Back to the Present, Forward to the Past: Irish Writing and History Since 1798, Band 1
Rodopi, 2006 - 354 Seiten
The island of Ireland, north and south, has produced a great diversity of writing in both English and Irish for hundreds of years, often using the memories embodied in its competing views of history as a fruitful source of literary inspiration. Placing Irish literature in an international context, these two volumes explore the connection between Irish history and literature, in particular the Rebellion of 1798, in a more comprehensive, diverse and multi-faceted way than has often been the case in the past. The fifty-three authors bring their national and personal viewpoints as well as their critical judgements to bear on Irish literature in these stimulating articles. The contributions also deal with topics such as Gothic literature, ideology, and identity, as well as gender issues, connections with the other arts, regional Irish literature, in particular that of the city of Limerick, translations, the works of Joyce, and comparisons with the literature of other nations. The contributors are all members of IASIL (International Association for the Study of Irish Literatures). Back to the Present: Forward to the Past. Irish Writing and History since 1798 will be of interest to both literary scholars and professional historians, but also to the general student of Irish writing and Irish culture.
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Nadia Zaki Bishai
The Influence of Irish Traditional Music on
Margaret Mac Curtain
Síghle Bhreathnach Lynch
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Seite 136 - UNDER the wide and starry sky, Dig the grave and let me lie. Glad did I live and gladly die, And I laid me down with a will. This be the verse you grave for me: Here he lies where he longed to be ; Home is the sailor, home from sea, And the hunter home from the hill.
Seite 123 - And since the mimesis here assumed to be operative is one mode of figuration among others, does the referent determine the figure, or is it the other way round: is the illusion of reference not a correlation of the structure of the figure, that is to say no longer clearly and simply a referent at all but something more akin to a fiction which then, however, in its own turn, acquires a degree of referential productivity?
Seite 71 - It is impossible to draw Ireland as she now is in the book of fiction — realities are too strong, party passions too violent, to bear to see, or care to look at their faces in a looking glass. The people would only break the glass, and curse the fool who held the mirror up to nature — distorted nature, in a fever.
Seite 114 - I bear no hate against living thing; But I love my country above my King. Now. Father ! bless me, and let me go To die, if God has ordained it so.
Seite 114 - Good men and true ! in this house who dwell, To a stranger bouchal, I pray you tell Is the Priest at home? or may he be seen? I would speak a word with Father Green.
Seite 308 - ... bondage, to become individuated and free. The mother stands for the victim in ourselves, the unfree woman, the martyr.
Seite 156 - For trusteth wel, it is an impossible That any clerk wol speke good of wyves, But if it be of hooly seintes lyves, Ne of noon oother womman never the mo.
Seite 151 - Her diamond cross was, they say, at the bottom of it all; and it was a shame for her, being his wife, not to show more duty, and to have given it up when he condescended to ask so often for such a bit of a trifle in his distresses, especially when he all along made it no secret he married for money.
Seite 119 - ... the fiction of an apostrophe to an absent, deceased, or voiceless entity, which posits the possibility of the latter's reply and confers upon it the power of speech.