Back to the Present, Forward to the Past: Irish Writing and History Since 1798, Band 1Rodopi, 2006 - 364 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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Seite 17
... experience ( as I - to be fair to myself - have played host to theirs ) , to forgo the conclusion that platonic Ireland's alive and to come . What is in operation is what we might call selective or exclusive pluralism . If McIreland ...
... experience ( as I - to be fair to myself - have played host to theirs ) , to forgo the conclusion that platonic Ireland's alive and to come . What is in operation is what we might call selective or exclusive pluralism . If McIreland ...
Seite 24
... experience . Irony is the signal that the openness of event and experience is foreclosed by a history waiting to happen , and therefore allegorical . On a second reading of the story , when we know that the soldiers will be shot and ...
... experience . Irony is the signal that the openness of event and experience is foreclosed by a history waiting to happen , and therefore allegorical . On a second reading of the story , when we know that the soldiers will be shot and ...
Seite 25
... experience seen two men take to the country as they did.38 Take to the country they will - at the edge of a bog after being shot in reprisal . In the early domestic scenes , Belcher walks in and out " like a ghost " .39 The old woman is ...
... experience seen two men take to the country as they did.38 Take to the country they will - at the edge of a bog after being shot in reprisal . In the early domestic scenes , Belcher walks in and out " like a ghost " .39 The old woman is ...
Seite 37
... experience of being fired upon . The allusion also , of course , draws attention to the narrator's role as an artist / communicator , and Heaney's own ambivalence towards that role . As Spain reasserts itself , other , increasingly ...
... experience of being fired upon . The allusion also , of course , draws attention to the narrator's role as an artist / communicator , and Heaney's own ambivalence towards that role . As Spain reasserts itself , other , increasingly ...
Seite 47
... experience . But even at the moment of lowest esteem - on a national as well as personal level - a glimmer of hope remained . So , the final stanza in particular could be seen to contain a political message . While a modern audience ...
... experience . But even at the moment of lowest esteem - on a national as well as personal level - a glimmer of hope remained . So , the final stanza in particular could be seen to contain a political message . While a modern audience ...
Inhalt
27 | |
43 | |
Teresa Casal | 69 |
Douglas G S Simes | 83 |
Jennifer Johnstons How Many Miles to Babylon? Questioning | 109 |
Christa Velten | 133 |
Mitsuko Ohno | 157 |
Mary Helen Thuente | 181 |
Nadia Zaki Bishai | 229 |
The Influence of Irish Traditional Music on | 241 |
Margaret Mac Curtain | 255 |
Kathleen CostelloSullivan | 279 |
Dominique Nicolas | 297 |
Deborah Cottreau | 325 |
INDEX | 343 |
Síghle Bhreathnach Lynch | 209 |
Andere Ausgaben - Alle anzeigen
Back to the Present: Forward to the Past, Volume I: Irish Writing and ... Eingeschränkte Leseprobe - 2006 |
Häufige Begriffe und Wortgruppen
aesthetic angel harp Anglo-Irish artist autobiography ballad Banville's bard beautiful Belfast Big House Carleton Carson Castle Rackrent Catholic century Ciaran Carson colonizer contemporary context critics croppy dancing Danielstown Daru daughters death depicted Devlin Dublin Eavan Boland Edgeworth Edna O'Brien Elizabeth Bowen English Exile of Erin female fiction figure Friel's Gaelic Gothic grief Heaney's Hibernia Ibid identity imagination Irish history Irish Literature Irish Women Irish writing John Banville Lady lament language Liberty literary London Máire Maria Edgeworth mask Maskell Maskell's melody memory Mhac an tSaoi mother narrative narrator Nationalist Northern Ireland novel Nuala Ní Dhomhnaill O'Brien past Peig Sayers play poem poet poetic poetry political popular present Protestant reader reality rebellion Redmond Count O'Hanlon role Seamus Heaney silence social society song story sublime Synge Thady Thady's Tone tradition trope Ulster United Irish United Irishmen voice W. B. Yeats woman women writers words young
Beliebte Passagen
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.