Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist’s writings. Liam Lenihan critically assesses the artist’s own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan’s book delves into the connections between Barry’s writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions.
Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist?s writings. Liam Lenihan critically assesses the artist?s own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan?s book delves into the connections between Barry?s writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions. Barry?s writings are read within the context of the political and aesthetic thought of his distinguished friends and contemporaries, such as Edmund Burke, his first patron; Joshua Reynolds, his sometime friend and rival; Mary Wollstonecraft and William Godwin, with whom he was later friends; and his students and adversaries, William Blake and Henry Fuseli. Ultimately, Lenihan?s interdisciplinary reading shows the extent to which Barry?s faith in the classical tradition in general, and the genre of history painting in particular, is permeated by the hermeneutics of suspicion. This study explores and contextualizes Barry?s attempt to rethink and remake the preeminent art form of his era.
Liam O'Callaghan's revelatory Blood and Thunder shows that the rise of Irish rugby is inextricable from the tensions, debates and divisions – of politics, religion and class – that have defined modern Irish history. Despite the political partition of the island, Ireland competes at rugby internationally with an all-island team – and with a bespoke anthem that nobody loves but everyone tolerates. Ireland has become a leading rugby nation despite its tiny population and the fact that the sport is only the fourth most popular team game on the island by participation. In Blood and Thunder, O’Callaghan traces the dramatic evolution whereby a rugby nation that was deeply attached to amateurism has made such a dramatic success of professionalism. From the sequence of events that led Ireland's private Catholic secondary schools to embrace rugby, to the controversies and crises that have shaken Irish rugby – including the Northern Troubles, the Belfast rape trial, and the rising toll of head injuries – Blood and Thunder tells the rich and fascinating story of Irish rugby. Blood and Thunder is more than a social and political history of Irish rugby. It is also a shadow-history of modern Ireland, rooted in brilliant original research and packed with terrific stories.
Examines the impact of the economic crisis on peripheral European states such as Ireland and Greece. This book focuses on governance, sustainable politics and environmental policies, within the context of accelerated growth and the subsequent economic downturn. It also examines issues of governance and politics within these peripheral states.
While the type of small political party In Ireland has varied, their fate, it seems, has not. Although some enjoy a brief time in the sun, termination is the long-term prospects for all minor parties. The usual pattern is a speedy ascent, an impact on the political system including a time in government, followed by a prolonged termination. This book examines this pattern of evolution for minor, or small, parties in Irish politics. As the Irish state has changed, so too have the types of parties that have emerged. With the first-time entry of the Greens into government in 2007, their wipeout in 2011, the termination of the Progressive Democrats in 2009, and the failure of a new party to emerge despite the on-going financial crisis, the time is ripe for this analysis.
The Oxford Dictionary of Family Names of Ireland contains more than 3,800 entries covering the majority of family names that are established and current in Ireland, both in the Republic and in Northern Ireland. It establishes reliable and accurate explanations of historical origins (including etymologies) and provides variant spellings for each name as well as its geographical distribution, and, where relevant, genealogical and bibliographical notes for family names that have more than 100 bearers in the 1911 census of Ireland. Of particular value are the lists of early bearers of family names, extracted from sources ranging from the medieval period to the nineteenth century, providing for the first time, the evidence on which many surname explanations are based, as well as interesting personal names, locations and often occupations of potential family forbears. This unique Dictionary will be of the greatest interest not only to those interested in Irish history, students of the Irish language, genealogists, and geneticists, but also to the general public, both in Ireland and in the Irish diaspora in North America, Australia, and elsewhere.
Poulnabrone is marked by fate; it is falling asunder. A river flows from the nearby hills and disappears beneath the earth. Historical forces are at play.Who will pay heed and call halt to the madness? Who will listen?Everything subsides. Everything decays.
This book examines the phenomenon of the independent politician, believed to be extinct in most political systems. It is very much alive and well in Ireland, and has experienced a considerable resurgence in recent years. Independents won a record number of seats in 2016 and had three ministers appointed to cabinet. This presence is very unusual from a comparative perspective, and there are more independents in the Irish parliament than the combined total in all other industrial democracies. The aim of this book is to explain this anomaly, how and why independents can endure in a democracy that is one of the oldest surviving in Europe and has historically had one of the most stable party systems.
A paperback edition of a classic novel which has been long unavailable. Insurrection is a place where men are defined not by what they live for but by how they die for it.
Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist’s writings. Liam Lenihan critically assesses the artist’s own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan’s book delves into the connections between Barry’s writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions.
Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist?s writings. Liam Lenihan critically assesses the artist?s own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan?s book delves into the connections between Barry?s writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions. Barry?s writings are read within the context of the political and aesthetic thought of his distinguished friends and contemporaries, such as Edmund Burke, his first patron; Joshua Reynolds, his sometime friend and rival; Mary Wollstonecraft and William Godwin, with whom he was later friends; and his students and adversaries, William Blake and Henry Fuseli. Ultimately, Lenihan?s interdisciplinary reading shows the extent to which Barry?s faith in the classical tradition in general, and the genre of history painting in particular, is permeated by the hermeneutics of suspicion. This study explores and contextualizes Barry?s attempt to rethink and remake the preeminent art form of his era.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.