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Textual spectrality and Finnegans Wake
Matthew Schultz

:23 Textual spectrality and Finnegans Wake 5 to (1) go beyond sectarian politics to unify Ireland under a single national identity, (2) present a strong interest in Irish culture and life including an interest in origins of Irish culture to be found in folklore and Celtic mythology, (3) show that Ireland was not the home of buffoonery and easy sentiment as suggested by the stage Irishman of the Victorian period (4), create Irish art that is distinctly non-English, and (5) see life through Irish eyes.33 Joyce, however, rejected the methods of Revivalist artists, in which

in Haunted historiographies
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S. Karly Kehoe

significant emphasis on the schooling of girls and young women, a feature distinctively lacking in the Protestant tradition.6 The final chapter considers the rise in devotional activity and associational or organisational culture between 1870 and 1900. The confraternities, sodalities, societies and associations that were introduced, largely by the middle class, worked to further consolidate the Catholic population. Although Irish culture would remain a distinctive element in the character of Catholicism, an increasingly united Scottish working-class consciousness and

in Creating a Scottish Church
Mary McGill

behaviour. Texts like Philomena affirm the legitimacy and reality of such experiences, requiring that audiences face ‘a history that Irish society prefers not to acknowledge’ while also shattering ‘the culturally imposed closed ranks’ on taboo subjects like rape, gender-based discrimination, and domestic violence. 26 Although the theme of motherhood has long been ‘ubiquitous’ in Irish culture, it is only in recent times that Irish women have begun to speak as mothers

in Legacies of the Magdalen Laundries
Contested terrains
Mícheál Ó hAodha

07 Insubordinate Irish 091-102 7 13/6/11 14:27 Page 91 Narrative and the Irish imaginary: Contested terrains Things fall apart; the centre cannot hold (The Second Coming – W. B. Yeats) Traditionally post-colonialism has read Irish culture through its inherited dichotomy of colonised/coloniser and empowered/disempowered thereby replicating imperialist power structures of old; the reading of the two primary strands within the representative discourse explored here points rather to the atypicality, the nomadic qualities, of Ireland’s postcolonial

in ‘Insubordinate Irish’
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Tom Inglis

. The question, however, is to what extent there is a connection between the level of communication between husbands and wives in relation to sex up to the 1970s and the level of communication in religious houses between nuns, priests and brothers – in particular, among those running specialised institutions – about sex, repressed desire, self-denial. In what way did the laity embody the habitus of the religious? In what way were the hiding, silencing and repression of sex, in Irish culture generally, linked to the way brothers, priests and nuns related to and treated

in Are the Irish different?
Michael G. Cronin

in affirming, projecting or protecting ‘Irish difference’ but in analysing the complex historical processes through which ideas about Irish difference have been discursively produced, circulated and resisted. Seamus Deane’s genealogy of ‘national character’, in all its taxonomic complexity, through two centuries of Irish writing is perhaps the exemplary instance here.8 Again, the efflorescence of Irish culture at the beginning of the twentieth century known as the Revival is instructive. Here we see Irish writers repudiating certain nineteenth-century conceptions

in Are the Irish different?
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The public meanings of emigration and the shaping of emigrant selves in post- war Ireland, 1945– 1969
Barry Hazley

networks in which intending migrants were enmeshed, but they also included the ‘cultural circuit’ by which personal understandings of self were fashioned through articulation with wider constructions of emigrant identity circulating within post-war Irish culture. It is here important to recognise that, although the post-war crisis replenished conventional narratives of exile, it also fuelled a wide-ranging debate over the causes, consequences and remedies of emigration, contributing to a wider contestation of the Catholic-nationalist settlement which had come into

in Life history and the Irish migrant experience in post-war England
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The immigrant in contemporary Irish literature
Pilar Villar-Argáiz

which accommodates the culture of the newly arrived communities.8 The effects of Ireland’s multiethnic reality are also observed in the multiplicity of literary texts by Irish writers, both male and female, which engage simultaneously with issues of nationhood and ethnicity. Ever since Donal O’Kelly’s production for the Abbey Theatre in 1994, Asylum! Asylum!, there has been a profusion of literary productions by Irish artists exploring the presence of the migrant Other in Irish culture and social life. One of the first Irish-born writers to delve into the changing

in Literary visions of multicultural Ireland
Michael O’Sullivan

English political and economic machine, tended to become Anglicized, ironically enough there was a gradual withdrawal of the Anglo-Irish nation from its dependency on the English mother-culture, and an effort to identify with the older Irish culture’ (1995c:220). However, for Ó Tuama, it is a process of assimilation between the two groups, the ‘mass of Irish people’ and the ‘Anglo-Irish nation’, that only goes so far because the Irish language is lost by the majority and the resulting Anglo-Irish literary tradition will never have an ‘individual Irish way of seeing and

in The humanities and the Irish university
O’Faoláin and his circle
Niall Carson

development and instruction from its artistic leaders. The legacy of the magazine to budding Irish artists was one of high editorial standards and demanding expectations for their work. However, it also left an imprint on Irish culture through the type of article that this ostensibly literary magazine would publish. The first hints of the artistic network that would eventually drive The Bell towards success came more than five years before its foundation. At the beginning of March 1935, Frank O’Connor delivered an open lecture to the Irish Academy of Letters on ‘Irish

in Rebel by vocation