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Journal articles on the topic 'Irish drama (English)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Ní Riain, Isobel. "Drama in the Language Lab – Goffman to the Rescue." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (2014): 115–23. http://dx.doi.org/10.33178/scenario.8.2.11.

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Between 2011 and summer 2014 I taught Irish in the Modern Irish Department of University College Cork (UCC). I spent one hour a week with each of my two second year groups in the language lab throughout the academic year. Ostensibly, my task was to teach the students to pronounce Irish according to Munster Irish dialects. It was decided to use Relan Teacher software for this purpose. My main objective was to teach traditional Irish pronunciation and thus to struggle against the tide of the overbearing influence of English language pronunciation which is becoming an increasing threat to traditi

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Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics." Modern Italy 24, no. 1 (2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.

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Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon

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Kelleher, Margaret. "Irish Culture(s): Hyphenated, Bilingual, or Plurilingual?" Irish University Review 50, no. 1 (2020): 143–52. http://dx.doi.org/10.3366/iur.2020.0441.

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This article begins with a review of the usage of the term ‘Anglo-Irish’ (including the background to the establishment of the Chair of Anglo-Irish Literature and Drama in UCD in 1966), and examines the critical fortunes of an alternative term, ‘Hiberno-English’. In the light of both contemporary creative practice and historical antecedents, it explores the possibilities extended by reconceptualising Irish literature and culture as bilingual (even plurilingual): not only as a ‘backward look’ but also as a means of securing more hospitable and open fora for cultural creativity in our present.

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Haughton, Miriam. "Performing Power: Violence as Fantasy and Spectacle in Mark O'Rowe's Made in China and Terminus." New Theatre Quarterly 27, no. 2 (2011): 153–66. http://dx.doi.org/10.1017/s0266464x11000285.

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Mark O'Rowe's work marks a shift in Irish theatrical form and practice, positing his stories in urban landscapes that defy modernist dramatic frames and established linguistic styles. Here, angels and demons roam the earth with lost human souls and, though mythical creatures and influences are frequently made manifest, the connection to the other world does not remove the presence of popular culture – karate movies and salty snacks in particular. But perhaps the most viscerally striking aspect of O'Rowe's dramaturgy stems from the sense of pain, isolation, and trauma his characters embody and

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Urban, Eva. "Lessing's Nathan the Wise: from the Enlightenment to the Berliner Ensemble." New Theatre Quarterly 30, no. 2 (2014): 183–96. http://dx.doi.org/10.1017/s0266464x14000396.

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Lessing's Nathan the Wise (1779), exemplary for its enlightenment and humanist ideals, assembles Jews, Christians, and Muslims in dialogue during the medieval crusades in Jerusalem. Their encounters allow them to transcend conflict, to recognize their common humanity, and to resolve their differences through dialectical discourse and group arguments. In this article Eva Urban looks closely at the representation of enlightenment in this play and examines the potential role of plays and theatre practice in developing autonomous citizenship and intercultural understanding. Particular reference is

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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.

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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-c

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7

Heinkel, Polly L. "Adaptation and Nation: Theatrical Contexts for Contemporary English and Irish Drama." Harold Pinter Review 5, no. 1 (2021): 145–47. http://dx.doi.org/10.5325/haropintrevi.5.2021.0145.

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8

Acadia, Lilith. "Conquering Love." Common Knowledge 26, no. 3 (2020): 407–30. http://dx.doi.org/10.1215/0961754x-8521507.

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In a contribution to a symposium on xenophilia, this essay — a study of Brian Friel’s 1980 play Translations — raises the question of whether all xenophilia is by nature doomed to fail. Set in Ireland in 1833, the drama centers on the tension arising from a young British lieutenant’s falling in love with an Irish-speaker while he is in her country to translate Irish place-names into English for an imperial cartographic survey. While the lieutenant is referred to in the play as a Hibernophile, the essay interprets his love as xenophilic: love for the foreignness rather than the Irishness of wha

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Kitishat, Amal Riyadh. "Riders to the Sea between Regionalism and Universality: A Cultural Perspective." Theory and Practice in Language Studies 9, no. 3 (2019): 255. http://dx.doi.org/10.17507/tpls.0903.01.

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This study aims at discussing Riders to the Sea; it aims to investigate nationalism and cultural identity as two significant ways against the English cultural colonialism. Though many critics regard J.M. Synge as; and thus consider him as an example of regional dramatist because his works are related to the local Irish material. However; this study aims to correct this vision of Synge as only about Irish Celtic culture, but as an innovator of the Irish theatre and as a culturalist who shifted Irish theatre into a universal scope. Thus, though Synge's fame is due to his treatment of the "folk"

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Urban, Eva. "Reification and Modern Drama: an Analysis, a Critique, and a Manifesto." New Theatre Quarterly 32, no. 3 (2016): 256–68. http://dx.doi.org/10.1017/s0266464x16000233.

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Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-s

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Urban, Eva. "Embodied Gestures of Human Rights: Remorse, Sentiment, and Sympathy in Romantic Regency Drama." New Theatre Quarterly 40, no. 3 (2024): 256–65. http://dx.doi.org/10.1017/s0266464x24000198.

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This article demonstrates how the Enlightenment model of sentiment and sympathy is performed in embodied gestures of affective empathy-building, cross-cultural fraternity, and concern for human rights in three Romantic Regency tragedies: Pizarro (1799) by the Romantic dramatist August von Kotzebue, adapted from the German by the Irish dramatist Richard Brinsley Sheridan; Remorse (1813) by the English poet Samuel Taylor Coleridge; and The Apostate (1817) by the Irish dramatist Richard Lalor Sheil. In these plays, protagonists are moved towards sympathy and solidarity with others across cultural

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Urban, Eva. "‘Actors in the Same Tragedy’: Bertrand Russell, Humanism, and The Conquest of Happiness." New Theatre Quarterly 31, no. 4 (2015): 343–58. http://dx.doi.org/10.1017/s0266464x15000652.

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In Writings on Cities Henri Lefebvre calls for a ‘renewed right to urban life’. He maintains that ‘we must thus make the effort to reach out towards a new humanism, a new praxis, another man, that of urban society’. City spaces are used in a number of contemporary Irish site-specific theatre productions to explore histories of oppression and social injustice, and to imagine a new humanist praxis for society. The international multi-artform production The Conquest of Happiness (2013) was inspired by Bertrand Russell’s commitment to human happiness in defiance of war and suffering in his book Th

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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.

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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publica

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Kvéder, Bence Gábor. "The Witness, the Silenced, and the Rebel—Women in Search of Their Voice: Female Characters in Brian Friel’s Translations and Anne Devlin’s Ourselves Alone." FOCUS: Papers in English Literary and Cultural Studies 11, no. 1 (2023): 105–22. http://dx.doi.org/10.15170/focus.11.2018.8.105-122.

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It appears to have become a commonplace of Irish literary criticism that in Translations (1980) Brian Friel dramatizes largely national and historical issues. Referred to as his “most obviously postcolonial play” (Bertha 158), it is known for having the “nineteenth-century plot and setting [that] bore on Anglo-Irish relations in the present” (Roche, Theatre and Politics 2). Raising communal awareness, the play concentrates on the “key transitional moment when Irish gave way to English, when a culture was forced to translate itself into a different linguistic landscape” (Pelletier 68). In such

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Li, Yuan, and Tim Beaumont. "Dramatizing Chinese Intellectuals of the Republican Era in Face for Mr. Chiang Kai-shek: Encoding Nostalgia in a Comedy of Ideas." New Theatre Quarterly 37, no. 3 (2021): 281–94. http://dx.doi.org/10.1017/s0266464x2100018x.

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Face for Mr. Chiang Kai-shek, one of the most influential Chinese plays to have garnered attention in recent years, serves as a reminder of the importance of campus theatre in the formation and development of modern Chinese spoken drama from the early twentieth century onwards. As an old-fashioned high comedy that features witty dialogues and conveys philosophical and political ideas, it stands in opposition to such other forms of theatre in China today as the extravagant, propagandistic ‘main melody’ plays, as well as the experimental theatre of images. This article argues that the play’s foc

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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scotti

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Freeman, Arthur, and Janet Ing Freeman. "The Charlemont Library, the Sotheby Warehouse Fire of 1865, and the Vexed Provenance of British Library MS Egerton 1994." Library 23, no. 1 (2022): 47–67. http://dx.doi.org/10.1093/library/22.3.47.

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Abstract This article discusses the book collection of James Caulfeild (1728–1799), first earl of Charlemont in the Irish peerage, with particular reference to his holdings of early English drama and poetry. After the death of Charlemont’s son the library was consigned to Sotheby’s for anonymous sale in July 1865, but was in large part destroyed in the Sotheby warehouse fire of 19 June. The second part of the article explores the provenance of one surviving item, a volume of fifteen manuscript plays composed over four or five decades before 1644, now British Library, MS Egerton 1994. It is amo

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18

Kastleman, Rebecca. "Synecdoche's Obloquy: Beckett and the Performance of Indecency." Journal of Beckett Studies 29, no. 2 (2020): 179–95. http://dx.doi.org/10.3366/jobs.2020.0310.

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In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor tr

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Prykowska-Michalak, Karolina, and Izabela Grabarczyk. "“English with a Polish Accent and a Slight Touch of Irish”: Multilingualism in Polish Migrant Theatre." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 298–316. http://dx.doi.org/10.18778/2083-2931.13.16.

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Issues of migration writing (see Kosmalska) and migrant theatre have recently gained prominence, leading to an increase in research focused on analyzing the theatrical works of artists with a migrant background. This phenomenon is part of a broader trend in intercultural and, often, postcolonial studies. Contemporary Polish migrant theatre is a subject that has not been thoroughly explored yet. Among many methods applied in the study of migrant theatre, intercultural studies or the so-called new interculturalism take the lead. These concepts draw on bilingualism or multilingualism practices, w

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Manzoor, Sohana. "Conor McPherson’s The Seafarer:." Crossings: A Journal of English Studies 8 (August 1, 2017): 128–35. http://dx.doi.org/10.59817/cjes.v8i.136.

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The devil claiming a human soul is no more an unusual theme in today’s literary world. And yet, when Conor McPherson made his national theater debut in 2006 with The Seafarer, he caused a stir, and the next year he took the Broadways in a similar fashion. During the same time, Clare Wallace noticed that McPherson’s on-stage feat made him popular with the audience and the “scholarly response has been a good deal more sluggish,” even when he employs the quintessentially Irish storytelling tradition, infusing it with modern theater’s “disruption of illusionism” (1). Now a more critically acclaime

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Harte, Liam. "Transforming research into art: the making and staging of My English Tongue, My Irish Heart, a research-based drama about the Irish in Britain." Irish Studies Review 25, no. 1 (2017): 71–87. http://dx.doi.org/10.1080/09670882.2016.1266733.

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Lojek, Helen Heusner. "McGuinness's Music." Irish University Review 49, no. 2 (2019): 262–75. http://dx.doi.org/10.3366/iur.2019.0405.

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Throughout his long and varied playwriting career, Frank McGuinness has made extensive use of music from a plurality of genres. Music plays a variety of roles in the plays, supporting and enriching dramatic themes and moods. The music of Irish English, particularly the music of his native Donegal, is also an important element, often used in contrast to accents from other areas and classes. Music in a McGuinness play may be diegetic or incidental. Music and the music of language may involve counterpoint, balance, underscoring, delight, or a contrast to surrounding silence. Donegal (2016) contin

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Schmitt-Kilb, Christian. "The End(s) of Language in Brian Friel’s Translations and Enda Walsh’s Disco Pigs and misterman." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (2009): 61–70. http://dx.doi.org/10.33178/scenario.3.2.5.

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In my analysis of Brian Friel's modern classic drama Translations (1980) and Enda Walsh's plays Disco Pigs (1996) and misterman (2001), I have chosen not to consider these in order to point towards structural or plot parallels between the plays, nor to emphasise the interdependency of the two authors; I am instead concerned with their differences, particularly with differences in their approach to language as a medium of (often failed) communication. I would like to suggest that it is possible to read the plays as signs of their times within an Irish context. At the time of its first staging i

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Riordan, Kevin. "Yeats's Photographs and the World Theatre of Images." Theatre Survey 65, no. 1 (2024): 14–36. http://dx.doi.org/10.1017/s0040557423000303.

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W. B. Yeats's dramatic career was transformed in the 1910s through a series of collaborations in London. In an essay from the period, “Certain Noble Plays of Japan,” he writes: “I have invented a form of drama, distinguished, indirect and symbolic.” This form, like many other modernist inventions, is better understood as something else, in this case the alchemy of his earlier work, some eclectic influences, and the contributions of his American, English, French, and Japanese collaborators. Together, this group of artists drew on Irish mythology, the occult, the continental avant-garde, and—as

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MARSHALL, ALAN. "THE WESTMINSTER MAGISTRATE AND THE IRISH STROKER: SIR EDMUND GODFREY AND VALENTINE GREATRAKES, SOME UNPUBLISHED CORRESPONDENCE." Historical Journal 40, no. 2 (1997): 499–505. http://dx.doi.org/10.1017/s0018246x97007255.

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One of the more absorbing events in the great drama of the Popish Plot, which swept through English political life in the autumn of 1678, was the discovery of the corpse of a Westminster magistrate, Sir Edmund Berry Godfrey, in a ditch near Primrose Hill on 17 October 1678. This event, which sparked off a great deal of panic in London and gained some notoriety at the time, has continued to perplex historians, both professional and amateur, ever since. The speculation as to how Godfrey met his death and who did the deed, has tended to obscure the fact that we still know surprisingly little abou

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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.

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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. S

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Urban, Eva. "Multilingual Theatre in Brittany: Celtic Enlightenment and Cosmopolitanism." New Theatre Quarterly 34, no. 3 (2018): 283–97. http://dx.doi.org/10.1017/s0266464x1800026x.

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In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, an

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Horner, Arnold. "Geographers and planning: some reflections." Irish Geography 47, no. 2 (2015): 13–21. http://dx.doi.org/10.55650/igj.2014.503.

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In this ‘decade of anniversaries’, where 2014 was dominated by the drama of commemorating the centenary of the outbreak of a calamitous war, geographers and others may all too easily under-value other significant dates. For example, 2014 also marked the 50th anniversary of the coming into force of the 1963 Local Government (Planning and Development) Act, and was also the centenary of the Dublin Civic Exhibition whose associated planning competition resulted in the visionary Dublin of the Future. Spearheaded by the English architect-planner, Patrick Abercrombie, the latter was an ambitious unof

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Lundskær-Nielsen, Tom, David Isitt, Jeremy Lane, et al. "Reviews and notices." Moderna Språk 96, no. 2 (1992): 177–223. http://dx.doi.org/10.58221/mosp.v96i2.10237.

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Includes the following reviews: pp. 177-180. Tom Lundskær-Nielsen. Ljungs, M. & Ohlander, S., Gleerups engelska grammatik. pp. 180-182. David Isitt. Oakland, J., British Civilization: An Introduction. + MacQueen, D., Americal Social Studies: A University Primer. + Lundén, R. & Srigley, M. (eds.), Ideas and Identities: British and American Culture. pp. 182-183. Jeremy Lane. Watson, G., British Literature since 1945.  pp. 183-184. Alistair Davies. Katz, W. & Sternberg Katz, L. (eds.), The Columbia Granger's Guide to Poetry Anthologies. pp. 184-185. Berti

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Бочкова, Т. Р. "Zeitgeist и Соната № 2 «Eroica» Чарльза Вильерса Стэнфорда". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 3(74) (30 вересня 2024): 14–23. http://dx.doi.org/10.26086/nk.2024.74.3.003.

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Статья обращает внимание читателя на органное творчество англо-ирландского композитора второй половины XIX-первой четверти XX века сэра Чарльза Вильерса Стэнфорда, одного из ведущих музыкантов Британии своего поколения, значительного представителя «английского музыкального Возрождения». Ирландское происхождение, британское и немецкое образование, прекрасное знание европейской органной музыки позволили композитору продемонстрировать уровень музыкального мировоззрения, выходящий за пределы британской культурной ментальности его времени. В статье акцентируется значение профессионального универсал

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ДЕРКАЧ, Галина, Галина ЧУМАК, and Тетяна РЕШЕТУХА. "THE UKRAINIAN PICTURE OF OSCAR WILDE: FIRST TOUCHES." Studia Methodologica, no. 53 (September 20, 2022): 5–22. http://dx.doi.org/10.25128/2304-1222.22.53.01.

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Oscar Wilde – is one of the most controversial figures in world literature, having entered into a dialogue with almost all European literatures. The reception of O. Wilde in Europe can be traced back to the late nineteenth and early twentieth centuries. Since that time, it is also possible to follow the reception of his name, ideas and works in the Ukrainian literary and critical discourse. The artistic critical response in numerous reviews, essays, literary and critical portraits, biographies, parodies of artistic life, etc. play an important role in the process of reception of the writer and

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КАРСАНОВА, Е. В. "THE NOTIONS OF ONE’S OWN AND OTHERS’ IN A NATIONAL CONTEXT." Kavkaz-forum, no. 9(16) (March 28, 2022): 34–47. http://dx.doi.org/10.46698/vnc.2022.16.9.003.

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Большое значение при общении и построении отношений в любой сфере – академической, профессионально-трудовой, личной – имеют как личностные качества индивида, так и особенности мышления, поведения, различные установки и культурные приоритеты, обусловленные национально-этнической принадлежностью человека. Для каждой нации характерен определенный набор качеств, наиболее тесно ассоциирующихся с ней в представлении других народов и в ее собственном восприятии себя. Весьма интересной нацией в плане изучения различных аспектов национального менталитета являются англичане. В статье рассматриваются осо

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Markova, Ekaterina A. "W.B. Yeats's play Where There is Nothing and its Tolstoyan dimension." Vestnik Tomskogo gosudarstvennogo universiteta, no. 474 (2022): 73–87. http://dx.doi.org/10.17223/15617793/474/9.

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The article discusses the issue of the influence of Leo Tolstoy, his fiction and non-fiction, on William Butler Yeats's drama in the broader context of Tolstoy's reception in the late 19th - early 20th century in both Russia and the United Kingdom. Tolstoy's image as a writer in the correspondence and non-fiction of the Irish playwright is analysed. The author shows that Yeats's attitude towards the Russian writer, though initially favourable, was gradually becoming more and more irreverent and complex. Similar attitudes towards Tolstoy are detected in Russian writers of the period. Yeats crit

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Clare, David. "Cosmopolitan versus Parochial Irishness in Bernard Shaw's Music Journalism (1877–1894)." Shaw 41, no. 2 (2021): 385–99. http://dx.doi.org/10.5325/shaw.41.2.0385.

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ABSTRACT From the very start of his career in England, Bernard Shaw positioned himself as an Irish commentator with an incisive, outsider's view of the English. Shaw's internationalist Socialism made him wary of excessive patriotism; and in his dramas he casts a cold eye on fervent patriotism. But Shaw was also known to routinely boast about his “wild and inextinguishable pride” in being “an Irishman” and to repeatedly praise Irish “brains.” This seeming contradiction regarding partiality to one's native land raises a very pertinent question: What mode of living was Shaw recommending to his fe

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MacCuarta, Brian, Liam Kelly, Martin Maguire, et al. "Reviews: The Irish Franciscans, 1534–1990, Framing the West: Images of Rural Ireland, 1891–1920, the Irish Establishment, 1879–1914, the Great Parchment Book of Waterford: Liber Antiquissimus Civitatis Waterfordiae, the Laity, the Church and the Mystery Plays: A Drama of Belonging, the Irish in Post-War Britain, New Guests of the Irish Nation, the Making of the Irish Poor Law, 1815–1843, Republicanism in Ireland: Confronting Theories and Traditions, the Orange Order: A Contemporary Northern Irish History, Repeal and Revolution: 1848 in Ireland, the Civil Service and the Revolution in Ireland, 1912–1938: ‘Shaking the Blood-Stained Hand of Mr Collins’, Inspector Mallon: Buying Irish Patriotism for a Five-Pound Note, An Illustrated History of the Phoenix Park: Landscape and Management to 1880, Gypsum Mining and the Shirley Estate in South Monaghan, 1800–1936, the Rising: Ireland, Easter 1916, Left to the Wolves: Irish Victims of Stalinist Terror, Enforcing the English Reformation in Ireland: Clerical Resistance and Political Conflict in the Diocese of Dublin, 1530–1590, Staging Ireland: Representations in Shakespeare and Renaissance Drama, God's Executioner: Oliver Cromwell and the Conquest of Ireland, the Irish Labour Party, 1922–1973, the Big House in the North of Ireland: Land, Power and Social Elites, 1878–1960, Historical Association of Ireland, Life and Times New Series, Culture and Society in Early Modern Breifne/Cavan, Witchcraft and Whigs: The Life of Bishop Francis Hutchinson, 1660–1739, Cosmopolitan Ireland: Globalisation and Quality of Life, the Orange Order in Canada." Irish Economic and Social History 37, no. 1 (2010): 154–204. http://dx.doi.org/10.7227/iesh.37.9.

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Voigts, Eckart. "Catherine Rees. Adaptation and Nation: Theatrical Contexts for Contemporary English and Irish Drama. Basingstoke: Palgrave, 2017, ix + 185 pp., £79.99 (hardback), £63.99 (PDF ebook). Frances Babbage. Adaptation in Contemporary Theatre: Performing Literature. London: Bloomsbury, 2018, 280 pp., £67.50 (hardback), £64.80 (PDF ebook). Kara Reilly, ed. Contemporary Approaches to Adaptation in Theatre. Basingstoke: Palgrave, 2018, xxix + 357 pp., £80.00 (hardback), £63.99 (PDF ebook)." Journal of Contemporary Drama in English 8, no. 2 (2020): 358–64. http://dx.doi.org/10.1515/jcde-2020-0034.

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Luppi, Fabio. "Language Colonization and English Hybridization: The Use of Irish English Lexis in Twentieth Century Irish Drama." 22 | 2020, no. 1 (December 22, 2020). http://dx.doi.org/10.30687/tol/2499-5975/2020/22/035.

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Irish English, albeit a variant of the language of the colonizer, can be considered an important identitarian element in twentieth century Irish literature. By taking into account Irish English terms in a selection of Anglo-Irish plays (with particular focus on the titles), this paper examines the lexical choices that contribute to rendering cultural, geographical and political meanings – some of which are derogatory, patronizing and pejorative. The conclusion, with reference to Brian Friel’s Translations, reflects on the implications of the dominance of English in Ireland following its replac

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Lachman, Michał. "Wspólnota granic. Scalanie i dezintegracja we współczesnym dramacie irlandzkim i angielskim." Czas Kultury XL, no. 4 (2024). https://doi.org/10.61269/r24n4baa/zwgq4901.

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This article examines representations of community – its disintegration and consolidation – in several contemporary Irish and English dramas (Stacey Gregg, David Ireland and Jez Butterworth). The discussed plays show how the personal identity of characters is disintegrating, and the social fabric is being ripped apart as a result of the political and cultural changes of the last quarter century in Northern Ireland. The existence of border, division, and exclusion sets in motion a historically conditioned mechanism of departure from dialogue, leading to the cancellation of the social contract.

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Gelashvili, Tamar. "Political Discourse in Modernist and Meta-Postmodernist Irish Drama." Text and Interpretation, 2023. http://dx.doi.org/10.55804/jtsu-2960-9461-2023-6.

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The role and place of political discourse in fiction is a complex and intricate problem. The attitude of scholars and the authors towards the extent to which political discourse is permissible in the literature is heterogeneous. Various writers, like the famous Irish modernist writer James Joyce, believe that literature should be distant from politics, or as Gabriel Conroy, one of the characters in his short stories (The Dead) puts it, "Literature is above politics". However, Joyce contradicts this statement within the story by showing how literature is the medium of politics, for it has the p

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Pradnya, S. Yenkar. "PIONEERS OF REPERTORY THEATRES." August 10, 2019. https://doi.org/10.5281/zenodo.3404981.

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The staging of Shakespeare?s plays was revolutionized by Granville-Barker?s productions at the Savoy Theatre, which were admired for their simplicity, fluidity, and speed. Equally significant for the British theatre was the founding of the first provincial repertory theatre in 1908 by Horniman at the Gaiety, Manchester. It not only provided opportunities for promising British playwrights but also presented works by important Continental dramatists. Mainstream British theatre paid very little attention to the antirealistic movements that characterized experimental theatre in the rest of Europe.

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盧, 敏芝. "論洪深對蕭伯納的接受及其與中國現代戲劇史的關係". 人文中國學報, 1 вересня 2020, 185–219. http://dx.doi.org/10.24112/sinohumanitas.312006.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 在中國現代戲劇史中，洪深（1894—1955）是一個不可繞過的關鍵人物：1922 年，洪深作爲在哈佛攻讀戲劇碩士的“中國破天荒第一人”從美國留學回國；1928 年，洪深作爲“話劇”一詞的發明者，被譽爲“中國話劇的三個奠基人”之一；1935 年，洪深爲《中國新文學大系·戲劇集》擔任編者和撰寫導言，其論述對往後中國現代戲劇史的各種書寫影響深遠。然而，有關洪深的討論和研究在比例上一直遠遠落後於他在中國現代戲劇史上的重要地位。本文聚焦於洪深與愛爾蘭劇作家蕭伯納（George Bernard Shaw, 1856—1950）的戲劇關係，連繫洪深的上述生平和貢獻，重新梳理洪深如何指引中國現代戲劇在現實主義和劇場性方面的發展。本文爲洪深研究鈎沉原始史料，爲洪深與西方戲劇的關係補充重要一筆，同時梳理蕭伯納於戲劇方面在中國的接受情況。本文首先討論蕭伯納在中國現代戲劇中的位置和接受情況的落差，接著鈎沉整理洪深對蕭伯納的接受和引介，最後通過重讀《從中國的新戲說到話劇》一文，分析洪深如何爲中國現代戲劇的早期發展建立起現實主義和劇場性的論述脈絡。 Hong Shen (1894-1955) was a significant theorist in

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O'Boyle, Neil. "Plucky Little People on Tour: Depictions of Irish Football Fans at Euro 2016." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1246.

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I called your producer on the way here in the car because I was very excited. I found out … I did one of those genetic testing things and I found out that I'm 63 percent Irish … I had no idea. I had no idea! I thought I was Scottish and Welsh. It turns out my parents are just full of shit, I guess. But now I’m Irish and it just makes so much sense! I'm a really good drinker. I love St. Patrick's Day. Potatoes are delicious. I'm looking forward to meeting all my cousins … [to Conan O’Brien] You and I are probably related! … Now I get to say things like, “It’s in me genes! I love that Conan O’Br

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Klosi, Iris, and Bálint Szele. "Adapting Shakespeare: Tirana University English Language Students Bridging Classic Themes with Contemporary Perspectives in The Taming of the Shrew and 10 Things I Hate About You." Freeside Europe Online Academic Journal, no. 15 (2024). https://doi.org/10.51313/freeside-2024-04.

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This paper examines the adaptation of Shakespeare’s The Taming of the Shrew into a 50-minute play version of 10 Things I Hate About You, performed by Tirana University English Language students at the National Experimental Theatre. Under the guidance of Associate Professor Iris Klosi, these third-year students from the British Studies course cowrote, co-edited, and brought to life this modern adaptation, adding distinctive elements absent from the original film version. These included the introduction of an on-stage narrator, who provided context and commentary, and new dialogues that referenc

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Bolton, Matthew. "The Book Review as Closet Drama." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2412.

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   I’ve been thinking about why I read the New York Times Book Review from cover to cover. If I have no intention of reading most of the books that any given issue reviews, why do I enjoy reading the reviews themselves? Part of the appeal might lie in the review’s ability to survey and condense: forearmed by the Book Review, I won’t have to stare blankly if someone mentions they’re reading Malcolm Gladwell’s Blink, even if I never get around to reading the book myself. Yet by this logic, I should enjoy CliffsNotes more than novels and abstracts more than articles – which I do

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Woodward, Kath. "Tuning In: Diasporas at the BBC World Service." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.320.

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Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office

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Mac Con Iomaire, Máirtín. "Coffee Culture in Dublin: A Brief History." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.456.

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IntroductionIn the year 2000, a group of likeminded individuals got together and convened the first annual World Barista Championship in Monte Carlo. With twelve competitors from around the globe, each competitor was judged by seven judges: one head judge who oversaw the process, two technical judges who assessed technical skills, and four sensory judges who evaluated the taste and appearance of the espresso drinks. Competitors had fifteen minutes to serve four espresso coffees, four cappuccino coffees, and four “signature” drinks that they had devised using one shot of espresso and other ingr

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Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno

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Brown, Adam, and Leonie Rutherford. "Postcolonial Play: Constructions of Multicultural Identities in ABC Children's Projects." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.353.

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In 1988, historian Nadia Wheatley and indigenous artist Donna Rawlins published their award-winning picture book, My Place, a reinterpretation of Australian national identity and sovereignty prompted by the bicentennial of white settlement. Twenty years later, the Australian Broadcasting Corporation (ABC) commissioned Penny Chapman’s multi-platform project based on this book. The 13 episodes of the television series begin in 2008, each telling the story of a child at a different point in history, and are accompanied by substantial interactive online content. Issues as diverse as religious diff

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Gorman-Murray, Andrew, and Robyn Dowling. "Home." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2679.

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   Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several othe

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