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Culture, criticism, theory since 1990
Scott Brewster

9780719075636_4_002.qxd 16/2/09 9:23 AM Page 16 2 Flying high? Culture, criticism, theory since 1990 Scott Brewster Lucy McDiarmid begins her review of The Cambridge History of Irish Literature by reflecting on the upholstery of Aer Lingus seats, which features quotations from James Connolly, Yeats, Shaw, and lines from the sixteenth-century anonymous Gaelic lament for Kilcash. The quotations on the seats knit together the recurrent dynamics of Irish culture and society that have been interwoven since the twelfth century: tradition and modernity, arrival

in Irish literature since 1990
G. Honor Fagan

approach has even greater validity for Ireland in particular. What passes for Irishculture’ today – the musical dance show Riverdance, the ‘supergroup’ U2 or the ubiquitous global ‘Irish pub’ – does not spring from the eternal wells of the Irish soul. Rather, these phenomena are, to a large extent, manufactured by the global cultural industry. They reflect fully all of the hybridity, syncretism and even, arguably, the ‘postmodernism’ typical of the cultural political economy of globalisation. If globalisation can be said to have produced a ‘world showcase of cultures

in The end of Irish history?
‘The Ballroom of Romance’
Tina O’Toole

6 The Ireland that we dreamed of?: ‘The Ballroom of Romance’ Tina O’Toole William Trevor’s short story ‘The Ballroom of Romance’ (1972) has attained iconic status in Irish culture in the forty years since its publication. The title and ambience of the story, evoking memories of dancehall days, partly explains this public appeal, which was enhanced by the BAFTA award-winning film adaptation of the story by Pat O’Connor (1982). The widespread recognition of and popular identification with the story may also be attributed to the fact that it opens up to scrutiny

in William Trevor
Exploring the session space
Daithí Kearney

-Second World War phenomenon (Hamilton, 1999). The development of pub sessions owed much to the perceived revival in Irish traditional music, facilitated by two factors in particular: the formation of CCE in 1951 as a significant cultural organisation that sought to promote Irish culture, and the work of composer Seán Ó Riada, who reshaped the sounds and contexts for Irish traditional music in the 1950s and 1960s. As O’Shea notes: The confluence of economic growth with this mid-twentieth-century revival allowed an emerging subculture of musicians simultaneously to embrace

in Spacing Ireland
Abstract only
Archaism, etymology and the idea of development
William Rhodes

Spenser’s Ireland, which makes Irish culture amenable to English-style reforms in A View , but which also exposes the fragility of England’s ostensibly linear, progressive development, and causes Spenser to imagine the harshest means to prevent England’s contagion by Irish unrest. This vascillation between looking to the past as a distant origin for the present, and as a living agent that can affect the future frames Spenser’s turn to Chaucer as a source of lexical evidence about Irish clothing. The allusions to England

in Rereading Chaucer and Spenser
Cara Diver

their husbands, that we can label marital violence as a social problem. As Linda Gordon points out, it was one of the great achievements of second-wave feminism to define wife beating as a social problem, instead of a phenomenon of particularly violent men or relationships.5 This chapter will explore the ways in which marital violence was sanctioned and controlled through Irish culture during the years from 1922 to 1965. Social, religious, and economic pressures made it difficult, and often impossible, for an abused wife to escape her husband’s violence. Indeed, a

in Marital violence in post-independence Ireland, 1922–96
Open Access (free)
The Republic and Northern Ireland since 1990
Michael Parker

to examine and evaluate the literary voices that continue to enhance and enrich contemporary Irish culture. The book that follows consists of seventeen chapters focusing on the drama, poetry and autobiography fiction published since 1990, but also reflecting upon related forms of creative work in this period, including film and the visual and performing arts. The ‘diverse voices’ in the title refers not only to the variety of creative talents currently at work in Irish letters, but also to the range of perspectives brought to book here, from scholars scrutinising

in Irish literature since 1990
Marie Keenan

still is, that this was a problem of flawed individuals, rather than a problem that has significant organisational causative dimensions that became systematically embedded in Church thinking and practice.2 The sexual abuse of children by Catholic clergy has had a profound effect on Irish culture and society. In 1994, the Irish government collapsed when it emerged that the state had failed to extradite from the Republic a priest who had been found guilty of sex abuse charges to answer similar charges in Northern Ireland. This 4147 Inglis–Are the Irish different

in Are the Irish different?
Bryan Fanning

should focus on ordinary life in Ireland tied in closely with his critique of forms of nationalism that claimed legitimacy from the Irish people in the abstract. Matthews is at her strongest when documenting The Bell’s project of representing Irish culture and Irish identity through a focus on everyday life and homespun artefacts. Alongside articles on life in slums, and the experiences of unemployed people and of emigrants, O’Faoláin was also keen to represent the richness of Irish material culture. This culture was primarily a rural one. A number of articles focused

in Irish adventures in nation-building
Abstract only
Peter Barry

Songs and Wedding Song’), which was written in celebration of his marriage to Irish heiress Elizabeth Boyle. Spenser is a notorious figure in Irish culture, being an English writer who received land grants in Ireland as a reward for taking part (as secretary and administrator to the commander) in a ruthless and punitive ex­ pedition against the Irish. The poem (among other things) expresses his thanks to Queen Elizabeth for his rewards, though without saying what they were for. So I cannot find a specific ‘trigger’ for that wider historical context in this single

in Reading poetry