is increased still further because the changes documented by first-hand accounts of Irish Catholicism existed alongside remarkable continuities. From the desolation of the famine years right through the first few decades of independence, Catholicism was central to women’s ordinary daily lives, and women actively participated in ­devotional life and the creation of their religious identities. The role that Catholicism has played in creating modern

in Irish women and the creation of modern Catholicism, 1850–1950
Irish-American fables of resistance
Eamonn Wall

  105 6 The poetry of accumulation: Irish-​American fables of resistance Eamonn Wall Writing on Eiléan Ni Chuilleanáin’s poetry, Andrew J.  Auge, in a devastating piece of reportage, describes the recent change that has taken place in the reputation and role of Irish Catholic Church:  ‘by the turn of the millennium, the once imposing edifice of Irish Catholicism appeared increasingly derelict’ (Auge 2013:  145). Given all we have learned from reports into how the Church has dealt with abuses committed by its clergy and cover-​ups initiated by its hierarchy, it

in Tracing the cultural legacy of Irish Catholicism
Irish priests and the unravelling of a culture
Eamon Maher

Hierarchy, Vincent Twomey’s The End of Irish Catholicism?, Mark Patrick Hederman’s Kissing the Dark and Underground Cathedrals and Brendan Hoban’s Change or Decay: Irish Catholicism in Crisis and Who Will Break Bread for Us? Unlike Sulivan, the Irish priests did/​do not write fiction, but in many ways Sulivan’s novels were very close reflections of his personal experience and contain many characters that are barely fictionalised. The chapter will argue, therefore, that when one is closely aligned to an institution like the Catholic Church, as priests inevitably are, it is

in Tracing the cultural legacy of Irish Catholicism
Tuairim and cultural conservatism
Tomás Finn

, 1990), p. 72. See carlson, ‘introduction’, in carlson (ed.), Banned in Ireland, pp. 9–18; adams, Censorship, p. 146; ferriter, Occasions, pp. 308, 385, 388; kenny, Goodbye to Catholic Ireland, pp. 141, 148–9, 155, 159–60. connolly, ‘censorship’, p. 151. many of the quotations that follow are from this article. James h. murphy, ‘introduction’, in James h. murphy (ed.), No bland facility: selected writings on literature, religion and censorship (gerrard’s cross: colin Smythe limited, 1991), p. 7. fuller, Irish Catholicism, pp. 63–4. patrick hannon, ‘heart in pilgrimage

in Tuairim, intellectual debate and policy formulation
Michele Dillon

majority still identify as Catholic, there has been a precipitous decrease in the proportion attending weekly Mass, from approximately 85 per cent in the late 1980s to 43 per cent today.4 We are thus prompted to ask why Irish Catholicism appears to be more vulnerable than American Catholicism to external threats. The forces of modernisation, secularism and individualisation and the priest sex abuse crisis impinge in both societies, yet American Catholicism seems more resilient than Irish Catholicism in the current moment. This chapter probes the commonalities and

in Are the Irish different?
A tale of two traumas
Brendan Geary

. Fairness is important and children develop a belief that if you keep God’s rules (don’t sin) you will be rewarded. Some people remain at this stage throughout their lives. A lot of traditional Irish Catholicism was rule-­based; moral behaviour was strongly related to adherence to Church discipline, especially in the area of sexual morality. Fowler suggests that most people reach Stage 3, which he calls Synthetic–Conventional faith. It is non-­analytical – therefore synthetic – and is characterized by conformity – therefore conventional, and this is achieved in

in From prosperity to austerity
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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.