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James Joyce and journalism
Terence Killeen

. Similarly, Joyce’s Daily Express review of Lady Gregory’s Poets and Dreamers can justifiably be read as a rejection of the entire world of the Irish peasantry, ‘feeble and sleepy’, telling stories without ‘any satisfying imaginative wholeness’.8 But when, some years later, Joyce meets an actual peasant on the Aran Islands, a person who could fairly be considered a type, if not the type of his race, he is a far more complex character than that delineated in the Gregory review: ‘Under his apparent simplicity there is something sceptical, humorous, spectral.’9 One

in Irish journalism before independence
Iarfhlaith Watson

culture which had existed in the sacred time of the pre-Norman golden age and the sacred place of the West of Ireland, especially the Aran Islands, where the sacred culture still existed. The discoveries of round towers, Celtic crosses, brooches, chalices and manuscripts all provided new symbols for the emerging Irish national identity. The English language and British socio-political values would be maintained, but infused with a Celtic heritage. In the mid-nineteenth century there were local antiquarian societies throughout the country which used these new Celtic

in Are the Irish different?
Modernity and the recuperation of migrant memory in the writing of Hugo Hamilton
Jason King

, and then washed up on the shores of the Aran Islands, a century earlier. As Hamilton makes clear in his afterword to the novel, the story of the drowned woman is neither fictional nor literary but a vestigial folktale ‘about her death which entered into the memory of the landscape’ (89). From Vid Ćosić’s perspective, it is the protrusions of modernity on this landscape of memory that prevent the Concannon family and community at large from comprehending and mourning her loss.2 183 Jason King Hence, Vid Ćosić travels to Connemara to conjure an image of Máire

in Literary visions of multicultural Ireland
Abstract only
John Elder

four decades ago, Robinson has produced maps and gazetteers of the Aran Islands, the Burren’s limestone labyrinth and Connemara. In 1986 and 1995 he published Pilgrimage and Labyrinth, respectively, the two parts of a project called Stones of Aran that has been widely acknowledged as a masterpiece. In 2011 he saw into print the third volume of his equally impressive and absorbing Connemara. Though Robinson is British (half Scottish, half English) by birth, his writing has long since been recognised as a treasure of contemporary Irish literature because of the

in Unfolding Irish landscapes
Community, language and culture under the Celtic Tiger
Steve Coleman

factory on Inis Meáin in the Aran Islands can be in continuous and instantaneous contact with both its designers and its markets in Japan, Europe and the United States. This is beginning to provide opportunities for people to stay in remote locales rather than emigrating to centres of production. Both Raidió na Gaeltachta and TG4 rely on technological advances that make possible radically decentralised communication networks and a greater variety of choice in both the production and consumption of mediated culture. Privately owned media, such as the Irish

in The end of Irish history?
Fergus Campbell

what this tells us about modern and postmodern Ireland is an important question that remains to be explored. Perhaps the extraordinary work of Tim Robinson that explores the landscape of Connemara and the Aran Islands in a multilayered manner, incorporating geology, geography, history, literature and folklore (and walking), suggests some new ways of thinking about Irish land for the next generation who will live and work on it and who will research and write about it.21 It may be that the land of Ireland continues to contain valuable secrets that students of Ireland

in Land questions in modern Ireland
Reading Tim Robinson through Gluaiseacht Chearta Sibhialta na Gaeltachta
Jerry White

enthusiasm for that project is very much of a piece with Gaeltacht activism of many decades, indeed, right up into the present day. That activism has stressed the moral obligation to allow communities to control their own fate; that obligation of course extends to English-speaking communities as well. Anyone who looks closely at Robinson’s Connemara map can see that. But the place where you can really see pobal taking priority over teanga is in the gazetteers of the two ‘big maps’: Connemara: A One-Inch Map (1990) and Oileáin Árann: A Map of the Aran Islands, Co. Galway

in Unfolding Irish landscapes
Listening in/to Tim Robinson
Gerry Smyth

system which Heidegger spent his entire career elucidating and refining.There is a readily available inference, however, which suggests that listening represents a crucial aspect of human experience, one that is ineluctably linked with a number of equally important abilities including understanding, speaking, dwelling and thinking. Such a profile renders Heidegger highly amenable to the kind of project undertaken by Tim Robinson in relation to the landscapes of the Aran Islands, the Burren and Connemara – what he himself has described as ‘an existential project of

in Unfolding Irish landscapes
Heather Norris Nicholson

observed that Robert Flaherty’s ‘pictorially beautiful film’ on the Aran Islands apparently ‘missed’ something while graciously conceding that ‘this film can teach more to the amateur cine maker than any other that will be seen for a long while’. 49 Another contributor urged watching Paul Rotha’s Rising Tide (1934) for ideas on editing: ‘[the film] repays study for not only does it contain much that can be pointed to as a

in Amateur film
Abstract only
Twentieth-century absurdist practice
Neil Cornwell

, written in consequence of Artaud’s Irish affair, concerned largely with attempts to secure payment of a lodging debt of £1 17s 6d run up by Artaud in the Aran Islands (with the whereabouts of a cherished ‘walking stick’ a prominent side issue), has been published: ‘“An absent-minded person of the student type”: Extracts from the Artaud file’, Dublin Review, 1 (Winter 2000–1), 55–80; as the editorial commentary suggests, these texts could of themselves constitute a viable sketch for the theatre of the absurd. The Irish composer Raymond Deane conflated the Irish visits of

in The absurd in literature