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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
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Ireland’s ‘ABC of earth wonders’
Derek Gladwin and Christine Cusick

social integration with the places we inhabit.With this in mind, we have divided this collection into three broad sections on cartography and geography, writing and narrative, and place and Irish culture. These categories encompass several viewpoints through which a reader can examine Robinson’s critical, creative and cultural output in relation to many other disciplines and specific geographical spaces. The esteemed landscape writer and critic from the UK, Robert Macfarlane, begins the conversation of this collection in the Foreword by explaining Robinson’s influence

in Unfolding Irish landscapes
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
100 years of Ireland in National Geographic magazine
Patrick J. Duffy

with an American divorcée. Traditional Irish storyteller. References Arensberg, C. M. and Kimball, S. T. (1940) Family and Community in Ireland. Cambridge, MA: Harvard University Press. 194 100 years of Ireland in National Geographic Bell, D. (1995) ‘Picturing the landscape: Die grune insel: tourist images of Ireland’, European Journal of Communication 10, 1: 41–62. Brett, D. (1996) The Construction of Heritage. Cork: Cork University Press. Gibbons, L. (1996) Transformations in Irish Culture. Cork: Cork University Press. Kirby, P., Gibbons, L. and Cronin, M. (2002

in Spacing Ireland
The deep mapping projects of Tim Robinson’s art and writings, 1969–72
Nessa Cronin

Ireland today. While there are rhetorical gestures toward the concept of a ‘sense of place’ as being critically important to Irish culture in geographical and literary writings on Ireland (with examples of the role of the Gaelic Athletic Association often abounding in such analyses), the question as to the cultivation and care of the Irish landscape is one that is less easily posed, let alone answered. When one examines the intellectual history and conceptual arc of the Drever/ Robinson corpus of images, maps and texts as a whole, a number of key issues begin to emerge

in Unfolding Irish landscapes
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Postcolonialism and ecology in the work of Tim Robinson
Eóin Flannery

Celtic Tiger (London:  Faber and Faber, 2009); and Peadar Kirby, The Celtic Tiger in Collapse:  Explaining the Weaknesses of the Irish Model (Basingstoke:  Palgrave/ Macmillan, 2010). 50 Robinson, Listening, 110. 51 Robinson writes about his role in a campaign to prevent the construction of an airstrip across the archaeologically significant site at Roundstone Bog in My Time in Space (Dublin: Lilliput Press, 2001). 52 Robinson, ‘A Land without Shortcuts’, 41. 53 On speed and Irish culture, see Michael Cronin, ‘Inside Out:  Time and Place in Global Ireland’, in Eamon

in Unfolding Irish landscapes
The visual art of Tim Robinson/Timothy Drever
Catherine Marshall

Robert Ballagh, who introduced Pop art to Ireland, was forced to insist: I never had access to the culture that many people think is the Irish culture, the rural Gaelic tradition. I can’t paint Connemara fishermen … My experience of Ireland is an urban, Dublin one and I paint that. It would be dishonest of me to paint anything else. But being Dublin is also being Irish.16 For Robinson, the pull of the West initially was simply that it was not London. Nonetheless, his response to it was to open up wide-ranging alternatives to older representations of the area. Paul

in Unfolding Irish landscapes
Matrixial gazing in Tim Robinson’s walk-art-text practice
Moynagh Sullivan

-rehearsed instances of feminising the land, especially the western seaboard, in Irish culture. For instance, Jim Sheridan’s film Into the West (1992) opens and closes with a visually striking scene of a white horse running across a shoreline near Roundstone with the partial image of a foetus discernible in the sonography of the moon’s reflection in the wake of the sea, and it constructs the meeting of wave and earth as a maternal space, which forms the deep background against which the father–son relationship that drives the plot of the film can be dramatised. In the film’s plot it

in Unfolding Irish landscapes