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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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MacRaois, Cormac. "Old Tales for New People: Irish Mythology Retold for Children." Lion and the Unicorn 21, no. 3 (1997): 330–40. http://dx.doi.org/10.1353/uni.1997.0025.
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Abelian, Natalia. "The Stone Novel of Éire." Studia Celto-Slavica 5 (2010): 181–92. http://dx.doi.org/10.54586/pwwb9182.
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In this paper, we shall attempt to define the place of the megalithic stone structures in the outlook of the early Irish culture. We shall include some archaic Irish linguistic elements and look at relevant myths that have survived in various early Irish sources, and, in particular, in the compilation known as The Metrical Dindshenchas (hereinafter MD). In our contribution, we shall confine ourselves to defining such notions as ‘water’, ‘fertility’, ‘the Otherworld’ that are commonly associated with the megalithic stone structures in early Irish mythology and in Irish folklore beliefs and customs. We come to the conclusion that the megalithic stones became connected with two positive sources in the pre-literate culture of early Ireland: the dark and wet source of fertility in the Otherworld situated under the ground; and the light and sunny source of the conception of the new life and of the new year in the celestial Otherworld.
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Kandrashkina, Oksana Olegovna. "Intertextual references as a part of the vertical context of modern Northern Irish novels." Philology. Issues of Theory and Practice 16, no. 10 (October 17, 2023): 3546–51. http://dx.doi.org/10.30853/phil20230546.
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The aim of the paper is to determine the most frequent elements of the vertical context in Northern Irish novels expressed by intertextual references. The study is original in that it is the first to analyse the ratio of different intertextual reference types, as well as to identify the main types of intertextual references in modern Northern Irish literature, which has not been fully examined from this perspective. The paper considers referents related to socio-historical events, geographical names, mythology and culture. The analysis of the vertical context allowed identifying the names of Northern Irish and Irish cities, districts and streets in Belfast, the names of historical events, as well as the proper names denoting Irish mythological figures. As a result, 3 groups of intertextual referents were highlighted: geographical, historical, mythological. The results showed that intertextual references contain the extralinguistic information relevant to understanding and interpreting the main ideas and messages of the novels.
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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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Lummer, Felix. "Was Guðmundr á Glasisvǫllum Irish?" Temenos - Nordic Journal of Comparative Religion 55, no. 1 (June 29, 2019): 75–95. http://dx.doi.org/10.33356/temenos.83426.
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This article tackles the question of a possible Irish origin for the Old Norse literary figure Guðmundr á Glasisvǫllum. The images of Guðmundr, his realm Glasisvellir, and the sometimes associated territory of Ódáinsakr fluctuate in various ways in the different saga narratives in which they occur. The variability of the Guðmundr á Glasisvǫllum narrative has caused scholars to debate its possible origin for over a century. The more widely supported notion is that a mythological compound around Guðmundr must have originated in Irish mythology and folklore rather than being an indigenous, Nordic construct. The present article aims to follow up on this discussion, comparing the original Old Norse source material and that found in Gesta Danorum to Irish accounts that might have influenced them. By highlighting the differences between the Guðmundr á Glasisvǫllum complex and the suggested Irish sources, the degree to which it seems likely the motif could actually have originated in Irish thought will be assessed. Norwegian folk tales about the magical island Utrøst will then be considered to highlight the possibility of a more local background for Guðmundr and his realm.
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Murray. "Sources of Irish mythology. The significance of the dinnṡenchas." North American journal of Celtic studies 3, no. 2 (2019): 155. http://dx.doi.org/10.26818/nortamerceltstud.3.2.0155.
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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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Binici, Buse. "Reading W. B. Yeats and Seamus Heaney in a Postcolonial Context: Exploring Landscape and Identity." Bitig Edebiyat Fakültesi Dergisi 4, no. 7 (June 14, 2024): 61–71. http://dx.doi.org/10.69787/bitigefd.1454972.
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This article critically examines Ireland's postcolonial position, with a specific focus on the poetic works of influential Irish writers William Butler Yeats and Seamus Heaney. The exploration begins by delving into Ireland's historical and cultural context as a colonized nation, shedding light on the profound impact of English domination and the complexities of Irish history. Furthermore, the article draws parallels between the Irish experience and anticolonial movements in Third World countries, emphasising on the similar struggles in resisting colonization. The central argument posits that, having endured colonialism, both Yeats and Heaney actively contribute to the postcolonial discourse by employing themes of landscape and identity as distinct forms of resistance. Yeats, driven by a personal interest in mythology, mythologizes resistance against the colonizer through the revival of heroic deeds in his poetry. Conversely, Heaney engages in a subversion of the “us vs them” dichotomy, responding to the Empire through his works. The imagery of earth, depicted in his poetry, symbolises the connection between physical landscape to Irish identity. By situating Yeats’ and Heaney’s poetry within a postcolonial framework, this article seeks to acknowledge their collective contribution as a form of "writing back to the Empire," thereby enriching the discourse surrounding Irish postcolonialism.
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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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Dwyer, Macdara. "Sir Isaac Newton’s enlightened chronologyand inter-denominational discoursein eighteenth-century Ireland." Irish Historical Studies 39, no. 154 (November 2014): 210–29. http://dx.doi.org/10.1017/s0021121400019064.
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In the advertisement prefacing Charles O’Conor’s Dissertations on the antient history of Ireland (1753), the editor challenged an unnamed gentleman who had, apparently, smeared the good name of the author. The editor, Michael Reily (who went under the cognomen ‘Civicus’) was intricately involved in this dispute from its early stages and did not spare any criticism for the individual he deemed responsible, Dr John Fergus, the erstwhile friend and associate of both Reily and O’Conor. ‘A Gentleman of great Reputation’ alleged Reily, had branded O’Conor with ‘the meanest Species of Immorality’. The dispute did not centre on some esoteric point of Irish mythology or any disagreement over issues of interpretation. It was not even, at least not in any direct way, a rift over political issues regarding the penal laws and the status of papists in the Irish polity, a tendency quite prevalent among the fissiparous Catholic organisations and pugilistic personalities of this period. Rather, it was wholly concerned with those most pertinent aspects of existence for an eighteenth century gentlemen – credit and honour. The disagreement was about Newton’s Chronology and its application to the Irish annalistic corpus as a means of validating the latter – not about the principle of its applicability, nor regarding the minutiae of dates or similar arcana, but to who should gain the credit for appropriating Newton’s prestige to such a particularly Irish topic.
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Clynes, Frances. "The Role of Solar Deities in Irish Megalithic Monuments." Culture and Cosmos 24, no. 0102 (October 2020): 9–25. http://dx.doi.org/10.46472/cc.1224.0203.
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In the great body of Irish myths that became part of an oral tradition and would, much later, be documented and preserved, associations can be found between Sun gods and solar heroes and the great Neolithic monuments of Ireland, including Newgrange, the most well-known monument in the large complex of passage tombs in the valley of the Boyne River that today is known as the World Heritage Site, Brú na Bóinne. In all four cycles of Irish mythology, from the Tuatha De Danaan of the Mythological Cycle to the kings of Tara in the Historical Cycle, repeated mention is made of Brú na Bóinne, the home of the Sun gods, Dagda and Lugh, and the place of the conception and birth of the warrior hero, Cú Chulainn. This chapter examines the roles the monuments played in the myths and their strong association with mythological solar figures and asks if the myths can tell us something about the meaning the monuments held for people from different periods of time.
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Nilsen, Kenneth. "Down among the Dead: Elements of Irish Language and Mythology in James Joyce's "Dubliners"." Canadian Journal of Irish Studies 12, no. 1 (1986): 23. http://dx.doi.org/10.2307/25512661.
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Armao, Frédéric. "From Yeats to Friel: Irish Mythology through Arts and Science in the 20th century." Études irlandaises, no. 41-1 (June 15, 2016): 115–25. http://dx.doi.org/10.4000/etudesirlandaises.4842.
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Muradova, Anna. "Бинарные оппозиции в кельтской космологии: на материале современного бретонского фольклора (Binary Oppositions in Celtic Cosmology: Modern Breton Folklore Data)." Studia Celto-Slavica 2 (2009): 147–53. http://dx.doi.org/10.54586/lmyj3678.
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The archaic mythology of Celts like the other pagan cosmologic systems is based on binary oppositions e.g. light and darkness, “our world” and the Otherworld. The comparative reconstruction of the basic concepts of the pre-Christian mytho-poetical tradition is in most cases based on the Old Irish text. Nevertheless, Breton folklore texts (often neglected because of their modernity) can be useful for further reconstruction of the opposition “light – dark”, “our world – otherworld”. The fact of the existence of such oppositions like one of the first steps of the human mind on the way of understanding the world and structuring the society was observed by ethnologists, psychologists and comparative linguists.
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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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Yahya Asghar, Ghulam. "SHADES OF A WOMAN’S TIME: THE CHRONOTOPIC REVISION OF HISTORY IN SELECTED POEMS OF EAVAN BOLAND’S OUTSIDE HISTORY." Folia linguistica et litteraria XIII, no. 44 (January 31, 2023): 265–84. http://dx.doi.org/10.31902/fll.44.2023.15.
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Eavan Boland has been acclaimed as the foremost feminist poet of modern Ireland, and, although she has been accused of resorting to a depoliticized escapist poetry, her poetry stands for a convergence of both the political/national and the feminine in her homeland. Defined and credited as a nation with a mythological history, Ireland has always already been represented through a temporally male perspective. Correspondingly, in the established canon of Irish poetry, time, mostly as a retrospective concept, is a masculine appropriation of history coupled with the archetypal male and female roles, whose spatio-temporal import are to accommodate to the authorized reductionist historiography. Bakhtin’s idea of chronotope is not only an attempt toward the mutual realization of the time/space motif in a literary work, but also the means to the embodiment of a consciousness, an identity. This study attempts to demonstrate how Boland, in a selection of poems from her collection Outside History (1990), specifically, The Achill Woman, The Making of an Irish Goddess, Daphne Heard with Horror the Addresses of God, and the eponymous poem Outside History, introduces a series of chronotopes which assist her in redefining Irish national history with a feminine hue in the guise of herstory. Furthermore, it will be argued that her poetry may well be seen as a venture to replace the authoritative concept of time as mythology and fiction with a real history.
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Gunnell, Terry. "Thomas Crofton Croker, The Fairy Legends, and the Arrival of the Illustrated Folk Legend in Northern Europe." Irish University Review 54, no. 1 (May 2024): 101–11. http://dx.doi.org/10.3366/iur.2024.0651.
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This article focuses on the collaborative work between the early Irish collectors and artists, and particularly that between Crofton Croker and Keightley, and the artists Daniel Maclise and William Henry Brooke who produced the illustrations for Crofton Croker’s Fairy Tales and Legends of the South of Ireland (1825 and 1826) and Thomas Keightley’s Fairy Mythology (1833). The images by Maclise and Brooke added a powerful new dimension to the ways in which the stories and the beliefs behind them were understood. These works (and Crofton Croker’s in particular) would go on to influence the presentation of Norwegian folk legends especially in the latter half of the century, and not least the careers of some of Norway’s most famous artists from the period.
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Piper, Stephanie F. "A Little Mystery, Mythology, and Romance: How the “Pigmy Flint” Got Its Name." Open Archaeology 8, no. 1 (January 1, 2022): 145–58. http://dx.doi.org/10.1515/opar-2022-0100.
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Abstract The term “pigmy flint” was coined in 1895 and frequently used to describe small flint implements, many of them microliths, in British and Irish archaeology during the earliest decades of the 20th century. It was briefly adopted in France over a decade later to describe the same tools, translated as “silex pygmée”, the simultaneous emergence of the French term “microlithique” saw the latter become more widely used, however. The Anglicised “microlith” was not commonly incorporated into British archaeological terminology until the mid-1920s. The international interplay in nomenclature and the changing nature of the terminology that was used to describe such “very small implements of flint” are mirrored by the different attitudes of early archaeologists to these tools. They were dismissed by some and marvelled at by others. Moreover, the definitions that surround these terms are embedded within the problematised acceptance of the “Mesolithic” as a distinct chronological entity. The recognition of morphologically similar “pigmies” across the world sparked questions of migration, function, and chronology – in its broadest culture-historical sense – thus shaping the way in which this microlithic technology and its association with the Mesolithic came to be understood by early archaeologists in Western Europe.
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Mikhailova, Tatyana. "Пять пятин Ирландии: новое, неожиданное предположение? (Five Fifths of Ireland: New Approach)." Studia Celto-Slavica 2 (2009): 26–39. http://dx.doi.org/10.54586/pqqb9019.
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The problem of the so-called ‘five fifths of Ireland’ remains unresolved up to now, in spite of numerous attempts to find a solution to this linguistic and geographical contradiction. In Modern Irish, traditional provinces of Ireland are called cúige (‘a fifth’), but there are only four (Ulster, Leinster, Munster and Connacht) of them. The same names of the four provinces were known in the Early Irish literature (cóiced Ulad etc). The Irish literati envisaged that contradiction and made some attempts to resolve it in early mythological and pseudo-historical sources (in sagas and poetry). According to their pseudo-historical theory, the province of Munster was further divided into ‘the fifth of Cú Roí’ and ‘the fifth of Eochu mac Luchta’. At the same time, the compiler of the saga ‘The Settling of the Manor of Tara’ proposes a theory of the sacred centre (Tara, the seat of kingship, and/or the hill Uisnech, the centre of druidism) of Ireland and of the four subject provinces or zones – North, South, East and West. The idea of of the dominant Goidelic race led T.F. O’Rahilly to propose the existence of the Midland kingdom. Rees Brothers added to this theory a veil of universal cosmology. We would like to propose another solution to this problem. It is not based upon the traditional cosmological or geographical principle of division of a country, but on another one, which can also be presented as the ‘traditional’ principle as far as the geography of the Ancient World is concerned. In reality, it may well be that Ireland was divided into five parts, but this so-called ‘native’ division of the island persisted for a short time only. The idea of the ‘five fifths’ preserved in Irish mythology and pseudo-history was supported by the symbolic role of the number ‘five’ in Irish tradition. Thus, the ‘power of word’ or a word-hypnosis influenced historical and native geographical tradition.
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Holovatch, Yurij, Ralph Kenna, Pádraig Mac Carron, Petro Sarkanych, Nazar Fedorak, and Joseph Yose. "Math and Myth: A Quantitative Approach to Comparative Mythology." Ukraina Moderna 27, no. 27 (2019): 108–38. http://dx.doi.org/10.30970/uam.2019.27.1065.
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The article is devoted to the application of a certain mathematical apparatus–the theory of complex networks–to quantitatively describe and compare myths belonging to different cultures. One of the fundamental results of comparative mythology is the finding of structures common for many cultures–monomyths. In our study, we focus on other aspects that are also common to different narratives. The approach we take is based on a new way of getting information about the relationships between the characters in the narrative. These characteristics are uniquely expressed in numerical form, and thus there is the possibility for quantitative comparison of different characters of the same text and texts belonging to different periods and different cultures. The method of analysis we use is based on the study of social connections between the characters of a particular epic narrative and on the quantitative analysis of these connections. To this end, the structure of a narrative is depicted as a network (graph) where the nodes are the characters and the edges are the connections (friendly or hostile) between the characters. This enables one, within a unique approach, to carry out a quantitative analysis and comparison of network structures that correspond to different texts. In particular, our work covers such texts as Homer’s epic poem The Iliad , the Irish sagas Táin Bó Cúailnge and Gaedhel re gallaibh, the five largest Icelandic sagas, and Beowulf, the Anglo-Saxon heroic epic. A quantitative analysis of the networks of connections between the characters of these works suggests that, in addition to the existence of monomyths, there are common universal characteristics in the structure of characters’ social networks. Among the common properties is the small characteristic size of the network (the average length of the shortest path) and significant correlations between the network nodes (high value of the clustering coefficient). Common features of these networks include the social balance corresponding to the location of hostile and friendly relationships and characteristic behaviour under the node removal from the network. Our findings suggest that network analysis can serve as another way of addressing issues related to the classification or study of narratives.
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McGaughey, Jane. "Blood-debts and Battlefields: Ulster Imperialism and Masculine Authority on the Western Front 1916–1918." Journal of the Canadian Historical Association 20, no. 2 (September 15, 2010): 3–27. http://dx.doi.org/10.7202/044397ar.
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Men’s bodies were one of the more notable sites of conflict in Northern Ireland after the 1918 armistice. Long before the war was over, Ulstermen had become part of a public legacy of blood-sacrifice and the epic mythology of warrior manliness surrounding the 36th (Ulster) Division. The predominantly Protestant north-east of Ireland revelled in heroic language and romantic sentiment about their losses and the consequences of their sacrifice. For years after their most famous battle at the Somme on the 1st of July 1916, Unionists maintained a vibrant communal memory that pointedly excluded the achievements and sacrifices of the 16th (Irish) and 10th (Irish) Divisions, to the detriment of northern Nationalist veterans. More importantly, the ramifications of northern society’s understanding of soldiering masculinities directly led to some of the more infamous physical events of The Troubles from 1920 to 1922. These episodes included the violent shipyard expulsions in Belfast, the intimidation of shell-shocked ex-servicemen, membership in vigilante paramilitary societies, and government-mandated floggings of Catholic veterans in a society that prized service in the Great War as the greatest hallmark of modern Irish masculinity. The language of sacrifice within the public sphere, witnessed in public discourse and literally imprinted upon the bodies of those deemed unworthy and unmanly, mythologized one group of men at the expense of another, making the legacy of the Great War and the actions of and upon male bodies highly significant and influential factors in Northern Ireland for the rest of the twentieth century.
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Ritchie, Daniel. "Radical Orthodoxy: Irish Covenanters and American Slavery, circa 1830–1865." Church History 82, no. 4 (November 20, 2013): 812–47. http://dx.doi.org/10.1017/s0009640713001157.
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This article analyzes the views of Reformed Presbyterians (Covenanters) in relation to the subject of American slavery. Popular mythology, especially that propagated by the exponents of Neo-Confederacy, would have us believe that all those who criticized the system of chattel slavery that existed in antebellum America were either secularists or adherents to heterodox religious opinions. In order to debunk this myth, this article seeks to demonstrate the solid antislavery credentials of this theologically conservative group of Presbyterians by examining the writings of various Covenanters on chattel slavery. As this agitation against slavery took place in a context of significant internal strife between the Covenanters over the issue of the civil magistrate's power circa sacra, this paper will consider how the antislavery arguments of Thomas Houston and John Paul diverged in order to suit their respective positions on civil magistracy. Related to this is the Covenanters' critique of the US Constitution, which Reformed Presbyterians rejected owing to its proslavery sentiments. Hence this article provides us with an important insight into antislavery ideology and developments within Reformed theology in relation to the state during the nineteenth century. Finally, consideration will be given to understanding the complex response of the Reformed Presbyterians to the American Civil War and to debates between the Irish Covenanters and their American brethren on the proper reaction to the conflict.
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Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (November 2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.
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This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the traditions of scholarship and the figure in the popular imagination. My account of the impact of both text and myth shows a development through the mid-twentieth century and into the twenty-first, in the work of poets writing in both Irish and English. In recent decades the work of women poets has engaged with the myths of the Cailleach as Goddess, and they have thus confronted questions of the legitimacy of treating the past, and especially mythology and folk beliefs, as a source for poetry. I believe it would be foolish for a poet who has the knowledge and critical intelligence to do it properly to ignore such a resource.
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Harvey, A. D. "Who were the Auxiliaries?" Historical Journal 35, no. 3 (September 1992): 665–69. http://dx.doi.org/10.1017/s0018246x00026029.
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In the summer of 1920, as the I.R.A.'s guerrilla campaign against the Royal Irish Constabulary and the British Army approached its climax, the British government attempted to reinforce the R.I.C. by raising a force of ex-officers to act as a mobile police striking force. The new organization was called the Auxiliary Division of the R.I.C, and its members, though officially referred to as ‘cadets’, were popularly called Auxiliaries or Auxis, a denomination which suggests a kind of subconscious analogy with their I.R.A. opponents, who were generally known as ‘Volunteers’. In the subsequent mythology of the Irish ‘Troubles’ the Auxiliaries were generally lumped together with the ‘Black and Tans’ but were in fact a more elite body. The ‘Black and Tans’ were ex-servicemen recruited to serve as R.I.C. constables and initially kitted out in a motley of R.I.C. dark green and Army khaki. The Auxiliaries on the other hand were nattily dressed in tarn o'shanters, khaki tunics and puttees (or officer's gaiters) and were paid a pound a day — twice the R.I.C. constable's rate — which made them the most highly-paid uniformed force in the world at that time.1 Altogether only 2,214 were recruited (with perhaps two-thirds that number in service at the peak of the formation's strength), but they did more than their fair share to discredit the British regime in Ireland.
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Anisimova, Olga Vladimirovna, and Inna Makarova. "Mythopoetic Images of Irish Mythology in American Fantasy (the Case of Roger Zelazny's "Chronicles of Amber" - Corwin Cycle)." Litera, no. 4 (April 2023): 92–101. http://dx.doi.org/10.25136/2409-8698.2023.4.39999.
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The article is devoted to the study of key images of Irish mythology, widely used in fantasy literature, in particular, in American novels written in the second half of XX-th century. The paper considers the images of ship, tree and raven. Special attention is paid to their artistic interpretation in the novels of a famous American science fiction writer, the representative of New Wave - Roger Zelazny. The paper examines the etymology of these images, their origins in Sumero-Akkadian, Jewish and Greek mythologies, their main symbolic meanings and further interpretation in Zelazny's key novel - "The Chronicles of Amber". As a result, the complex characteristics of the three images both in the ancient mythologies and in the context of first five parts of the novel by the American science fiction writer, namely in the Corwin Cycle, have been provided. The findings achieved show that ship turns out to be connected with the key image of the novel - the Pattern, among other things symbolizing the process of initiation of the main characters. The tree, in its turn, acts as the primary basis of the Amber universe, its multilevel structure. Finally, the raven, the alter ego of the main character - Prince Corwin - stands for his destiny, filled with contradictions and relentless battles.
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Hassan, Zena D. Mohammed, and Dheyaa K. Nayel. "The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology." Journal of Language Teaching and Research 15, no. 2 (March 1, 2024): 374–82. http://dx.doi.org/10.17507/jltr.1502.06.
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Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his “Metamorphoses” (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480–406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds.
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Riordan, Kevin. "Yeats's Photographs and the World Theatre of Images." Theatre Survey 65, no. 1 (January 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 often has been stressed—Japanese noh. Originally, the “Certain Noble Plays” essay was published as an introduction to a related noh project, Ezra Pound's liberal completion of Ernest Fenollosa and Hirata Kiichi's incomplete translations. There have been at least four book-length studies on the relationship between Yeats and noh, as well as many theses and articles. It remains an exemplum of transnational modernist theatre.
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Boudovskaia, Elena, and Кira Sadoja. "Mythology of Infants’ Excessive Crying and Certain Mythical Characters in the Folk Culture of the Carpathian Mountains of Ukraine." Centre of Linguocultural Research Balcanica. Proceedings of Round Tables 7 (2022): 177–202. http://dx.doi.org/10.31168/2619-0842.2022.7.09.
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Basing on the materials from expeditions to the Ukrainian and Rusyn villages of the Carpathian Mountains in Ukraine, we describe two groups of beliefs concerning excessive crying in infants. According to one group of beliefs, such crying represents something similar to a magical infection and can be transmitted from a crying infant to a non-crying one by manipulations with the crying infant’s bath water. According to another group of beliefs, infant crying results from the human child being exchanged for a non-human child by a female mythological creature connected with wind and forest. This creature is also known in the Balkans, and is probably genetically related to the Western European, especially Irish, fairy. We also suggest that the spell for curing infant crying describing an exchange of crying for non-crying between a human woman and a “forest woman”, known in Slavic traditions since the 14th c., might be a reduced refl ection of the belief in changelings in Slavic areas.
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Разина, В. М. "ARNOLD BAX AND HIS VIOLA SONATA (FROM THE HISTORY OF ENGLISH MUSIC OF THE FIRST HALF OF THE TWENTIETH CENTURY)." Music Journal of Northern Europe, no. 2(22) (May 8, 2024): 18–32. http://dx.doi.org/10.61908/2413-0486.2020.22.2.18-32.
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В начале XX века большая часть альтовой музыки была написана для Лайонела Тертиса, знаменитого виртуоза, пропагандирующего альт в качестве сольного инструмента. Признававшийся современниками исполнителем такого же уровня, как Фриц Крейслер и Эжен Изаи, он вдохновил практически всех значительных композиторов Британии на написание произведений для альта. Cэр Арнольд Эдуард Тревор Бакс, композитор и поэт, также известный под псевдонимом Дермот O’Брин, долгое время жил в Дублине и был знаком со многими представителями Ирландского литературного возрождения. Соната для альта была написана Баксом пять лет спустя Пасхального восстания, трагические события которого оказали сильное влияние на его литературное и музыкальное творчество. В статье музыка сонаты рассматривается в контексте ирландского музыкального фольклора и кельтской мифологии. In the early 20th century most of the viola music was written for Lionel Tertis, the famous viola virtuoso and the pioneer of the viola as a solo instrument. Regarded by his contemporaries as a performer of the same level as Fritz Kreisler and Eugène Ysaÿe, he inspired almost all of the outstanding British composers of the time to write music for the viola. Sir Аrnold Edward Trevor Bax, a composer and a poet, who went under the pseudonym ‘Dermot O’Byrne’, has lived in Dublin for a long time; he was acquainted with many distinguished figures of the Irish literary revival. He wrote the Viola sonata five years after the Easter Rising – the tragedy that strongly influenced his literary and musical works. The article analyzes the musical contents of the sonata in connection with the Irish folk music and Celtic 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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Benton, Sarah. "Women Disarmed: The Militarization of Politics in Ireland 1913-23." Feminist Review 50, no. 1 (July 1995): 148–72. http://dx.doi.org/10.1057/fr.1995.28.
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The movement for ‘military preparedness’ in America and Britain gained tremendous momentum at the turn of the century. It assimilated the cult of manliness — the key public virtue, which allowed a person to claim possession of himself and a nation to reclaim possession of itself. An army was the means of marshalling a mass of people for regeneration. The symbol of a nation's preparedness to take control of its own soul was the readiness to bear arms. Although this movement originated in the middle-class, Protestant cultures of the USA and England, its core ideas were adopted by many political movements. Affected by these ideas, as well as the formation of the Protestant Ulster Volunteers in 1913, a movement to reclaim Irish independence through the mass bearing of arms began in South and West Ireland in autumn 1914. Women were excluded from these Volunteer companies, but set up their own organization, Cumann na mBan, as an auxiliary to the men's. The Easter Rising in 1916 owed as much to older ideas of the coup d'état as new ideas of mass mobilization, but subsequent history recreated that Rising as the ‘founding’ moment of the Irish republic. It was not until mass conscription was threatened two years later that the mass of people were absorbed into the idea of an armed campaign against British rule. From 1919 to 1923, the reality of guerrilla-style war pressed people into a frame demanding discipline, secrecy, loyalty and a readiness to act as the prime nationalist virtues. The ideal form of relationship in war is the brotherhood, both as actuality and potent myth. The mythology of brotherhood creates its own myths of women (as not being there, and men not needing them) as well as creating the fear and the myth that rape is the inevitable expression of brotherhoods in action. Despite explicit anxiety at the time about the rape of Irish women by British soldiers, no evidence was found of mass rape, and that fear has disappeared into oblivion, throwing up important questions as to when rape is a weapon of war. The decade of war worsened the relationship of women to the political realm. Despite active involvement as ‘auxiliaries’ women's political status was permanently damaged by their exclusion as warriors and brothers, so much so that they disappear into the status of wives and mothers in the 1937 Irish Constitution.
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Bergholm, Alexandra. "Book Review: Modern Retelling of Ancient Irish and Welsh Tales: Philip Freeman, Celtic Mythology: Tales of Gods, Goddesses and Heroes." Expository Times 129, no. 6 (February 27, 2018): 287–88. http://dx.doi.org/10.1177/0014524617746815.
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Silver, Carole. "On the Origin of Fairies: Victorians, Romantics, and Folk Belief." Browning Institute Studies 14 (1986): 141–56. http://dx.doi.org/10.1017/s0092472500003503.
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In 1846 William John Thoms, who contributed the term “folklore” to the English language, commented in The Athenaeum that “belief in fairies is by no means extinct in England” (Merton 55). Thoms was not alone in his opinion; he merely echoed and endorsed the words of Thomas Keightley, the author of a popular and influential book, The Fairy Mythology. For believers were not limited to gypsies, fisherfolk, rural cottagers, country parsons, and Irish mystics. Antiquarians of the Romantic era had begun the quest for fairies, and throughout Victoria's reign advocates of fairy existence and investigators of elfin origins included numerous scientists, historians, theologians, artists, and writers. By the 1880s such leading folklorists and anthropologists as Sabine Baring-Gould, Joseph Jacobs, Andrew Lang, and Sir John Rhŷs were examining oral testimony on the nature and the customs of the “little folk” and the historical and archaeological remains left by them. At the beginning of the twentieth century eminent authors, among them Sir Arthur Conan Doyle, swelled the ranks of those who held the fairy faith and publicized their findings. In all, in a remarkable “trickle up” of folk belief, a large number of educated Romantics, Victorians, and Edwardians speculated at length on whether fairies did exist or had at least once existed.
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Thompson, T. Jack. "Religion and Mythology in the Chilembwe Rising of 1915 in Nyasaland and the Easter Rising of 1916 in Ireland: Preparing for the End Times?" Studies in World Christianity 23, no. 1 (April 2017): 51–66. http://dx.doi.org/10.3366/swc.2017.0169.
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Superficially there are many parallels between the Chilembwe Rising of 1915 in Nyasaland and the Easter Rising of 1916 in Ireland – both were anti-colonial rebellions against British rule. One interesting difference, however, occurs in the way academics have treated John Chilembwe, leader of the Nyasaland Rising, and Patrick Pearse, one of the leaders of the Irish Rising and the man who was proclaimed head of state of the Provisional government of Ireland. For while much research on Pearse has dealt with his religious ideas, comparatively little on Chilembwe has looked in detail at his religious motivation – even though he was the leader of an independent church. This paper begins by looking at some of the major strands in the religious thinking of Pearse, before going on to concentrate on the people and ideas which influenced Chilembwe both in Nyasaland and the United States. It argues that while many of these ideas were initially influenced by radical evangelical thought in the area of racial injustice, Chilembwe's thinking in the months immediately preceding his rebellion became increasingly obsessed by the possibility that the End Time prophecies of the Book of Daniel might apply to the current political position in Nyasaland. The conclusion is that much more academic attention needs to be given to the millennial aspects of Chilembwe's thinking as a contributory motivation for rebellion.
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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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SANTOS, DOMINIQUE VIEIRA COELHO DOS. "A TRADIÇÃO CLÁSSICA E O DESENVOLVIMENTO DA ESCRITA VERNACULAR NA EARLY CHRISTIAN IRELAND: ALGUMAS CONSIDERAÇÕES SOBRE A MATÉRIA TROIANA E A TOGAIL TROÍ * CLASSICAL TRADITION AND THE DEVELOPMENT OF VERNACULAR WRITING IN EARLY CHRISTIAN IRELAND: SOME NOTES ON THE TROJAN MATTER AND TOGAIL TROÍ." História e Cultura 5, no. 1 (March 29, 2016): 93. http://dx.doi.org/10.18223/hiscult.v5i1.1774.
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Resumo: Narrativas acerca da mitologia grega ou romana, bem como aquelas de caráter épico, envolvendo batalhas e heróis, não se encerraram na Antiguidade. Ao contrário, foram, com frequência, elaboradas no mundo chamado pós-clássico. Dentre as variantes desta tradição textual está o ciclo literário conhecido como matéria troiana, amplamente divulgado em toda Europa. A partir de um dos principais textos que integram este ciclo, a Togail Troí, uma “tradução” da De Excidio Troiae Historia para a língua irlandesa contida no Book of Leinster, o objetivo deste artigo é apresentar algumas reflexões sobre a relação entre a Tradição Clássica e o desenvolvimento das línguas vernáculas na Early Christian Ireland. Palavras-chave: Tradição Clássica; Early Christian Ireland; Escrita Vernacular; Matéria Troiana; Togail Troí. Abstract: Stories about Greek and Roman mythology, as well as those of epic character, involving battles and heroes, not stopped to be written in Antiquity. Instead, they were often developed in the so-called Post-Classical World. Among the variants of this textual tradition there is the literary cycle known as Trojan matter, widely spread throughout Europe. From one of the main texts of this cycle, the Togail Troí, a ‘translation’ of De Excidio Troiae Historia into the Irish language contained in the Book of Leinster, the aim of this article is to present some considerations about the relationship between the Classical Tradition and the development of vernacular writing in Early Christian Ireland. Key-words: Classical Tradition; Early Christian Ireland; Vernacular Writing; Trojan Matter; Togail Troí.
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McNamara, Conor. "The Kirwans of Castlehacket, Co. Galway: history, folklore and mythology in an Irish horseracing Family. By Ronan Lynch. Dublin: Four Courts Press. 2006. Pp 190. €40.50." Irish Historical Studies 35, no. 140 (November 2007): 566–67. http://dx.doi.org/10.1017/s0021121400005228.
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Hayashi, Yohei, Laura Caboni, Debanu Das, Fumiaki Yumoto, Thomas Clayton, Marc C. Deller, Phuong Nguyen, et al. "Structure-based discovery of NANOG variant with enhanced properties to promote self-renewal and reprogramming of pluripotent stem cells." Proceedings of the National Academy of Sciences 112, no. 15 (March 30, 2015): 4666–71. http://dx.doi.org/10.1073/pnas.1502855112.
Full textAbstract:
NANOG (from Irish mythology Tír na nÓg) transcription factor plays a central role in maintaining pluripotency, cooperating with OCT4 (also known as POU5F1 or OCT3/4), SOX2, and other pluripotency factors. Although the physiological roles of the NANOG protein have been extensively explored, biochemical and biophysical properties in relation to its structural analysis are poorly understood. Here we determined the crystal structure of the human NANOG homeodomain (hNANOG HD) bound to an OCT4 promoter DNA, which revealed amino acid residues involved in DNA recognition that are likely to be functionally important. We generated a series of hNANOG HD alanine substitution mutants based on the protein–DNA interaction and evolutionary conservation and determined their biological activities. Some mutant proteins were less stable, resulting in loss or decreased affinity for DNA binding. Overexpression of the orthologous mouse NANOG (mNANOG) mutants failed to maintain self-renewal of mouse embryonic stem cells without leukemia inhibitory factor. These results suggest that these residues are critical for NANOG transcriptional activity. Interestingly, one mutant, hNANOG L122A, conversely enhanced protein stability and DNA-binding affinity. The mNANOG L122A, when overexpressed in mouse embryonic stem cells, maintained their expression of self-renewal markers even when retinoic acid was added to forcibly drive differentiation. When overexpressed in epiblast stem cells or human induced pluripotent stem cells, the L122A mutants enhanced reprogramming into ground-state pluripotency. These findings demonstrate that structural and biophysical information on key transcriptional factors provides insights into the manipulation of stem cell behaviors and a framework for rational protein engineering.
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Berezkin, Yuri. "Sky-Maiden and World Mythology." IRIS, no. 31 (July 15, 2010): 27–39. http://dx.doi.org/10.35562/iris.2020.
Full textAbstract:
Traditions that share the least number of motifs are located in continental Eurasia and Melanesia. African mythologies are poor and stand nearer to the Indo‑Pacific than to the Continental Eurasian pole. The Indo‑Pacific mythology preserved its African core. In Continental Eurasia a new set of motifs began to spread after the Late Glacial Maximum. Both sets of motifs were brought to the New World. The Indo-Pacific complex predominates in Latin, the Continental Eurasian one in North America. Sky‑maiden tales, largely unknown in Africa and Australia, emerged in the Indo-Pacific borderlands of Asia. Both in Southeast Asia and in Latin America different images of the magic wife coexist (different birds, sky-nymphs, etc.), stories are often integrated into the anthropogenic myths. More specialized Swan-maiden stories spread across Northern Eurasia after the Late Glacial Maximum. Only Khori‑Buryat versions are related to actual mythology. Swan‑maiden was brought to America late by the Eskimo.