Academic literature on the topic 'Irish literature Mythology'
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Journal articles on the topic "Irish literature Mythology"
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Druzak, Courtney. "‘Scattred All to Nought’: Feminine Waters, Irish Sources, and Colonialism in Edmund Spenser’s River Mulla." English: Journal of the English Association 68, no. 262 (2019): 213–34. http://dx.doi.org/10.1093/english/efz014.
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Abstract This article examines Edmund Spenser’s use of Irish mythology, particularly in relation to feminized rivers, in order to conceptualize how he constructs English colonialism as necessary for Ireland via the poetically constructed river Mulla. More specifically, it examines ‘Colin Clouts Come Home Again’ and The Faerie Queen, Book IV, Canto xi through the lenses of ecofeminism and a reading of the medieval Irish text Acallam na Senórach. This article argues for understanding the reappearance of the river Mulla from ‘Colin Clouts’ to FQ IV.xi as a materialist effort to dominate the place and space of Ireland through writing. It further argues that the Acallam is a potential source text for Spenser’s own endeavours with his river Mulla. Specifically, Spenser repurposes place-names and Fenian myths from medieval Ireland in his literature, which acts as another form of colonial domination to subsume Irish identification. It is particularly important that this lens is applied to Irish waterscapes, as the ability to reconstruct Ireland rhetorically and poetically in English literature allowed Spenser to ‘map’ Ireland and bring even the finicky Irish land- and waterscapes firmly under English control in violently masculine manners, which are enacted via enforced marriages.
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Rees, Catherine. "The Good, the Bad, and the Ugly: the Politics of Morality in Martin McDonagh's The Lieutenant of Inishmore." New Theatre Quarterly 21, no. 1 (January 26, 2005): 28–33. http://dx.doi.org/10.1017/s0266464x04000314.
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The recent plays of Martin McDonagh have fascinated and repelled critics for nearly a decade. His idiosyncratic blend of rural Irish mythology and ‘in-yer-face’ aggression has both caused consternation and won high praise, but the motivations and inspirations of McDonagh's work have not been widely discussed. Here, Catherine Rees addresses some of the common critical assaults on one of his most contentious plays, The Lieutenant of Inishmore (2001), and seeks to rescue the playwright from misunderstanding and heavy-handed critical treatment. She also aims to clarify some of the issues surrounding this politically charged and controversial work, and discusses it within the wider context of British and Irish drama. An earlier version of this article was given as a paper at the ‘Contemporary Irish Literature: Diverse Voices’ conference at the University of Central Lancaster in April 2003. Rees has presented on various aspects of McDonagh's work at a joint American Conference for Irish Studies and British Association of Irish Studies conference, and is currently working on a PhD about his plays at the University of Wales, Aberystwyth.
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Stalmaszczyk, Piotr. "Celtic Studies in Poland in the 20th century: a bibliography." ZCPH 54, no. 1 (April 30, 2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.
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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Toplak, Matthias. "The Warrior and the Cat: A Re-Evaluation of the Roles of Domestic Cats in Viking Age Scandinavia." Current Swedish Archaeology 27, no. 27 (March 11, 2019): 213–45. http://dx.doi.org/10.37718/csa.2019.10.
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The role of cats in Viking Age society is little investigated and has been dominated by uncritical adoptions of medieval mythology. Based on literary sources, the domestic cat is often linked to cultic spheres of female sorcery. Yet the archaeological evidence indicates an ambivalent situation. Cat bones from many trading centres show cut marks from skinning and highlight the value of cat fur. In contrast, the occurrence of cats in male burials points rather to a function as exotic and prestigious pets. The influence of Old Norse mythology on the traditional interpretation of cats as cultic companions therefore needs critical reconsideration. For this, a broad range of literary and historical sources – from Old Norse literature to Old Irish law texts – will be analysed and confronted with the archaeological evidence for domestic cats in Viking Age Scandinavia. The results will be discussed on a broader theoretical approach, involving concepts such as agency, and embedded in current research on human-animal-relations in order to achieve a more nuanced perspective on the roles and functions of cats in day-to-day reality as well as in the burial context.
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YOSE, JOSEPH, RALPH KENNA, PÁDRAIG MacCARRON, THIERRY PLATINI, and JUSTIN TONRA. "A NETWORKS-SCIENCE INVESTIGATION INTO THE EPIC POEMS OF OSSIAN." Advances in Complex Systems 19, no. 04n05 (June 2016): 1650008. http://dx.doi.org/10.1142/s0219525916500089.
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In 1760 James Macpherson published the first volume of a series of epic poems which he claimed to have translated into English from ancient Scottish-Gaelic sources. The poems, which purported to have been composed by a third-century bard named Ossian, quickly achieved wide international acclaim. They invited comparisons with major works of the epic tradition, including Homer’s Iliad and Odyssey, and effected a profound influence on the emergent Romantic period in literature and the arts. However, the work also provoked one of the most famous literary controversies of all time, coloring the reception of the poetry to this day. The authenticity of the poems was questioned by some scholars, while others protested that they misappropriated material from Irish mythological sources. Recent years have seen a growing critical interest in Ossian, initiated by revisionist and counter-revisionist scholarship and by the two-hundred-and-fiftieth anniversary of the first collected edition of the poems in 1765. Here, we investigate Ossian from a networks-science point of view. We compare the connectivity structures underlying the societies described in the Ossianic narratives with those of ancient Greek and Irish sources. Despite attempts, from the outset, to position Ossian alongside the Homeric epics and to distance it from Irish sources, our results indicate significant network-structural differences between Macpherson’s text and those of Homer. They also show a strong similarity between Ossianic networks and those of the narratives known as Acallam na Senórach (Colloquy of the Ancients) from the Fenian Cycle of Irish mythology.
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Alsyouf, Amjad. "AESTHETIC AND COGNITIVE VALUES OF SEAMUS HEANEY’S WINTERING OUT: A FRYEAN APPROACH TO SELECTED POEMS." Humanities & Social Sciences Reviews 7, no. 4 (September 29, 2019): 722–29. http://dx.doi.org/10.18510/hssr.2019.7492.
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Purpose of the study: This study investigates the relevance of the aesthetic values to the cognitive values in the poetry of the Anglo-Irish poet Seamus Heaney 1939-2013. It examines “The Tollund Man,” “Servant Boy,” “Gifts of Rain” and “Limbo” from his poetry collection Wintering Out (1972), and focuses on their treatment of rebirth imagery and archetypes aiming to address their aesthetic and conceptual features. Methodology: The study approaches the poetry of Seamus Heaney using Northrop Frye’s critical archetypal approach to literature. It is based on examining the mythical aspects and archetypes of the literary text as a way to highlight its value, whether the aesthetic which is concerned with the artistic side of literature or the cognitive which is related to its epistemological value. Main Findings: The study concludes with the assumption that Heaney’s poetry, which is part of the modern poetic tradition, occasionally resorts to mythology as a way of intensifying its both aesthetic and cognitive values. The reason lies in the beauty mythology adds to the poetic creation, and the focus it sheds on the thematic features of the work. Applications of this study: This study proposes a creative-critical model that can help the scholars of literature, particularly those who study the cognitive value of literature and the literary archetypal theory to employ while dealing with literary texts that utilize mythical archetypes so as to distinguish their aesthetic and cognitive features. Novelty/Originality of this study: This study proposes an application of Frye’s theories to Heaney’s poetry which former scholarship on Heaney, and to the best of my knowledge, hasn’t examined. Besides, Frye’s archetypal theory is applied in a creative way seeking to examine the mythical aspects of Heaney’s poetry aiming to emphasize aspects that are not only cognitive and thematic but also cultural and aesthetic.
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Green, Dani, and Angel Daniel Matos. "Right to Read: Reframing Critique: Young Adult Fiction and the Politics of Literary Censorship in Ireland." ALAN Review 44, no. 3 (June 21, 2017): 54–60. http://dx.doi.org/10.21061/alan.v44i3.a.6.
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If you briefly peruse the American Library Association’s annual compilation of the “Top Ten Most Frequently Challenged Books,” it would not be farfetched for you to assume that censorship is an act that is nearly exclusive to children’s and young adult (YA) literature. The complex and close relationship between informational suppression and YA fiction should come as no surprise—authority figures and institutions often want to “protect” children and adolescents from ideas and depictions of realities that they consider harmful. At times, these parental and institutional forces outright question teenagers’ competence when it comes to comprehending and thinking through difficult social and literary issues. While YA literature is often susceptible to acts of censorship, is it possible that the very literary traits of this genre might provide us with the critical tools needed to counteract the suppression of information and ideas? To what extent do YA novels articulate ideas and critiques that other genres of literature refuse (or are unable) to discuss? This issue of The ALAN Review is particularly invested in expanding our understanding of YA literature by exploring the stories that can or cannot be told in different contexts, communities, and locations. While an understanding of the acts of censorship that occur in a US context offers us a glimpse into the tensions that arise between ideas, publishers, and target audiences, an examination of censorship in non-US contexts allows us to further understand the historical and cultural foundations that lead to the institutional suppression of knowledge. Additionally, a more global understanding of these issues could push us to understand the ways in which YA fiction thwarts censorship in surprising, unexpected ways. To nuance our understanding of censorship by adopting a more global perspective, I have collaborated with my friend and colleague Dani Green, who offers us an account of contemporary acts of censorship in Ireland and the ways in which Irish YA literature is particularly suited to express ideas that are deemed unspeakable and unprintable. Dani is a scholar of 19th-century British and Irish literature with an interest in issues of modernity, space, and narrative. As an academic who specializes in both historicist and poststructuralist study, Dani is particularly suited to think through the fraught historical and literary situation of contemporary Ireland and the ways in which YA fiction escapes (and perhaps challenges) the pressures of nationalistic censorship and self-censorship. In the following column, she provides us with a brief overview of the past and present state of censorship in Ireland, focusing particularly on how contemporary Irish writers steer away from offering critiques of Ireland’s economic growth during the mid-1990s to the early 2000s. After sharing this historical context, Dani conducts a case study in which she focuses on how Kate Thompson’sYA novel The New Policeman (2005) blends elements from fantasy and Irish mythology to both communicate and critique Ireland’s economic boom. By taking advantage of elements commonly found in YA texts, she argues that Thompson’s The New Policeman enables a cultural critique that is often impossible to achieve in other forms of Irish literature. Dani ultimately highlights the potential of YA fiction to turn censorship on its head through its characteristic implementation of genre-bending, formal experimentation, and disruption of the familiar.
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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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"Irish literature, mythology, folklore, and drama." Choice Reviews Online 38, no. 12 (August 1, 2001): 38Sup—070–38Sup—070. http://dx.doi.org/10.5860/choice.38sup-070.
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"Irish literature, mythology, folklore, and drama." Choice Reviews Online 41, no. 12 (August 1, 2004): 41Sup—0039–41Sup—0039. http://dx.doi.org/10.5860/choice.41sup-0039.
Full textDissertations / Theses on the topic "Irish literature Mythology"
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Blustein, Rebecca Danielle. "Kingship, history and mythmaking in medieval Irish literature." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1432770931&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Tolen, Heather Lorene. "Resurrecting Speranza : Lady Jane Wilde as the Celtic Sovereignty /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2700.pdf.
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Hendriok, Alexandra Michaela Petra. "Myth and identity in twentieth century Irish fiction and film." Thesis, [n.p.], 2000. http://library7.open.ac.uk/abstracts/page.php?thesisid=17.
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Tokita, Juliana Figueiredo. "A mulher na mitologia e dramaturgia irlandesa : o feminino no mito de Deirdre, em peças de John M. Synge e Vincent Woods /." São José do Rio Preto : [s.n.], 2012. http://hdl.handle.net/11449/99105.
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Orientador: Peter James HarrisBanca: Maria Celeste Tommasello Ramos
Banca: Beatriz Kopschitz Xavier Bastos
Resumo: O resgate da antiga tradição literária irlandesa é um contínuo processo de ressignificação e manutenção de todo arcabouço que representa a própria identidade do país. As personagens mitológicas estão presentes na memória da população e servem como inspiração para novas leituras e adaptações. O trabalho de releituras mitológicas intensificou- se principalmente durante o movimento do revivalismo celta (Celtic Revival, início do século XX), tendo como principal figura o dramaturgo William Butler Yeats. Inspirado pelo espírito nacionalista de dado movimento, John Millington Synge produziu diversas peças voltadas para a temática da vida e história celta, entre elas está Deirdre of the Sorrows (1910). Quase um século mais tarde, Vincent Woods escreveu A Cry from Heaven (2005), peça que também tem por base o mito The Exile of the Sons of Uisliu, vulgarmente conhecido como o mito de Deirdre. Esta dissertação analisa uma particularidade acerca da mitologia irlandesa, ou seja, o fato de esta tradição nos presentear com uma vasta quantidade de importantes personagens femininas. O mito de Deirdre, que originalmente leva o nome dos guerreiros, e filhos de Uisliu (The Exile of the Sons of Uisliu), possui como principal personagem uma mulher, Deirdre. Esta característica foi mantida e revisada por Synge e Woods. Neste sentido, averiguamos aspectos acerca da caracterização das personagens femininas presentes em cada uma das peças, de modo comparativo com as presentes no mito. Para tanto, utilizamos a tradução de Thomas Kinsella, presente na obra The Táin (1969), The Exile of the Sons of Uisliu. As ações e os discursos das personagens foram examinados. Deste modo, utilizamos a hipótese de que as personagens femininas nas peças de Synge e Woods poderiam (ou não) ser caracterizadas como mulheres mais independentes... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The work of deliverance from the ancient Irish literary tradition is a continuous process of re-signification and maintenance of all the collection of stories that represent the country's own identity. The mythical characters are present in the people's memories and are a source of inspiration for new readings and new adaptations. The work of mythological rereading became intense mainly during the Celtic Revival Movement, having as leading role the playwright William Butler Yeats. Inspired by the nationalist spirit from this period, John Millington Synge produced several plays regarding the celtic life and history, among them is Deirdre of the Sorrows (1910). Almost a century after Vincent Woods wrote A Cry from Heaven (2005), a play that is also shaped having the myth The Exile of the Sons of Uisliu, widely known as the myth of Deirdre, as source. This dissertation aimed to analyze one specificity regarding the Irish mythology, in other words, the fact that this traditions presents us with a wide amount of important female characters. The myth of Deirdre, that originally has the name of its warriors, and sons of Uisliu, has as the main character a woman, Deirdre. This feature was maintained and revised in a special manner by Synge and Woods. Thus, our goal was to research aspects of the female characterization present in each play, in a comparative manner with the same ones present in the myth. For such, Thomas Kinsella's translation, present in The Táin (1969), The Exile of the Sons of Uisliu was used. The female actions and speeches were examined, especially in dialogues with the male figure. Therefore, we worked with the hypothesis that the female characters in Vincent Woods's and Synge's plays could (or couldn't) have been characterized as independent and powerful women, if compared with their traditional... (Complete abstract click electronic access below)
Mestre
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Tomkins, David S. "Remembering the Forgotten Beauty of Yeatsian Mythology: Personae and the Problem of Unity in The Wind Among the Reeds." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2235/.
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Retzlaff, Kay Lynn. "Creating the World of the Táin through the Remscéla: Prologemena to Reading." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/RetzlaffKL2004.pdf.
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Sperens, Jenny. "Yeats, Myth and Mythical Method : A Close Reading of the Representations of Celtic and Catholic Mythology in “The Wanderings of Oisin”." Thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85074.
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“The Wanderings of Oisin” was published in 1889 and is one of W.B Yeats’ earliest poems and is the main focus for this essay. The poem depicts the duality of Irish identity and the transition from one system of belief to another. This essay will demonstrate that W.B Yeats uses Celtic and Catholic mythology in “The Wanderings of Oisin” in order to reflect his contemporary Ireland. The essay begins with a deifintion and a discussion about the words 'myth' and 'mythical method'. The second part of the essay describes the depiction of Celtic and Catholic mythology in “The Wanderings of Oisin” and the connection to late nineteenth century Ireland. The first section presents information on Irish nineteenth-century history and the second section focuses on five parallels to Yeats' contemporary society: The vitality of Celtic mythological beings, the depiction of Oisin as mediator, the sense of loss regarding Irish culture, the juxtaposition of Celtic and Catholic and the ambivalence that follows in a society where two conflicting mythologies coexist and compete. The main body of arguments discusses these parallels between Yeats’ portrayal of Celtic mythology and nineteenth century Ireland and shows that "The Wanderings of Oisin" reflects Yeats' contemporary Irish society.
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Tokita, Juliana Figueiredo [UNESP]. "A mulher na mitologia e dramaturgia irlandesa: o feminino no mito de Deirdre, em peças de John M. Synge e Vincent Woods." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/99105.
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tokita_jf_me_sjrp.pdf: 1102521 bytes, checksum: 04547ae0d04a2a0520c86b16cea07dec (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O resgate da antiga tradição literária irlandesa é um contínuo processo de ressignificação e manutenção de todo arcabouço que representa a própria identidade do país. As personagens mitológicas estão presentes na memória da população e servem como inspiração para novas leituras e adaptações. O trabalho de releituras mitológicas intensificou- se principalmente durante o movimento do revivalismo celta (Celtic Revival, início do século XX), tendo como principal figura o dramaturgo William Butler Yeats. Inspirado pelo espírito nacionalista de dado movimento, John Millington Synge produziu diversas peças voltadas para a temática da vida e história celta, entre elas está Deirdre of the Sorrows (1910). Quase um século mais tarde, Vincent Woods escreveu A Cry from Heaven (2005), peça que também tem por base o mito The Exile of the Sons of Uisliu, vulgarmente conhecido como o mito de Deirdre. Esta dissertação analisa uma particularidade acerca da mitologia irlandesa, ou seja, o fato de esta tradição nos presentear com uma vasta quantidade de importantes personagens femininas. O mito de Deirdre, que originalmente leva o nome dos guerreiros, e filhos de Uisliu (The Exile of the Sons of Uisliu), possui como principal personagem uma mulher, Deirdre. Esta característica foi mantida e revisada por Synge e Woods. Neste sentido, averiguamos aspectos acerca da caracterização das personagens femininas presentes em cada uma das peças, de modo comparativo com as presentes no mito. Para tanto, utilizamos a tradução de Thomas Kinsella, presente na obra The Táin (1969), The Exile of the Sons of Uisliu. As ações e os discursos das personagens foram examinados. Deste modo, utilizamos a hipótese de que as personagens femininas nas peças de Synge e Woods poderiam (ou não) ser caracterizadas como mulheres mais independentes...
The work of deliverance from the ancient Irish literary tradition is a continuous process of re-signification and maintenance of all the collection of stories that represent the country´s own identity. The mythical characters are present in the people´s memories and are a source of inspiration for new readings and new adaptations. The work of mythological rereading became intense mainly during the Celtic Revival Movement, having as leading role the playwright William Butler Yeats. Inspired by the nationalist spirit from this period, John Millington Synge produced several plays regarding the celtic life and history, among them is Deirdre of the Sorrows (1910). Almost a century after Vincent Woods wrote A Cry from Heaven (2005), a play that is also shaped having the myth The Exile of the Sons of Uisliu, widely known as the myth of Deirdre, as source. This dissertation aimed to analyze one specificity regarding the Irish mythology, in other words, the fact that this traditions presents us with a wide amount of important female characters. The myth of Deirdre, that originally has the name of its warriors, and sons of Uisliu, has as the main character a woman, Deirdre. This feature was maintained and revised in a special manner by Synge and Woods. Thus, our goal was to research aspects of the female characterization present in each play, in a comparative manner with the same ones present in the myth. For such, Thomas Kinsella´s translation, present in The Táin (1969), The Exile of the Sons of Uisliu was used. The female actions and speeches were examined, especially in dialogues with the male figure. Therefore, we worked with the hypothesis that the female characters in Vincent Woods´s and Synge´s plays could (or couldn´t) have been characterized as independent and powerful women, if compared with their traditional... (Complete abstract click electronic access below)
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Paul, Salomé. "Avatars contemporains du tragique grec : le Mythe dans la dramaturgie de Sartre, Anouilh, Camus, Paulin, Kennelly et Heaney." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL029.
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Cette étude a pour objectif de démontrer le changement paradigmatique qui s’est opéré dans l’approche du phénomène tragique et du genre de la tragédie à l’époque contemporaine. La tragédie, telle qu’elle est pratiquée par les Grecs durant le Ve siècle avant J.-C., se construit autour du concept de dikè, c’est-à-dire de justice. Toutefois, au XXe siècle, la pensée tragique se porte sur la question de la liberté humaine. Cette transformation quant à l’appréhension philosophique et dramatique du phéno-mène résulte des événements socio-politiques qui secouent le monde occidental, et plus particulière-ment européen, durant cette période. Notre étude repose ainsi sur la comparaison de plusieurs tragédie grecques — Les Perses, L’Orestie, et Prométhée enchaîné d’Eschyle ; Antigone et Philoctète de So-phocle ; Médée et Les Troyennes d’Euripide — avec des transpositions contemporaines, qui ont été créées en France et en Irlande en réponse à des événements socio-politiques menaçant la liberté des individus, ou du moins d’une partie d’entre eux. De ce fait, notre corpus se compose de trois pièces mises en scène durant ou après l’Occupation : Les Mouches de Sartre (1943), Antigone d’Anouilh (1944), et Caligula (1945) de Camus ; d’une pièce écrite lors de la période de la décolonisation dans les années 1960 : Les Troyennes de Sartre (1965) ; de trois pièces créées pendant la période des Troubles (1968-1998) : The Riot Act (1984) et Seize the Fire (1989) de Paulin, et The Cure at Troy de Heaney (1990) ; et de trois pièces composées durant le débat portant sur les droits des femmes dans les années 1980 en République d’Irlande : Antigone (1986), Medea (1989), et The Trojan Women (1993) de KennellyThis research intends to underline the paradigmatic change that has occurred reguarding the approach to the tragic phenomenon and the genre of tragedy in the contemporary period. Tragedy, such as dramatized by the Greeks in the 5th century B.-C., was built on the concept of dikè, meaning justice. However, in the twentieth century, the idea of tragic is apprehended through the perspective of human freedom. This transformation of the philosophical and dramatic approaches to the tragic phenomemon arises from the social and political events occuring in the Western world, and more specifically in Eu-rope, during that period. Thus, our research relies on the comparison of several Greek tragedies — Aeschylus’s The Persians, The Oresteia, and Prometheus Bound; Sophocles’s Antigone and Philocte-tes; Euripides’s Medea and The Trojan Women — with some contemporary transpositions that have been produced in France and in Ireland to adress events threatening individual freedom of, at least, a part of the population living in France or in Ireland. Therefore, our research considers three plays creat-ed during or shortly after the Nazi Occupation of France: Sartre’s The Flies (1943), Anouilh’s Antigone (1944), Camus’s Caligula (1945); one play performed during the decolonial period of 1960: Sartre’s The Trojan Women (1965); three plays produced during the period of the Troubles (1968-1998): Paulin’s The Riot Act (1984) and Seize the Fire (1989), and Heaney’s The Cure at Troy (1990) ; and three plays performed to deal with the issue of women’s rights in the Republic of Ireland: Kennelly’s Antigone (1986), Medea (1989), and The Trojan Women (1993)
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Carneiro, Carlos Miguel Filipe. "The Beheading Game - Transmission from Early Irish Literature to Arthurian Romance." Doctoral thesis, 2020. http://hdl.handle.net/10362/119254.
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Esta tese de doutoramento pretende estudar a forma como o tema literário do jogo de decapitação foi transmitido da literatura medieval irlandesa para o romance arturiano. O jogo de decapitação é um episódio central da narrativa irlandesa Fled Bricrenn e o mesmo tema está presente nos romances arturianos franceses Le Livre de Caradoc, Perlesvaus, La Mule Sans Frein e Hunbaut, assim como no romance arturiano inglês Sir Gawain and the Green Knight, onde também é central para a narrativa. Visto que a narrativa irlandesa é a mais antiga, tudo aponta para que seja a fonte das versões arturianas. O objectivo deste trabalho é então entender quais foram os canais de transmissão que permitiram ao tema ser transmitido desde a literatura medieval irlandesa até ao romance arturiano, e se o significado do tema literário sofreu mudanças na passagem da tradição irlandesa para a arturiana. O estudo deste assunto não é actualizado há bastantes anos, e ocorreram várias mudanças de paradigma e avanços no estudo tanto da literatura irlandesa como arturiana. É portanto também um propósito desta tese dar uso a esses desenvolvimentos de forma a compreender a transmissão com maior claridade e melhores resultados.This PhD dissertation intends to study how the story motif of the beheading game was transmitted from early Irish literature to Arthurian romance. The beheading game is a central episode of the Irish narrative Fled Bricrenn and the same motif is found in the Arthurian French romances Le Livre de Caradoc, Perlesvaus, La Mule Sans Frein and Hunbaut, as well as in the Middle English Arthurian romance Sir Gawain and the Green Knight, where it is also central to the narrative. Since the Irish narrative is the earliest one, it seems to have been the source of the Arthurian versions. The aim of this work is then to understand the channels of transmission which allowed the motif to travel from early Irish literature to Arthurian romance, and whether the significance or meaning of the motif was changed in the passage from Irish to Arthurian tradition. The study of this subject has not been updated in some years, and there were several paradigm shifts and advancements in the study of both Irish as well as of Arthurian literature. It is therefore also the purpose of this dissertation to make use of those developments in order to understand the transmission with greater clarity and results.
Books on the topic "Irish literature Mythology"
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Dillon, Myles. Early Irish literature. Blackrock, County Dublin, Ireland: Four Courts Press, 1994.
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1948-, Matthews John, ed. The Aquarian guide to British and Irish mythology. Wellingborough, Northamptonshire, England: Aquarian Press, 1988.
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Swift, Carolyn. Irish myths and tales for young people. Swords, Co. Dublin, Ireland: Poolbeg Press, 1990.
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The Irish tradition in Old English literature. Cambridge [England]: Cambridge University Press, 1993.
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Animals of Ireland in myth and legend. Bray, Co. Wicklow: Real Ireland Design, 1991.
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Jo, O'Donoghue, ed. Brewer's dictionary of Irish phrase & fable. London: Weidenfeld & Nicholson, 2004.
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Wilde's use of Irish Celtic elements in The Picture of Dorian Gray. New York: P. Lang, 1992.
Find full textBook chapters on the topic "Irish literature Mythology"
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Allen, Nicholas. "Wavy Rhythms." In Ireland, Literature, and the Coast, 171–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857877.003.0009.
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The idea of other islands on farther shores resides deep in the traditions of Irish literature and goes back to phases of mythology, exploration, and odyssey. In the modern period this dispersal has happened from economic necessity, which has depended in turn on innovations in the technology of travel. The transit overseas was shaped by Ireland’s traumatic historical experiences, and this complex panorama is background to many works of Irish literature, both historical and contemporary. At the same time, an interest in the sea crossings that were the bridge between Ireland and its emigrants’ destinations is a subject in itself, as are the many port cities into which these temporary mariners filtered on disembarkation. This chapter reads versions of the sea-crossing to New York in fictions of Joseph O’Connor, Joseph O’Neill, and Colum McCann, all of whose works suggest the idea of the Atlantic as a place of continual transit.
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Murray, Kevin. "Myth as a Historical Resource : The Case of Orgain Denna Ríg (The Destruction of Dinn Ríg)." In Myth and History in Celtic and Scandinavian Traditions. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729055_ch06.
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This article examines how mythology and fictional narratives in medieval Irish literature were used to communicate important societal ideas and to encode political messages. It is a commonplace that stories about the past were re-used, re-cycled and re-interpreted in order to justify the present. These sources were utilized by the ruling classes in medieval Ireland to help explain the status quo on the one hand and to justify emerging change on the other. As the preference of the medieval Irish was ‘to take their history in the form of fiction’, many stories like Orgain Denna Ríg (The Destruction of Dinn Ríg) are extant from this period, stories which provide us with an important perspective on the growth and articulation of a significant facet of medieval Irish historiography.
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Corporaal, Marguérite. "Local-Colour Writers: Figures of Authority?" In Figures of Authority in Nineteenth-Century Ireland, 223–38. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622409.003.0012.
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During the 1890s Irish local-colour fiction flourished. The strong emphasis in cultural nationalist movements on regional customs, folklore, oral traditions and mythology as the foundation of an authentic Irish identity, appears to have ignited a boom in regional fiction that was very popular among communities on both sides of the Atlantic, and even in the Pacific. This chapter examines the concept of authority in relation to this tradition of regional literature by asking how Irish local colour authors, who in frequent cases were not native to the region that they wrote about, established their authority as experts on regional character and customs. What role did their self-fashioning as writers play in this respect? In what other ways were their texts marketed as narratives that gave access to authentic regional experience? The present study looks at the author prefaces, the ways in which these texts present their sources, and their use of narrative structures as the means to negotiate authority. It also suggests links between these strategies and issues of gender.
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Bauder, Harald. "Between Support and Exclusion." In Labor Movement. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780195180879.003.0016.
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In North America, the value of the ethnic community is deeply ingrained in national mythology. Ethnic communities supposedly enable immigrants to move from rags to riches, from dishwasher to millionaire. Neither John F. Kennedy nor Al Capone would have risen to the top of their trades without the support of their Irish and Italian communities, which endowed these figures with the best and the worst cultural qualities. In recent decades, however, a counternarrative involving ethnic communities has also appeared in popular mythology. African Americans and Latino communities supposedly keep their members from absorbing the virtues of mainstream society, infecting their members with a culture of despair. The causal link between ethnic community and success or failure seems unquestioned—although the exact processes that supposedly render members of ethnic and immigrant communities inferior remain unsubstantiated. In the labor market, ethnic communities can create opportunities and facilitate segmentation and subordination. For example, information about employment opportunities often travels through ethnic networks and among family members. These opportunities can lead to a comfortable job in corporate banking or to underpaid employment as a maid or a helper in a corner store. Some entrepreneurs may, in fact, recruit workers through ethnic and immigrant networks because community and family linkages result in a particularly vulnerable, yet disciplined, labor force. Whereas the previous two chapters focused on legal and institutional mechanisms of exclusion, the current chapter brings the discussion back to informal processes of distinction and exclusion. As in Vancouver, these less tangible, informal processes operate in Berlin, and they complement legal and institutional processes of subordination that affect immigrant labor. Informal processes of distinction and exclusion affect, in particular, those immigrants who escape legal exclusion because they possess citizenship, such as Spätaussiedler, or they have acquired economic and social rights by living and working in Germany for decades, such as Turkish immigrants. I illustrated in part II how exclusionary processes associated with habitus and embodied cultural capital operate. In this chapter, I focus on social networks, the ethnic economy, and residential immigrant concentration. The North American literature has demonstrated that social networks are of critical importance to the economic well-being of some immigrant groups.