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Tara Stubbs

remonstration against the rebels’ decision to proceed in a way that diverged from Yeats’s dream of a cultural (and peaceful) Irish revival. But what Yeats’s poem also marks is a movement within his own work from a declared position of non-involvement with politics to one through which he writes himself into the rhetoric of events. Only the year before the Easter Rising, Yeats had famously abstained from commenting on 135-163 AmericanLiterature Ch4.indd 135 18/06/2013 17:11 136 American literature and Irish culture, 1910–55 the events of World War One with his poem ‘On

in American literature and Irish culture, 1910–55
The immigrant in contemporary Irish poetry
Pilar Villar-Argáiz

marginalised in present-day Ireland. These poets tend to denounce the immigrants’ lack of integration within Irish culture, the seemingly impenetrable boundaries existing between the majority and the minority, and the absence of genuine interaction between both groups. Only occasionally do they envisage a positive encounter between natives and newcomers and in such 64 The immigrant in contemporary Irish poetry cases this is produced mostly at the abstract level. The implication seems to be that, whereas ‘real’ life is identified by social inequality and solitude, poetry

in Literary visions of multicultural Ireland
Modernity and the recuperation of migrant memory in the writing of Hugo Hamilton
Jason King

Celtic Tiger. In a 2010 interview, he acknowledged that although he ‘grew up with Joyce and Beckett’, Hamilton’s own artistic inspiration ‘came from trying to understand [his] hybrid situation … [and] that difficult issue of belonging’ (Allen-Randolph, 2010: 14). Unlike his modernist predecessors, his creative impetus derived not from a sense of alienation, literary experimentation, and an artistic self-image of exile, but rather a desire for acceptance in Irish culture. It was from the struggles of recently arrived immigrants that he ‘discovered that there was a

in Literary visions of multicultural Ireland
Katie Liston

. In fact, objective and perceptual expressions of Irish culture have been historically contested, and sport, notably Gaelic games, has played an important role in the shifting dynamics of sameness, difference, bonding and belonging. In the late nineteenth and early twentieth centuries, it was unclear whether, in the midst of national debate between various competing elements of Irish culture, a cultural accord could be achieved. This was a hothouse of often confusing cultural and political contradictions in which changing constituencies of educated working, middle

in Are the Irish different?
The tragedy (and comedy) of accelerated modernisation
Kieran Keohane and Carmen Kuhling

Faustian split with particular intensity. Their inner anguish has often inspired revolutionary visions, actions and creations, and no doubt this is the fissure that has produced talents ranging from Joyce to U2, from Flan O’Brien to Brian Friel. That Westlife or Meave Binchey should be seen to be the bearers of this torch should be a cause for concern, as it may herald that what was fraught, and fecund, in Irish culture is becoming scarred over, dead and insensitive. eih ch-7.P65 126 26/3/03, 15:14 Millenarianism and utopianism 127 But as people are torn and tear

in The end of Irish history?
Abstract only
Tom Inglis

. They want to keep it even though they are not willing or able to speak it. It may well be that for generations many Irish people identified the Irish language, music and sport as an inhibitor in embracing a less insular and more urbane, cosmopolitan disposition. There was little that they saw in traditional Irish culture that appealed to them. However, for many different reasons, most notably those linked to seeking cultural identity in a sea of global consumer capitalist sameness, many cosmopolitans began to see traditional difference as a form of cultural capital

in Are the Irish different?
Tom Inglis

, it may be time to look beyond the narrow arguments of postcolonial theory and examine other forms of cultural imperialism. However, there is also a need to examine other 4147 Inglis–Are the Irish different_BB_Layout 1 29/07/2014 09:27 Page 226 226 Tom Inglis global cultural influences and how they are integrated and assimilated into Irish culture. Finally, it would be wrong to only read these global influences as forms of domination. In many respects, they are voluntary and strategic. The globalisation of Irish society and culture is not necessarily passive and

in Are the Irish different?
Derek Gladwin

bears resemblances to documentary film-making.3 At this stage it seems necessary to briefly recognise Collins’s sustained documentary film-making practice, which continues to focus on subjects (predominantly people and places) in Ireland. Collins has been making perceptive documentaries in Ireland for over two decades. A strong case could be made that he is currently Ireland’s most influential documentary film-maker because his work concentrates primarily on the relationship between Irish culture and landscapes. Indeed, various commentators have categorised his work

in Unfolding Irish landscapes
Abstract only
Kathryn Milligan

, One Book Lectures 2014 (in association with Dublin City Public Libraries). Series Editor L. Collins, General Editor P. J. Matthews, 8. writing_the_city.pdf (accessed 21 April 2020). 2 J. Moynahan, ‘The image of the City in nineteenth century Irish fiction’, in M. Harmon (ed.), The Irish Writer and the City (Gerrards Cross: Colin Smythe; Totowa: Barnes and Noble, 1984), p. 16. 3 D. Kiberd, ‘The city in Irish culture’, in D. Kiberd (ed.), The Irish Writer and the World (Cambridge: Cambridge University Press, 2005), p. 294. 4

in Painting Dublin, 1886–1949
Waterford’s Magdalen Laundry
Jennifer O’Mahoney, Kate McCarthy, and Jonathan Culleton

Introduction For institutions such as the Magdalen Laundries to exist, Irish society was required to co-construct powerful interpretations of Catholic notions of guilt, sin, silence, and the potential threat of an unrestrained female sexuality. These institutions operated at the nexus of interrelated social constructions of gender, nationalism, and class. The idealised construct of a Catholic, nationalist, Irish woman, pure of race and virtue, provided a societal measurement, which was closely policed within Irish culture

in Legacies of the Magdalen Laundries