The history of Irish Travellers is not analogous to that of the 'tinker', a Europe-wide underworld fantasy created by sixteenth-century British and continental Rogue Literature that came to be seen as an Irish character alone as English became dominant in Ireland. By the Revival, the tinker represented bohemian, pre-Celtic aboriginality, functioning as the cultural nationalist counter to the Victorian Gypsy mania. Long misunderstood as a portrayal of actual Travellers, J.M. Synge's influential The Tinker's Wedding was pivotal to this 'Irishing' of the tinker, even as it acknowledged that figure's cosmopolitan textual roots. Synge's empathetic depiction is closely examined, as are the many subsequent representations that looked to him as a model to subvert or emulate. In contrast to their Revival-era romanticization, post-independence writing portrayed tinkers as alien interlopers, while contemporaneous Unionists labelled them a contaminant from the hostile South. However, after Travellers politicized in the 1960s, more even-handed depictions heralded a querying of the 'tinker' fantasy that has shaped contemporary screen and literary representations of Travellers and has prompted Traveller writers to transubstantiate Otherness into the empowering rhetoric of ethnic difference. Though its Irish equivalent has oscillated between idealization and demonization, US racial history facilitates the cinematic figuring of the Irish-American Traveler as lovable 'white trash' rogue. This process is informed by the mythology of a population with whom Travelers are allied in the white American imagination, the Scots-Irish (Ulster-Scots). In short, the 'tinker' is much more central to Irish, Northern Irish and even Irish-American identity than is currently recognised.
This book explores the performance of Irish collective memories and forgotten histories. It proposes an alternative and more comprehensive criterion of Irish theatre practices. These practices can be defined as the 'rejected', contested and undervalued plays and performativities that are integral to Ireland's political and cultural landscapes.
Analysing major Irish dramas and the artists and companies that performed them, Modern Irish Theatre provides an engaging and accessible introduction to twentieth-century Irish theatre: its origins, dominant themes, relationship to politics and culture, and influence on theatre movements around the world. By looking at her subject as a performance rather than a literary phenomenon, Trotter captures how Irish theatre has actively reflected and shaped debates about Irish culture and identity among audiences, artists, and critics for over a century. This text provides the reader with discussion and analysis of: Significant playwrights and companies, from Lady Gregory to Brendan Behan to Marina Carr, and from the Abbey Theatre to the Lyric Theatre to Field Day; Major historical events, including the war for Independence, the Troubles, and the social effects of the Celtic Tiger economy; Critical Methodologies: how postcolonial, diaspora, performance, gender, and cultural theories, among others, shed light on Irish theatre’s political and artistic significance, and how it has addressed specific national concerns. Because of its comprehensiveness and originality, Modern Irish Theatre will be of great interest to students and general readers interested in theatre studies, cultural studies, Irish studies, and political performance.
Irish literature's roots have been traced to the 7th-9th century. This is a rich and hardy literature starting with descriptions of the brave deeds of kings, saints and other heroes. These were followed by generous veins of religious, historical, genealogical, scientific and other works. The development of prose, poetry and drama raced along with the times. Modern, well-known Irish writers include: William Yeats, James Joyce, Sean Casey, George Bernard Shaw, Oscar Wilde, John Synge and Samuel Beckett.
Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.
This study shows how fiction that makes use of textiles as an essential element utilizes synaesthetic writing and synaesthetic metaphor to create an affective link to, and response in, the reader. These links and responses are examined using affect theory from Silvan Tomkins and Brian Massumi and work on synaesthesia by Richard Cytowic, Lawrence Marks, and V.S. Ramachandran, among others. Synaesthetic writing, including synaesthetic metaphors, has been explored in poetry since the 1920s and, more recently, in fiction, but these studies have been general in nature. By narrowing the field of investigation to those novels that specifically employ three types of hand-crafted textiles (quilt-making, knitting and embroidery), the book isolates how these textiles are used in fiction. The combination of synaesthesia, memory, metaphor and, particularly, synaesthetic metaphor in fiction with textiles in the text of the case studies selected, shows how these are used to create affect in readers, enhancing their engagement in the story. The work is framed within the context of the history of textile production and the use of textiles in fiction internationally, but concentrates on Australian authors who have used textiles in their writing. The decision to focus on Australian authors was taken in light of the quality and depth of the writing of textile fiction produced in Australia between 1980 and 2005 in the three categories of hand-crafted textiles – quilt-making, knitting and embroidery. The texts chosen for intensive study are: Kate Grenville’s The Idea of Perfection (1999, quilting); Marele Day’s Lambs of God (1997, knitting) and Anne Bartlett’s Knitting (2005, knitting); Jessica Anderson’s Tirra Lirra by the River (1978, embroidery) and Marion Halligan’s Spider Cup (1990, embroidery).
In the annals of Irish studies and theater history much has been written about the Abbey Theatre. Now, Mary Trotter not only sheds new Light on that company's history but also examines other groups with a range of political, religious, gender, and class perspectives that consciously used performance to promote ideas about nationalism and culture in Ireland at the turn of the last century. This innovative, interdisciplinary work details how different nationalist organizations with diverse political and artistic goals employed theater as an anticolonial tool. In Dublin's turbulent cultural and political arena during the first decades of the twentieth century, nationalist audiences read popular Irish melodramas in subversive ways; the Daughters of Erin staged tableaux of great women heroes; and the Abbey players earned both acclaim and apprehension within the nationalist community. Here is a compelling analysis of these and other groups' prominent role in Irish nationalism in the years before Easter 1916, and the way these political theaters gave birth to modern Irish drama.
The first general survey of the history of women in early modern Ireland. Based on an impressive range of source material, it presents the results of original research into women’s lives and experiences in Ireland from 1500 to 1800. This was a time of considerable change in Ireland as English colonisation, religious reform and urbanisation transformed society on the island. Gaelic society based on dynastic lordships and Brehon Law gave way to an anglicised and centralised form of government and an English legal system.
Take a colorful walk through human ingenuity. Humans have been unpacking the earth to use pigments since cavemen times. Starting out from surface pigments for cave paintings, we’ve dug deep for minerals, mined oceans for colors and exploited the world of plants and animals. Our accidental fumbles have given birth to a whole family of brilliant blues that grace our museums, mansions and motorcars. We’ve turned waste materials into a whole rainbow of tints and hues to color our clothes, our food and ourselves. With the snip of a genetic scissor, we’ve harnessed bacteria to gift us with “greener” blue jeans and dazzling dashikis. As the pigments march on into the future, who knows what new and exciting inventions will emerge? Mary Virginia Orna, a world-recognized expert on color, will lead you through an illuminating journey exploring the science behind pigments. Pausing for reflections en route to share stories around pigment use and discoveries informed by history, religion, sociology and human endeavour, this book will have you absorbing science and regaling tales. Jam packed with nuggets of information, March of the Pigments will have the curiously minded and the expert scientist turning pages to discover more.
In this brief, Mary Virginia Orna details the history of color from the chemical point of view. Beginning with the first recorded uses of color and ending in the development of our modern chemical industry, this rich, yet concise exposition shows us how color pervades every aspect of our lives. Our consciousness, our perceptions, our useful appliances and tools, our playthings, our entertainment, our health, and our diagnostic apparatus – all involve color and are based in no small part on chemistry.
Ingenious Ireland takes readers on a magnificent tour of the country's natural wonders, clever inventions, and historic sites. Richly illustrated and meticulously compiled, Ingenious Ireland introduces readers to the complete history, culture, and landscape of all thirty-two Irish counties. Mary Mulvihill unearths Ireland's treasures and divulges her secrets, such as the oldest fossil footprints in the Northern hemisphere, the advent of railways, the invention of milk of magnesia, and why the shamrock is a sham. Fascinating and comprehensive, Ingenious Ireland unravels the mysteries and marvels of this remarkable country.
Ideal for performers looking for inexpensive material, this collection of royalty-free, one-act plays contains classics by well-known playwrights. Featured productions include Glaspell's Trifles, Synge's Riders to the Sea, and Strindberg's The Stronger, plus works by Aristophanes, Chekhov, Millay, O'Neill, and others.
Mary Ann Glendon offers a comparative and historical analysis of rapid and profound changes in the legal system beginning in the 1960s in England, France, West Germany, Sweden, and the United States, while bringing new and insightful interpretation and critical thought to bear on the explosion of legislation in the last decade. "Glendon is generally acknowledged to be the premier comparative law scholar in the area of family law. This volume, which offers an analytical survey of the changes in family law over the past twenty-five years, will burnish that reputation. Essential reading for anyone interested in evaluating the major changes that occurred in the law of the family. . . . [And] of serious interest to those in the social sciences as well."—James B. Boskey, Law Books in Review "Poses important questions and supplies rich detail."—Barbara Bennett Woodhouse, Texas Law Review "An impressive scholarly documentation of the legal changes that comprise the development of a conjugally-centered family system."—Debra Friedman, Contemporary Sociology "She has painted a portrait of the family in which we recognize not only ourselves but also unremembered ideological forefathers. . . . It sends our thoughts out into unexpected adventures."—Inga Markovits, Michigan Law Review
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