Relevant bibliographies by topics / Irish mythology

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Irish mythology'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Irish mythology"

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Abdul Ameer, Sahar. "Mythology in W. B. Yeast's Early Poetry." Kufa Journal of Arts 1, no. 6 (October 9, 2010): 27–46. http://dx.doi.org/10.36317/kaj/2010/v1.i6.6110.

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Because Irish myth and folklore had been suppressed by church doctrine and British control of school system, W.B.Yeats used his poetry as a tool for re-educating the Irish population about their heritage and as a strategy for developing Irish nationalism. Thus the participation of Yeats in the Irish political system had its origins in his interest in Irish myth and folklore. Yeats retold entire folktales in epic poems and plays and used fragments of stories in shorter poems. Moreover, he presented poems which deal with subjects, images, and themes called from folklore. Most important, Yeats infused his poetry with a rich sense of Irish culture. Even poems that do not deal explicitly with subjects from myth retain powerful tinges of indigenous Irish culture. Yeats often borrowed word selection, verse form, and patterns of imagery directly from traditional Irish myth and folklore.
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Bernstein, George L. "Liberals, the Irish Famine and the role of the state." Irish Historical Studies 29, no. 116 (November 1995): 513–36. http://dx.doi.org/10.1017/s0021121400012268.

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The Irish mythology of the Great Famine of the 1840s explained the failure of the British government to prevent the deaths of some one million people in terms of a Whig government and ruling élite driven by a commitment to laissez-faire ideology which left them indifferent to the loss of Irish lives. At its most extreme, this mythology attributed a wilful genocide to the English. The term myth as used here does not necessarily imply that the account is untrue. Rather, the myth comprises a combination of fact, fiction and the unknowable in a narrative of such power that, for the people who accept it, the myth provides a guide to future understanding and action. In this respect, Irish mythology about the English and the Famine is rooted in facts: the resistance of the Whig government to any interference with the market; the staunch commitment to ideology of central figures in the making of famine policy such as Charles Trevelyan (assistant secretary to the treasury) and Sir Charles Wood (chancellor of the exchequer) and shapers of liberal opinion such as the political economists Nassau Senior and James Wilson (editor of The Economist); and the indifference to Irish suffering, and indeed the hostility to the Irish, as demonstrated in the language of the radical M.P.J.A. Roebuck.
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In-Pyo Kim. "The World of “Heroic Ideal” : Irish Mythology and Irish Mythological Dramas." Journal of Classic and English Renaissance Literature 18, no. 2 (December 2009): 5–25. http://dx.doi.org/10.17259/jcerl.2009.18.2.5.

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Li, Kunyuan, Ruoyu Li, Manxi Liu, Xinwen Liu, and Bingxin Xie. "A Mysticism Approach to Yeats Byzantium." Communications in Humanities Research 4, no. 1 (May 17, 2023): 438–44. http://dx.doi.org/10.54254/2753-7064/4/20220657.

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William Butler Yeats is the most famous poet in the history of modern Irish literature. He is called the greatest poet of our time by T.S Eliot. He was awarded the Nobel Prize for Literature in 1925. He has a strong interest in mysticism and has made unremitting exploration of it throughout his life. Mysticism is an important source of Yeatss life creation. From the early collection of Irish folklore and mythology to the formation of the later mysterious system, Yeats constructed his own set of mythological systems. Yeats mysticism is particularly evident in his poem Byzantium. His poems are full of mystery due to the combination of Irish folk mythology, Swedish mysticism philosophy, Judaism and Christian doctrine, Indian Buddhist thought, ancient Greek and ancient Egyptian mythology and other factors. Among them, his poems are famous for the symbol of Oriental mysticism. This paper makes a detailed interpretation of Byzantine and then implements the analysis of this masterpiece in each section. Based on this analysis, this paper focuses on the interpretation of mysticism in poetry and its impact in order to achieve a better understanding of the mysticism embodied in poetry and provide a valuable reference for future research on related issues.
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Curtin, Nancy J. "“Varieties of Irishness”: Historical Revisionism, Irish Style." Journal of British Studies 35, no. 2 (April 1996): 195–219. http://dx.doi.org/10.1086/386104.

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In an 1989 article inIrish Historical Studies, Brendan Bradshaw challenged the current practice of Irish history by arguing that an “ideology of professionalism” associated with the modern historiographical tradition established a half century ago, and now entrenched in the academy, “served to inhibit rather than to enhance the understanding of the Irish historical experience.” Inspired by the cautionary injunctions of Herbert Butterfield about teleological history, T. W. Moody, D. B. Quinn, and R. Dudley Edwards launched this revisionist enterprise in the 1930s, transforming Irish historiography which until then was subordinating historical truth to the cause of the nation. Their mission was to cleanse the historical record of its mythological clutter, to engage in what Moody called “the mental war of liberation from servitude to the myth” of Irish nationalist history, by applying scientific methods to the evidence, separating fact from destructive and divisive fictions.Events in the 1960s and 1970s reinforced this sense that the Irish people needed liberation from nationalist mythology, a mythology held responsible for the eruption of the Troubles in Northern Ireland and which offered legitimation to the Provisional Irish Republican Army, the nightmare of history from which professional historians could rouse the Irish people. Nationalist heroes and movements came under even more aggressive, critical scrutiny. But much of this was of the character of specific studies. The revisionists seemed to have succeeded in tearing down the edifice of nationalist history, but they had offered little in the way of a general, synthetic history to replace it.
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Gahan, Peter. "History and Religious Imagination: Bernard Shaw and the Irish Literary Revival—an Overview." Shaw 42, no. 2 (November 1, 2022): 267–98. http://dx.doi.org/10.5325/shaw.42.2.0267.

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ABSTRACT An overview of Bernard Shaw’s involvement in early twentieth-century Irish history, both political and cultural. Pressure building since the death of Parnell in 1891 would lead to Ireland’s independence from Britain and the establishment of the Irish free State in 1922, with Shaw’s Irish friends Horace Plunkett, Augusta Gregory, George Russell (“Æ”), and especially W. B. Yeats all prime movers in major new national cultural institutions that sprang up around the turn of the century. Through these four as well as his Irish wife, Charlotte Shaw, Shaw became involved in both the affairs of the nation as well as in Irish drama, especially Dublin’s Abbey Theatre. Yeats and his work were particularly important for Shaw’s contributions to the Irish literary revival, in which, whether in satirical, comic, or tragic modes, his Irish plays comprehend Irish mythology, history, imagination, and religious salvation.
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IVĂNCESCU, Ruxandra. "Bram Stoker’s Dracula, a Mythological reading." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 197–202. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.13.

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This paper deals with mythological elements in Bram Stoker’s novel Dracula. It discusses the mythical topos of Transylvania, seen as an exotic land, a scene for romantic events and characters. This place becomes a territory of passage, with mysterious forests, mountains, and a castle placed at the heart of the mystery. The un-dead / immortal Dracula is seen as a character of classic mythology / immortality, the story of life after death, and elements rooted in folklore — both Romanian and Irish. Because of the censorship in the Victorian Age, Bram Stoker placed the seeds of mythology encoded in his text. For his contemporaries, Dracula appears as evil and must be killed. The next generations disseminated the mythology of Dracula, each according to their cultural level and taste, from Nosferatu to The Vampire Diaries.
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García Izquierdo, Diana Celeste. "El mundo bajo la máscara: el vórtice creativo en Le Fantôme de l’Opera." Latente Revista de Historia y Estética audiovisual 21 (2023): 79–110. http://dx.doi.org/10.25145/j.latente.2023.21.03.

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"The independent Irish animation studio Cartoon Saloon, one of the greatest examples of European animation, has created a series of films based on Celtic Irish mythology throughout their short but prosperous career. In their films they reflect the stories of fairies and druids intertwined with the reality of a country tormented throughout history. In this article we’ll analyse these myths, the sources they’re based on, and how the studio uses them and updates them to tell new stories based on the stories of yore."
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Kılınçarslan, Yasemin. "Cinematic Mythology in the Narrative and Design of Tomm Moore’s The Secret of Kells." CINEJ Cinema Journal 11, no. 2 (December 20, 2023): 225–49. http://dx.doi.org/10.5195/cinej.2023.560.

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This paper examines the Irish animated film The Secret of Kells. The conflict of the pagan world with the monotheistic world has been going on for millennia, and the reflections of these conflicts are clearly manifested both in the religious and artistic fields. In different geographies of the world, the call of mother nature still resonates in the depths of the subconscious of most people, images of pagan faith are transmitted from generation to generation and become visible in the works of artists. The life story of Brendon, the hero of the film, which is the subject of this article, makes viewers feel the sensitivity of cinematic aesthetics and folkloric narratives and mythologies through a characteristic Irish animation. The ethnic expressive style of Irish animation has been studied in detail in this article both in the sense of animated cinema and cultural studies.
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Gomes, Daniel. "Reviving Oisin: Yeats and the Conflicted Appeal of Irish Mythology." Texas Studies in Literature and Language 56, no. 4 (December 2014): 376–99. http://dx.doi.org/10.7560/tsll56402.

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Dissertations / Theses on the topic "Irish mythology"

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Hargrave, Rachel Irene. "Cartoon Saloon as Mythopoeic: Reimagining Irish Mythology through Animation." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104103.

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Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, explores themes of liminality, urbanization, and coming of age in its trio of Irish folklore-themed films. Secret of Kells, Song of the Sea, and Wolfwalkers each explore Irish identity, folklore, and community through different time periods and spaces to create truly Irish animated films. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. By communicating these themes in animated films, Cartoon Saloon centers indigenous animation work in a country that has lacked an indigenous industry and uses the flexibility of animation as an art form to address Ireland's history and mythology through the writing, music score, and animation style of the three films. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.
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Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, has released a trio of films centered on Irish folklore. These films explore Irish history, mythology, and tradition through several time periods and explore themes of liminality and coming of age. Secret of Kells, the first film, explores the Abbey of Kells and the creation of the Book of Kells through the eyes of Brandon, a young monk learning to find his place in the Abbey. He encounters a fairy girl and learns that there is more to his world than the Abbot had taught him. The second film, Song of the Sea, is set in modern times and tells the story of Ben's adventure to save his sister, who is half-selkie. The final film, Wolfwalkers, explores Kilkenny during English occupation through the adventures of Robyn, a young English girl who is turned into a wolfwalker and learns about the magic present in the Irish countryside. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.
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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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Oudaer, Guillaume. "La pseudo-histoire du mythe des invasions d'Irlande." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP064/document.

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Cette thèse a pour objectif d'analyser les origines de la pseudo-histoire mythique des invasions d'Irlande : les sources classiques antiques ou judéo-chrétiennes de ce cycle légendaire, les survivances indigènes, le processus d'élaboration et sa signification socio-politique. La méthodologie utilisée a été de comparer les éléments dont la source pouvait être indigène à d'autres traditions celtiques ou indo-européennes
The object of this thesis is an analysis of the origins of the mythic pseudo-history of the invasions of Ireland: the classical or judeo-christian sources of this legendary cycle, its native remnants, the elaboration process and its socio-political significance. The methodology we used was to compare the native elements with other Celtic or Indo-European traditions
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Hughes, S. Gavin. "Northern Irish regiments in the Great War : culture, mythology, politics and national identity." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683166.

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Robitaillié, Audrey. ""Away with the fairies" : the motif of fairy abduction and of the changeling, from Irish mythology to the Irish diaspora." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.696166.

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This project aims at analysing the reuses of the motif of fairy abduction and of the changeling in contemporary literature, either Irish or from the Irish diaspora. Studying these tale types as they appear in the folk accounts allows a better understanding of their traditional characteristics, to then be able to compare them with the way the contemporary writers reinterpret them. It seems that the changeling motif has been taken up as an Irish metaphor for emigration and exile, whether it be geographical, psychological or linguistic. This thesis thus explores issues of identity and memory through the theme of the changeling which, although it is not of Irish origin since it is absent from the early mythological sources, has paradoxically become an Irish literary symbol.
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Arbuthnot, Sharon J. "Coir Anmann." Thesis, University of Aberdeen, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287594.

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Cóir Anmann is a late medieval Irish tract made up of numerous 'entries', each of which purports to explain the meaning of a particular epithet associated with a character in early history or mythology. Two separate recensions of this tract have long been known to exist, but in the course of the present study a third recension was identified. One of the main purposes of this thesis is to provide diplomatic editions of these three recensions based on all extant manuscript copies. On the way to producing these editions the manuscript tradition of the tract is reviewed, and a stemma is drawn up for each of the recensions preserved in more than one MS text. English translations have also been made available. In the introductory discussion linguistic and stylistic evidence is used to establish a chronology in which the recensions can be placed relative to one another. To this end verbal systems for the recensions have been prepared. Since the entries in Cóir Anmann are founded on borrowings from pre-existing sources, extracts from independent tracts corresponding to material contained in it have been identified, and suggestions on how these were handled and adapted for use in Cóir Anmann have been advanced. Together with the conclusions reached as to the chronology of the recensions, this study enables the way in which the tract was compiled from disparate sources and 'grew' through the extant recensions to be discerned. The dates of works quoted in Cóir Anmann, internal references and certain aspects of the language are then reviewed to determine the approximate compilation period for each recension. In a final consideration of the development of the tract, this thesis examines histories and genealogies written in the Early Modern period and after for which Cóir Anmann itself served as a source of material.
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Juhlin, Johanna. "A Conceptual-historicist Investigation of Poems by William Butler Yeats." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23633.

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This essay aims to find a correlation between the poetry of William Butler Yeats and the social-cultural context of its time-period. With the aid of conceptual history, representations of fundamental concepts can be revealed in the written text. The methodological approach is based on Reinhart Koselleck's Begriffsgeschichte where concepts are used for timing history. The two concepts in focus in the essay are 'crisis' and 'the Golden Age'. The results found in the analysis of Yeats' poems displayed to a high amount the representation of the concept of 'crisis', revealing that crisis in the society at that time is reflected in Yeats' poems, but representations of the counter-concept 'the Golden Age' was only partly found in poems from his later collections. A suggestion for further research is to perform a study where several contemporary poets are investigated simultaneously with the aid of conceptual history.
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Stanciu, Radu Razvan. "Attitudes towards Paganism in Medieval Irish and Old Norse Texts of the Trojan War." Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/290141.

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The thesis compares the depictions of paganism found in the Middle Irish Togail Troí ('The Destruction of Troy'; first half of the twelfth century) and the Old Norse Trójumanna saga ('The Story of the Trojans'; first half of the thirteenth century), which are both based on Dares Phrygius's Late Antique De excidio Troiae historia. The two vernacular adaptations are presented in the wider context of the medieval popularity of Dares's text. The in-depth analysis of the pagan references (most of which relate to mythology and ritual), reveals Togail Troí's and Trójumanna saga's general source-based approach and their shared reliance on Latin mythographic scholarship, but also a different approach concerning the literary presentation of paganism. The Irish text's 'Christian' approach to the issue (as seen through authorial comments and historical contextualisation) is shown to be in contrast to the Norse text's 'classicising' approach (i.e. paganism presented as in the classical sources themselves). The findings of this analysis are then compared with the literary attitudes towards paganism encountered in medieval Irish and Norse texts more widely (especially in those set in Ireland or Nordic countries). This comparison reveals a general sympathy for many pagan characters that finds some parallels in the Trojan texts as well, but also a different representation of pagan deities in the two traditions. Indeed, the Irish tendency to avoid depicting the gods as such and the opposite Norse tendency, to portray them in an explicit way (often from a pagan point of view), mirror the evidence furnished by Togail Troí and Trójumanna saga. The literary attitudes to paganism and particularly towards mythology, which are encountered in the two texts, are further explored from the point of view of authorship. It is shown that the Irish author is writing in a historiographical mould, while the Norse author is writing in what could be described as a mythographical mould. Two complementary lines of interpretation are sketched for this phenomenon. The first one emphasises the existence of two different cultures of dealing with paganism in Irish and Norse literature respectively. The second line of interpretation draws to the fore two different approaches to the author-text relationship, examined through the framework of medieval literary theory. The final chapters highlight the importance of the research both for our understanding of the unique and complex literary cultures of medieval Ireland and Iceland and for the light that can be shed on the multifaceted relationship between authors and texts in medieval literature through the prism of paganism.
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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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Hayges, Jesse L. "The Stolen Word." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588786270568418.

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Books on the topic "Irish mythology"

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1852-1932, Gregory Lady, and Yeats W. B. 1865-1939, eds. Complete Irish mythology. [London, England?]: The Slaney Press, 1994.

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Kavanagh, Peter. Irish mythology: A dictionary. Newbridge, Co. Kildare, Ireland: Goldsmith Press, 1988.

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Tremayne, Peter. A dictionary of Irish mythology. Oxford: Oxford University Press, 1991.

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Tremayne, Peter. A dictionary of Irish mythology. Santa Barbara, CA: ABC-Clio, 1987.

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Tremayne, Peter. A dictionary of Irish mythology. London: Constable, 1987.

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Smyth, Daragh. A guide to Irish mythology. Dublin: Irish Academic Press, 1988.

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Kennedy, Gerry. Irish mythology: A guide and sourcebook. Killala (Mayo): Morrigan, 1991.

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Kennedy, Gerald Conan. Irish mythology: A guide and sourcebook. Killala, Co Mayo, Ireland: Morrigan Books, 1991.

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Zaczek, Iain. The book of Irish legends. London: Cico, 2001.

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1827-1914, Joyce P. W., ed. Old Celtic romances: Tales from Irish mythology. Mineola, N.Y: Dover Publications, 2001.

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Book chapters on the topic "Irish mythology"

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Armao, Frédéric. "Uisneach in Irish Mythology." In Uisneach or the Center of Ireland, 54–83. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003143161-3.

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Remport, Eglantina. "‘The “whorl” of Troy’: Celtic Mythology, Victorian Hellenism, and the Irish Literary Revival." In Lady Gregory and Irish National Theatre, 51–84. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76611-9_3.

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Miles, Brent. "Irish Evidence for Shared Sources of Classical Mythology in Anglo-Saxon England and Medieval Ireland." In Publications of the Journal of Medieval Latin, 124–48. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.pjml-eb.3.894.

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"Irish Mythology Revived." In Poems of W.B. Yeats: A New Selection. Bloomsbury Academic, 1988. http://dx.doi.org/10.5040/9781350389007.ch-003.

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Joep, Leerssen. "Mythology : Irish Gaelic." In Encyclopedia of Romantic Nationalism in Europe. Amsterdam University Press, 2015. http://dx.doi.org/10.5117/9789462981188/ngta8l56ftkpeegimump0aqp.

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Ellis, Peter Berresford. "E." In Dictionary Of Celtic Mythology, 88–94. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195089615.003.0006.

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Abstract Eachtra. [I] Adventure. A class of tales in mythology usually connected with a mortal’s journey to the Otherworld. The eachtra became very popular in Irish literature in the fifteenth to seventeenth centuries.
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Ellis, Peter Berresford. "O." In Dictionary Of Celtic Mythology, 173–79. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195089615.003.0016.

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Abstract Oak. Of all the trees, it is the oak that has been most associated with the druids as their sacred tree. Some scholars argue that the very word “druid” derives from the word “oak-knowledge” (dru-vid), mainly because Pliny the Elder associated it with being cognate with the Greek word for oak. Certainly veneration of the oak was widespread among the Celts wherever they were. In Galatia, the state set up by the Celts on the central plain of Turkey, the capital was recorded by Strabo as Drunemeton-the oak sanctuary. Maxi mum Tyrius went further and claimed that the Celts saw the father of the gods (Zeus) in the image of a lofty oak. However, in Irish mythology the yew, hazel, and rowan trees are more frequently referred to than the oak. Certainly sacred trees were common and used as totems. Each clan had its sacred tree, and the most demoralising thing a hostile clan could do to another was to invade and fell the sacred tree. These were regarded as the crann bethadh, or “tree of life.” In early Christian tradition we find many churches significantly sited by druidic oaks in Ireland: Cill Daire (Kildare), the “Church of the Oak,” founded by Brigid; the great monastic school of Daire Maugh (Durrow), “Plain of the Oaks,” in Wexford; and Daire Calgaich (Derry), Colmcille’s favourite spot, which was the “Oak Grove of Calgaich.” Mistletoe, associated with the Continental Celts, is not a native Irish plant and was only transported to Ireland in the eighteenth century.
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Ellis, Peter Berresford. "N." In Dictionary Of Celtic Mythology, 166–72. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195089615.003.0015.

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Abstract Naked Warriors. There are many references to the Celtic custom of stripping naked to do battle or to engage in single combat. They did so from their religious concepts. Naked and at one with the world around them, the “aura” and life force of the warriors was increased. Polybius recorded, in his account of the Battle of Telamon in 225 B.C., that a Celtic tribe he designates as the Gaesatae hurled them selves naked into battle against the Romans. He did not realise that the word meant “spearmen” (Irish gae, Welsh gwayw = spear) and that they were probably a group of elite warriors like the Fianna, the Red Branch warriors, or Gamhanrhide. See Knights.
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"SEXUALITY, MONTROSITY AND MYTHOLOGY IN CONTEMPORARY IRISH WOMEN’S POETRY." In The Body and the Book, 257–73. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401206044_037.

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"The Concept of the Hero in Irish Mythology (1985)." In Coire Sois, The Cauldron of Knowledge, 51–64. University of Notre Dame Press, 2014. http://dx.doi.org/10.2307/j.ctvpj7bnr.11.

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