Search results

You are looking at 31 - 40 of 299 items for :

  • "Irish culture" x
  • Refine by access: All content x
Clear All
Lucy Michael

Opinion columns and pseudo-scientific articles exploring immigration and integration are now the primary channels for overt racism in the Irish media, and their proliferation prompts a necessary exploration of their established form and growing influence. A range of columnists regularly vilify Muslims, Roma and Travellers, particularly drawing on ideas of barbarism, cultural genocide and population control, and defiantly testing the legal limits of incitement to hatred. Constructions of Irish culture as monolithic in the face of an immigration regime which imports failed multiculturalism and racism necessarily position migrants as continuing outsiders and the creators of their own exclusion. Clear connections can be made between racist discourses in Irish media and violence against migrants and ethnic minorities. This chapter explores how Irish media outlets are facilitating and promoting the normalisation of racist discourses, and the implications of this for the construction of debates which take seriously the challenges of integration in practice and in the context of growing anti-immigrant racism.

in Immigrants as outsiders in the two Irelands
Abstract only
'Why do we like being Irish?'
Tara Stubbs

turbulence of the outside world. MacNeice’s summative comment on Ireland’s ‘self-deception’ points beyond those Irish who are complicit in the packaging of Irish culture as an historical, even mythological, artefact, to those outside Ireland who choose to collude in the myth of Ireland’s separation from the rest of the world. In An Age of Innocence (1998), Brian Fallon questions the one-sidedness of such negative views of Ireland during this period; however, he still 001-016 AmericanLiterature Introduction.indd 1 18/06/2013 17:10 2 American literature and Irish culture

in American literature and Irish culture, 1910–55
Abstract only
Cultural credibility in America's Ireland - and Ireland's America
Tara Stubbs

Yeats to carve out a place for Irish culture on the international stage, in the century since the Revival ‘a hybrid form of Hiberno-American blandness’ has formed, as Longley puts it.1 But were the beginnings of this ‘blandness’ already in evidence around the first half of the twentieth century? Can we see them, for example, in the unrelenting way in which Wallace Stevens viewed the Irish landscape as ‘greener than it is’, and thought of its people as pushing donkey carts through the rain?2 This study has looked at various instances of interaction between America and

in American literature and Irish culture, 1910–55
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

Irish republican media activism since the Good Friday Agreement
Author: Paddy Hoey

Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism.

Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence.

Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles.

This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.

Living spirituality

Between 1598 and 1800, an estimated 3, 271 Catholic women left England to enter convents on the Continent. This study focuses more particularly upon those who became Benedictines in the seventeenth century, choosing exile in order to pursue their vocation for an enclosed life. Through the study of a wide variety of original manuscripts, including chronicles, death notices, clerical instructions, texts of spiritual guidance, but also the nuns’ own collections of notes, this book highlights the tensions between the contemplative ideal and the nuns’ personal experiences. Its first four chapters adopt a traditional historical approach to illustrate the tensions between theory and practice in the ideal of being dead to the world. They offer a prosopographical study of Benedictine convents in exile, and show how those houses were both cut-off and enclosed yet very much in touch with the religious and political developments at home. The next fur chapters propose a different point of entry into the history of nuns, with a study of emotions and the senses in the cloister, delving into the textual analysis of the nuns’ personal and communal documents to explore aspect of a lived spirituality, when the body, which so often hindered the spirit, at times enabled spiritual experience.

Linda Connolly

occluded subjects, such as the Irish Diaspora or ‘the forgotten Irish’, to the fore and transforming the core understanding of ‘who are the Irish?’ in Irish studies in the process. Likewise, a growing body of literary scholars (such as Conor McCarthy, Joe Cleary and Pat Coughlan) are fruitfully and in different ways drawing on the social sciences to contextualise texts. However, all these examples remain a minority. Particular problems continue to arise in postcolonial analysis when sweeping statements are made about all Irish studies – and Irish culture and society

in Are the Irish different?
Tara Stubbs

quite in the way that O’Toole envisages it: as what was sought, and found, by these writers was a landscape that confirmed their own preconceptions of Irish culture. In the above lines from ‘Spenser’s Ireland’, Moore is clearly aware of this somewhat flawed ‘quest’; yet the end-rhyme between ‘green’ and ‘seen’ reveals her delight in the ‘greenness’ of Ireland despite her own suspicions that this might not be quite the whole truth. Like Moore, certain American modernist writers during this period – including Stevens and Steinbeck – became involved in an act of

in American literature and Irish culture, 1910–55
Tara Stubbs

Americans interested in exploring the various facets of their own identity, including several people, black and white, who went on to participate in the Harlem Renaissance of the 1920s. They noted the many similarities between Irish culture and history and those of the African Americans, and they advocated following the Irish model for literary renaissance and social change. Mishkin goes on to argue that W. E. B. DuBois was inspired to found the Krigwa Players (later named the Negro Experimental Theatre) as part of the ‘Little Theatre’ movement that was itself inspired

in American literature and Irish culture, 1910–55
Tara Stubbs

Isle of Innisfree’ by assessing Lorna Goodison’s 1999 work ‘Country, Sligoville’, a reworking of Yeats’s poem in a Jamaican location. Here, Goodison’s poem becomes an exercise in ‘circum-Atlantic performance’, where the poet is: ‘reconsidering tradition in spatial terms – the contract of three places in Innisfree, Sligo, and Sligoville – as conveyed through names that not only evoke the legacy of slavery and freedom that marks the landscape of Jamaica, but also express the repressed history of a transatlantic Irish culture with its ambiguous legacy of ownership

in American literature and Irish culture, 1910–55