Mulligan's is more than a Dublin pub; it is an Irish cultural phenomenon. It has a unique and colourful history, spanning over two hundred years. Mulligan's has hosted the famous - Judy Garland, Seamus Heaney, Con Houlihan, James Joyce, John F. Kennedy - and, indeed, the infamous - police arrested a kidnapper there. Quirkiness pervades its atmosphere. The ashes of a US tourist are interred in its clock. Barmen have seen ghosts on the premises. For decades, performers at the Theatre Royal thronged to Mulligan's, mingling with journalists from 'The Irish Press' who smoked, fumed and interviewed celebrities in it. This fascinating book captures the atmosphere and essence of an Irish institution, loved by both natives and tourists alike.
In February, 1919, three Irish revolutionary prisoners walked out of Lincoln Jail without having dug a tunnel or fired a shot. The escape was the culmination of months of planning that involved some of the greatest intellects in Ireland and Britain. Peter DeLoughry (1882–1931) was one of the founding fathers of modern Ireland. His most famous achievement was to make a key that allowed three of his fellow prisoners in Lincoln Jail to escape in February 1919. The key became a symbol of the success that could be achieved by co-operation and hard work. However, as the years went on, the key became a matter of poisonous dispute between DeLoughry and Michael Collins on one side and Eamon de Valera and Harry Boland on the other. The key emerged as a symbol of the hatred and bitterness that welled up and overflowed in the nascent years of the Irish Free State. De Loughrey was also Mayor of Kilkenny for more than six consecutive years, a record not surpassed before or since. He served in the upper and lower houses of the Irish Parliament where he became embroiled in issues such as divorce, film censorship and, most important of all, the Anglo-Irish Treaty, which he championed. He lived through an age of political and social turbulence; his childhood and adulthood bridged the time of Parnell and the birth of the Irish Free State.
The material included in this volume comes from a variety of sources, including the archives of the diocese of Clonfert and that which was gathered in 1931 by an t-Athair Eric McFhinn, a noted polyglot and scholar of the diocese. Taken in conjunction with the Schools Folklore Commission's work a few years later, this material now has a value beyond even that which was foreseen at the time. In June of 1922, in a singularly unhelpful exercise, some doughty Irishmen set off a landmine in the Public Records Office of the Four Courts. Thousands of old documents were destroyed, including the remaining censi from the nineteenth century and many of the Church of Ireland registers. Happily, just before this happened, Thomas T. O'Farrell had taken the time to type out extracts from the censi taken in Loughrea in 1821 and 1841 and they are also reproduced here in print for the first time. What emerges from this parish history, covering the areas of Cappatagle/ Kilrickle, Carrabane, Leitrim/Kilmeen, Loughrea, Mullagh/Killoran, New Inn/Bullaun, Killeenadeema/Aille and Kiltullagh/Killimordaly/Attymon is a curate's egg of information which we hope will hold something for everyone in the diocese, and which will add in its own way to the process of preserving a record of our past.
Since the signing of the Good Friday Agreement in 1998 — the formal end-point of the thirty-year modern ‘Troubles’ — contemporary visual artists have offered diverse responses to post-conflict circumstances in Northern Ireland. In Ghost-Haunted Land — the first book-length examination of post-Troubles contemporary art — Declan Long highlights artists who have reflected on the ongoing anxieties of aftermath. This wide-ranging study addresses developments in video, photography, painting, sculpture, performance and more, offering detailed analyses of key works by artists based in Ireland and beyond — including 2014 Turner Prize winner Duncan Campbell and internationally acclaimed filmmaker and photographer Willie Doherty. ‘Post-Troubles’ contemporary art is discussed in the context of both local transformations and global operations — and many of the main points of reference in the book come from broader debates about the place and purpose of contemporary art in today’s world.
Combining the razor-sharp wit of writer Declan Lynch with illustrations and contributions from Father Ted co-creator Arthur Mathews. Since Declan Lynch and Arthur Mathews first shone a light into this darkest corner of the darkest living room in all of Ireland over a decade ago, things have actually got worse for that almost-forgotten species we call the Poor Ould Fellas - impossible though it seems. Further confined to their unhappy dwelling places by the drink-driving laws, a new range of challenges have emerged to torment them in a baffling post-analog world, where emails seek to release them from the few remaining shillings that weren't stolen by bankers during the crash. Now they must negotiate a universe full of new words (falafel, bitcoin, Spotify) and concepts (texting, sexting, going away for the weekend, composing a tweet, growing a beard, online banking) that mean absolutely nothing to them. Notes from a Lost Tribe is a hilarious road map through a world of forgotten men and their equally forgotten dogs, who ask for so little - yet it is denied them. And still ... somehow ... inexplicably ... they go on.
The Irish Writer and the World is a major new book by one of Ireland's most prominent scholars and cultural commentators. Declan Kiberd, author of the award-winning Irish Classics and Inventing Ireland, here synthesises the themes that have occupied him throughout his career as a leading critic of Irish literature and culture. Kiberd argues that political conflict between Ireland and England ultimately resulted in cultural confluence and that writing in the Irish language was hugely influenced by the English literary tradition. He continues his exploration of the role of Irish politics and culture in a decolonising world, and covers Anglo-Irish literature, the fate of the Irish language and the Celtic Tiger. This fascinating collection of Kiberd's work demonstrates the extraordinary range, astuteness and wit that have made him a defining voice in Irish studies and beyond, and will bring his work to new audiences across the world.
A celebration of the tenacious life of the enduring Irish classics, this book by one of Irish writing's most eloquent readers offers a brilliant and accessible survey of the greatest works since 1600 in Gaelic and English, which together have shaped one of the world's most original literary cultures. In the course of his discussion of the great seventeenth- and eighteenth-century Gaelic poems of dispossession, and of later work in that language that refuses to die, Declan Kiberd provides vivid and idiomatic translations that bring the Irish texts alive for the English-speaking reader. Extending from the Irish poets who confronted modernity as a cataclysm, and who responded by using traditional forms in novel and radical ways, to the great modern practitioners of such paradoxically conservative and revolutionary writing, Kiberd's work embraces three sorts of Irish classics: those of awesome beauty and internal rigor, such as works by the Gaelic bards, Yeats, Synge, Beckett, and Joyce; those that generate a myth so powerful as to obscure the individual writer and unleash an almost superhuman force, such as the Cuchulain story, the lament for Art O'Laoghaire, and even Dracula; and those whose power exerts a palpable influence on the course of human action, such as Swift's Drapier's Letters, the speeches of Edmund Burke, or the autobiography of Wolfe Tone. The book closes with a moving and daring coda on the Anglo-Irish agreement, claiming that the seeds of such a settlement were sown in the works of Irish literature. A delight to read throughout, Irish Classics is a fitting tribute to the works it reads so well and inspires us to read, and read again.
The best of Irish Soccer. The kickstart the country needed. The men, the excitement, the places, the stories, the goals and above all, the journey. They were the best days of our lives. This is how so many of the Irish remember Italia 90 and all that came with it – the atmosphere of wild celebration, the scenes of chaos, the fine madness. Declan Lynch recalls the great moments – Packie's save and his leap into immortality; Pavarotti's Nessun Dorma and U2's Put 'Em Under Pressure; Kevin Sheedy's sweet strike; and all that drinking. Days of Heaven is full of hilarious accounts of how the Irish abandoned reality in that glorious time called Italia 90.
Offering insights into the creative processes involved in being a screenwriter, this volume provides first-hand accounts of the industry from a group of 13 screenwriters. Their experiences are illustrated with script excerpts, hand-written notes, storyboards, film stills, and photographs.
Because "spirituality" is such a ubiquitous term today, any attempt to elucidate it more fully is only to be welcomed. Volume 23 in the LTPM series represents a significant contribution in this regard. Beginning with the apostle Paul, Declan Marmion shows how the meaning of the term "spirituality" changed over the centuries. He then offers a useful working definition of spirituality and explores the complicated relationship between spirituality, academic theology, and religious experience. In the main body of the book, Marmion focuses on the spiritual basis of Karl Rahner's theology. Exhibiting a comprehensive knowledge of the primary and secondary literature in this area, Marmion uses Rahner's notion of spirituality to treat such important themes as the nature of God, mystical experience, prayer, love of neighbor, and more.
The Irish soldier has never been a stranger to fighting the enemy with the odds stacked against him. The notion of charging into adversity has been a cherished part of Ireland’s military history. In September 1961, another chapter should have been written into the annals, but it is a tale that lay shrouded in dust for years. The men of A Company, Thirty-Fifth Irish Infantry Battalion, arrived in the Congo as a United Nations contingent to help keep the peace. For many it would be their first trip outside their native shores. Some of the troops were teenage boys, their army-issue hobnailed boots still unbroken. They had never heard a shot fired in anger. Others were experienced professional soldiers but were still not prepared for the action that was to take place. Led by Commandant Pat Quinlan, A Company found themselves tasked with protecting the European population at Jadotville, a small mining town in the southern Congolese province of Katanga. It fell to A Company to protect those who would later turn against them. On September 13th, 1961, the bright morning air of Jadotville was shattered by the sound of automatic gunfire. The men of A Company found their morning mass parade interrupted, and within minutes they went from holding rosaries to rifles as they entered the world of combat. This was to be no Srebrenica; though cut off and surrounded, the men of Jadotville held their ground and fought. This is their story.
What is the self? Is it the impregnable cogito of Descartes or the shattered self of Nietzsche? Or has it become serendipitously constituted from pieces of fairy tales and novels, childhood comics and soap operas - a multitude of forces culled from fashion, modern myth, culture and recreation? Or must we still convince ourselves, like Rousseau, that the self can never be tainted; that it is, above all else, irrefrangible? Paul Ricoeur proposed that the self is formed within the narratives we tell of ourselves, that it is itself a form of narrative. But is this enough? Could a self cohere in a multitude of potential narratives or find unity among its stories? In this book, Declan Sheerin challenges the theory that the self is narrative alone or that concordance reigns over discordance in the self. Drawing upon the works of Gilles Deleuze, he proposes that deep to the sense of a unified, represented self is a more fundamental self of difference, a self that is more than merely coherent narrative.
In February, 1919, three Irish revolutionary prisoners walked out of Lincoln Jail without having dug a tunnel or fired a shot. The escape was the culmination of months of planning that involved some of the greatest intellects in Ireland and Britain. Peter DeLoughry (1882–1931) was one of the founding fathers of modern Ireland. His most famous achievement was to make a key that allowed three of his fellow prisoners in Lincoln Jail to escape in February 1919. The key became a symbol of the success that could be achieved by co-operation and hard work. However, as the years went on, the key became a matter of poisonous dispute between DeLoughry and Michael Collins on one side and Eamon de Valera and Harry Boland on the other. The key emerged as a symbol of the hatred and bitterness that welled up and overflowed in the nascent years of the Irish Free State. De Loughrey was also Mayor of Kilkenny for more than six consecutive years, a record not surpassed before or since. He served in the upper and lower houses of the Irish Parliament where he became embroiled in issues such as divorce, film censorship and, most important of all, the Anglo-Irish Treaty, which he championed. He lived through an age of political and social turbulence; his childhood and adulthood bridged the time of Parnell and the birth of the Irish Free State.
Emily Howard is nineteen years old, slim and petite with a pale complexion and a red rose tattoo. She is also missing. She disappeared three days ago, and now her father has been sent photographs of her naked body. He is desperate to find her. So he calls Ed Loy, a private investigator who knows the dark streets of Dublin better than most; a man who will find Emily Howard within twenty-four hours. But locating Emily turns out to be only the beginning. Within hours, Emily's ex-boyfriend is found murdered, and Loy finds himself in a race against time to catch a killer - and to unearth the many dark secrets the Howard family have kept long buried.
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