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Seminar paper from the year 2007 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,7, University of Heidelberg (Anglistisches Seminar), course: Landeskunde Irland: Shared Histories - Modern Ireland and Germany, language: English, abstract: After tracing out the limits and meanings of the term identity in general, this paper will deal with the components and characteristics of Irish identity and how it was constructed and developed.
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,7, University of Heidelberg (Anglistisches Seminar), course: Landeskunde Irland: Shared Histories - Modern Ireland and Germany, 20 entries in the bibliography, language: English, abstract: After tracing out the limits and meanings of the term identity in general, this paper will deal with the components and characteristics of Irish identity and how it was constructed and developed.
Using a Derridean deconstruction approach, this book examines the course by which the history of modernity and colonialism has constructed an idea of Ireland, produced more often as a citation than an actuality.
Colin Graham examines the course by which the history of modernity and colonialism has constructed an idea of 'Ireland', produced more often as a citation than an actuality. He intervenes with authority and originality in controversial area, where cultural theory and analysis run alongside the daily challenge of political events.
This book brings together important material from a range of sources and highlights how government organizations, musicians, academics and commercial companies are concerned with, and seek to use, a particular notion of Irish musical identity. Rooting the study in the context of the recent history of popular, traditional and classical music in Ireland, as well as providing an overview of aspects of the national field of music production and consumption, O'Flynn goes on to argue that the relationship between Irish identity and Irish music emerges as a contested site of meaning. His analysis exposes the negotiation and articulation of civic, ethnic and economic ideas within a shifting hegemony of national musical culture, and finds inconsistencies between and among symbolic constructions of Irish music and observed patterns in the domestic field. More specifically, O'Flynn illustrates how settings, genres, social groups and values can influence individual identifications or negations of Irishness in music. While the apprehension of intra-musical elements leads to perceptions of music that sounds Irish, style and authenticity emerge as critical articulatory principles in the identification of music that feels Irish. The celebratory and homogenizing discourse associated with the international success of some Irish musical forms is not reflected in the opinions of the people interviewed by O'Flynn; at the same time, an insider/outsider dialectic of national identity is found in various forms of discourse about Irish music. Performers and composers discussed include Bill Whelan (Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes, Dolores Keane and Gerald Barry.
In 1945, the Irish Catholic Church began a unique relationship with the entertainment industry through an organization known as the Catholic Stage Guild of Ireland. This Guild, whose members included Jimmy O’Dea, Noel Purcell, Cyril Cusack, and Gabriel Fallon, acted as a microcosm of twentieth-century Ireland, dramatically depicting the heartaches and successes of the Irish Catholics. This unprecedented study of the Catholic Stage Guild begins an investigation on the contemporary relationship between the Irish Catholic Church and theatre that, until now, has rarely been examined. Written for those interested in theatre studies, Catholic studies, and Irish studies, the Catholic Stage Guild of Ireland’s persuasion over the theatre population both within and outside the country’s borders proposes a story long overdue to be told – until now.
The writers in this text seek to reconcile the established critical perspectives of Irish studies with a forward-looking critical momentum that incorporates the realities of globalisation and economic migration.
Chapter Four, "Claustrophobic Kitchens," centers on Martin McDonagh's deliberately inauthentic peasant cottage sets and the fragmentation of Irish identity, as stereotypes of Irishness are trafficked to Irish Diaspora and international audiences. Finally, "Exporting Kitsch," a concluding examination of recent solo performances by Colm Tóibín and Fiona Shaw, Marie Jones, and Marina Carr, considers how Irishness is embodied, especially how the Irish female body is limited to prescribed roles and spaces on stage. " --
This book uncovers a new genre of ‘post-Agreement literature’, consisting of a body of texts – fiction, poetry and drama – by Northern Irish writers who grew up during the Troubles but published their work in the aftermath of the Good Friday Agreement. In an attempt to demarcate the literary-aesthetic parameters of the genre, the book proposes a selective revision of postcolonial theories on ‘liminality’ through a subset of concepts such as ‘negative liminality’, ‘liminal suspension’ and ‘liminal permanence.’ These conceptual interventions, as the readings demonstrate, help articulate how the Agreement’s rhetorical negation of the sectarian past and its aggressive neoliberal campaign towards a ‘progressive’ future breed new forms of violence that produce liminally suspended subject positions.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This is a distinctive book that examines the diversity and energy of writing in a period marked by the unparalleled global prominence of Irish culture. This collection provides a wide-ranging survey of fiction, poetry and drama over the last two decades, considering both well-established figures and also emerging writers who have received relatively little critical attention. Contributors explore the central developments within Irish culture and society that have transformed the writing and reading of identity, sexuality, history and gender. The book examines the impact of Mary Robinson’s Presidency; growing cultural confidence ‘back home’; legislative reform on sexual and moral issues; the uneven effects generated by the resurgence of the Irish economy (the ‘Celtic Tiger’ myth); Ireland’s increasingly prominent role in Europe; and changing reputation. In its breadth and critical currency, this book will be of particular interest to academics and students working in the fields of literature, drama and cultural studies.