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Journal articles on the topic 'Irish poet'
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M.A, English Literature- Poetry Shaymaa Saleem Yousif. "William Butler Yeats' Political Views of Rising in Easter 1916." journal of the college of basic education 26, no. 108 (2022): 649–66. http://dx.doi.org/10.35950/cbej.v26i108.5297.
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It has been 103 years since the Rising of Easter 1916 had broken in Ireland. Yet, there are still far reaching questions regarding the real political views of William Butler Yeats in his famous poem Eater 1916. William Butler (1865-1939) is one of the poets who wrote about the events in their country in general and about the Rising of Easter1916 in particular. Butler as an Irish poet is expected to believe and support this rising, but as a protestant who spent most of his youth in London, should refuse and denounce The Easter Rising 1916. Yeats belongs to the protestant who was controlling the political, social, and economic life of Ireland. For this reason, many people suspected his loyalty and accused him of lacking the sense of Irish nationalism and patriotism. However, Yeats attacked his Irish contemporaries who under evaluates his nationalism, saying that every man born in Ireland should belong to it, and if a man considers himself an Irishman then he is indeed a part of Ireland. This research states how Yeats was insisting on his Irish nationality in spite of the fact that he had spent most of his life living out of Ireland and he belongs to the Anglo section through analyzing important and relevant lines from his historical and patriotic poem, Easter1916. Additionally, some relevant messages between the poet and, his friends will be stated to support his views. It is concluded that W.B. Yeats positively expresses his Irish nationality and support of independence through his poem Easter 1916
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Frag, Asst Prof Dr Amal Nasser. "Irish Poets: Keepers of National Lore." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 1 (2019): 43–54. http://dx.doi.org/10.36473/ujhss.v58i1.834.
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This paper discusses three noteable Irish poets: Augustine Joseph Clarke (1896-1974), Richard Murphy (1927- ), and Patrick Kavanagh (1904–1967), who are considered as keepers of national lore of Irland. It explains these poets’ contribution to world literature through the renewal of Irish myths, history, and culture. Irish poets tackle the problems of Irish people in the present in a realistic way by criticising the restrictions imposed on the Irish people in their society.Augustine Joseph Clarke’s poems present a deep invocation of Irish past and landscape. While Richard Murphy offers recurring images of islands and the sea. He explores the personal and communal legacies of history, as many of his poems reveal his attempts to reconcile his Anglo-Irish background and education with his boyhood desire to be, in his words, “truly Irish”. Patrick Kavanagh was not interested in the Irish Literary Renaissance Movement that appeared and continued to influence many Irish writers during the twentieth century which called for the revival of ancient Irish culture, language, literature, and art. He, unlike the Irish revivalists who tried to revive the Gaelic language as the mother tongue of the Irish people like Dillon Johnston and Guinn Batten, uses a poetic language based on the day-to-day speech of the poet and his community rather than on an ideal of compensation for the fractures in his country’s linguistic heritage. The paper conculdes with the importance of the role of the Irish poet as a keeper and a gurdian of his national lore and tradition
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Pietrzak, Wit. "Shibboleths of Grief: Paul Muldoon’s “The Triumph”." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 51–63. http://dx.doi.org/10.18778/2083-2931.11.04.
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The essay explores Paul Muldoon’s elegy for the fellow Northern Irish poet Ciaran Carson with a view to showing that “The Triumph” seeks to evoke a ground where political, cultural and religious polarities are destabilized. As the various intertextual allusions in the poem are traced, it is argued that Muldoon seeks to revise the notion of the Irish shibboleths that, as the poem puts it, “are meant to trip you up.” In lieu of this linguistic and political slipperiness, “The Triumph” situates Carson’s protean invocations of Belfast and traditional Irish music as the new shibboleths of collectivity.
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McINERNEY, LUKE. "Donn na Duimhche: ‘Hail, Donn of the Sandhills!’ Aindrias Mac Cruitín’s Celebrated Poem: Background, Context, and Literal Translation." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (2022): 33–72. http://dx.doi.org/10.3828/eci.2022.4.
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This essay presents a literal translation of the poem, Donn na Duimhche by Clare seanchaidhe and poet, Aindrias Mac Cruitín. The text presented here is intended primarily to focus on the life and activity of Mac Cruitín and his historical and literary milieu in mid-eighteenth-century Clare. The discussion is not intended to provide a detailed linguistic analysis or editorial treatment of the original text in Irish. Rather, by focusing on the poet and his world, as well as some of the themes addressed in his poem, new light is cast on the classical Gaelic tradition of north Munster at a time when that scholarly tradition was becoming obsolete.
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Bethala, Melony. "Searching for ‘Maeve’: An Archival Examination of Medbh McGuckian’s Early Career as a Poet in Northern Ireland." Irish University Review 52, no. 1 (2022): 53–65. http://dx.doi.org/10.3366/iur.2022.0541.
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Writing to Peter Fallon of the independent Irish publishing house Gallery Press in 1985, the poet Medbh McGuckian uncharacteristically signed the note ‘Maeve’, the Anglicized spelling of her name, with the explanation that, ‘I use that name as the letter was written by me and the poems by the other. So rejecting me does not entail accepting either of us’. This enigmatic note suggests that McGuckian perceives the personae in her poems as separate from the woman who writes them. To comprehend her poems, which are at once intricate, dynamic, and oblique, we must attempt to understand the other ‘Maeve’ whose prolific literary career has been shaped by challenges and opportunities posed by British, Irish and American publishing institutions. Using correspondence between the poet and her publishers archived at Emory University and Oxford University Press, this article explores Medbh McGuckian’s controversial transition from the Oxford Poets’ list to Gallery Press in 1991. It draws attention to the paratextual history of a little-known epigraph that quotes a letter which Roger Casement wrote to his sister from Banna Strand not long before his untimely death in 1916. By tracing the movement of the epigraph through McGuckian’s correspondence with publishing institutions, this essay examines the political perspectives at stake in Irish literary publication and considers the challenges contemporary Irish women poets face as they negotiate their personal and professional interests with those of publishing institutions.
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Li, Zhang, and Yin Xue. "A Study on Easter, 1916 from the Perspective of the Ideational Function." Scholars International Journal of Linguistics and Literature 5, no. 10 (2022): 344–47. http://dx.doi.org/10.36348/sijll.2022.v05i10.004.
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Easter, 1916 is a classic work of Irish poet Yeats, describing four leaders in Irish raising and expressing Yeats’ complicated attitudes toward the rebellion. Being different from the traditional view of history, the study interprets the poem by analyzing its clauses from the perspective of functional grammar. It is concluded that a large amount of material process are used to represent the experiences of the characters, which realizes the narrative function of a poem. Relational process, the identifying one particularly, highlights the beliefs of revolutionaries and Yeats’ suspicion of their sacrifice. But finally, the mental, verbal and behavioural processes rebuild his support for the uprising and the nationalism represented by it.
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Sewell, Frank. "“Going Home to Russia”? Irish Writers and Russian Literature." Studia Celto-Slavica 1 (2006): 239–51. http://dx.doi.org/10.54586/vrzx4817.
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The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.
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Breatnach, Liam. "Satire, Praise and the Early Irish Poet." Ériu 56, no. 1 (2006): 63–84. http://dx.doi.org/10.1353/eri.2006.0006.
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Campbell, Matthew. "LETTING THE PAST BE PAST: THE ENGLISH POET AND THE IRISH POEM." Victorian Literature and Culture 32, no. 1 (2004): 63–82. http://dx.doi.org/10.1017/s1060150304000361.
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Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (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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Ghanim, Fawziya Mousa. "Seanchan 's Quest Restoring of the Poet's Right in Yeasts' Play The King's Threshold." European Journal of Language and Literature 7, no. 2 (2021): 20. http://dx.doi.org/10.26417/453wmb82a.
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William Butler Yeats (1865-1939), the prominent Irish poet and dramatist was one of the foremost figures of twentieth-century literature. He was a driving force behind the Irish Revival, and together with lady Gregory and Edward Martyn established the Abby Theatre, and served as its chief playwright during its early years. He was awarded the Noble Prize in literature for his always inspired poetry which in a highly artistic form gave expression to the spirit of a whole nation. The paper aims at analyzing the poet's quest for social freedom and poet's right in the state. The King's Threshold was first performed by the Irish National Theatre Society at the Molesworth Hall, in Dublin on 7 October, 1903. It is founded upon a Midieval-Irish story of the demands of the poets at the court of King Guaire at Gort, Co. Galway; it was also influenced by Edwin Ellis's play Sancan the bard (1905) which was published ten years earlier, by Edwin Ellis.
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Sackett, J. R. "Richard Murphy’s The God Who Eats Corn: A Colonizer’s Critique of British Imperialism in Ireland and Africa." International Journal of English and Comparative Literary Studies 2, no. 3 (2021): 1–15. http://dx.doi.org/10.47631/ijecls.v2i3.220.
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With the passing of Richard Murphy in 2018, Ireland lost its last poet of the Anglo-Irish Ascendancy. Yet his poetry often displays the poet’s sense of unease with his background and features attempts to reconcile Ireland’s colonial history with feelings of guilt and self-consciousness as an inheritor to the gains of the British imperialist project. A dedicatory poem to his aging father who had retired to what was then known as Southern Rhodesia (modern-day Zimbabwe), ‘The God Who Eats Corn’ draws parallels between Irish and African colonial experiences. Yet far from celebrating the ‘civilizing’ mission of British imperialism, Murphy deftly challenges and questions the legitimacy of his family legacy. I argue that rather than reinforcing the poet’s image as representative of the Ascendancy class, ‘The God Who Eats Corn’ reveals sympathies with the subject peoples of British imperialism and aligns Murphy with a nationalist narrative of history and conception of ‘native’ identity. For this reason, the poem should be considered a landmark of modern Irish poetics in its articulation of trans-racial anti-colonial solidarity.
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Dawe, Gerald. "II. The Irish Poet: Anecdotes over a Jar." Irish Review (1986-), no. 9 (1990): 57. http://dx.doi.org/10.2307/29735545.
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Amiot, Pascale. "Reading Eiléan Ní Chuilleanáin a Contemporary Irish Poet." Études irlandaises, no. 35-1 (June 30, 2010): 166–68. http://dx.doi.org/10.4000/etudesirlandaises.1874.
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Keanie, Andrew. "Carol Baraniuk, James Orr, Poet and Irish Radical." Romanticism 23, no. 1 (2017): 106–9. http://dx.doi.org/10.3366/rom.2017.0316.
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Fadem, Maureen E. Ruprecht, and Mary O'Malley-Madec. "'I speak the language. I know how to be a woman here': Speaking the Language with Medbh McGuckian." Review of Irish Studies in Europe 4, no. 2 (2021): 121–38. http://dx.doi.org/10.32803/rise.v4i2.2842.
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Irish studies scholar Maureen E. Ruprecht Fadem and Irish poet Mary O'Malley Madec met with Medbh McGuckian in June of 2018. Their conversation, lasting the better part of a day, covered a vast array of subject matter. This piece transcribes much of that dialogue, including audio clips for poems they read together that day.
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Sturgeon, Sinéad. "East-Central Europe in the Writing of James Clarence Mangan." Acta Universitatis Sapientiae, Philologica 12, no. 1 (2020): 10–26. http://dx.doi.org/10.2478/ausp-2020-0002.
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Abstract This study explores the significance of East-Central Europe in a range of James Clarence Mangan’s poetry and prose from 1838–1847, focusing particularly on his depiction of Biedermeier Vienna (in the short story “The Man in the Cloak”), revolutionary uprisings in Poland and Albania (in the poems “Siberia” and “Song of the Albanian”), and his translations from the work of Bohemian-born Viennese poet Joseph Christian Freiherr von Zedlitz (1790–1862). I argue that Mangan’s interest in this region is twofold. On the one hand, it stems from the amenability of East-Central European culture and writing to the themes and tropes of the gothic, a genre central to Mangan’s imagination; on the other, from an underlying affinity in the historical position of the Irish and East-European poet in negotiating complex and contested politics of identity. While Mangan is a poet keenly conscious of “the importance of elsewhere,” and closely engaged in contemporary continental politics, I suggest that these European elsewheres also function as Foucauldian heterotopias, mythopoetic mirrors that enable the poet both to participate in Irish cultural nationalism and to register his dissent and distance from it.
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Ní Riordáin, Jeanna. "‘Victor Hugo, the Irish ‘Misérables, and Fenian women in the nineteenth-century’." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 131–35. http://dx.doi.org/10.33178/boolean.2015.27.
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When W.B. Yeats first met Maud Gonne, he told her of his ambition to be an ‘Irish Victor Hugo.’ Indeed the influence of France’s greatest national poet on Yeats appears to have been profound and lasting. In his youth Yeats claims to have read Hugo’s entire works, he quotes frequently form Hugo, and he spoke of Hugo at his meeting with the French poet Paul Verlaine in Paris. While the leader of French Romanticisim no doubt very pleasingly appealed to Yeats’ literary sensibilities, his political humanism, and his somewhat outlandish spiritual beliefs, the links between France’s greatest national icon and Ireland are in fact far greater than has ever been acknowledged. This article seeks to explore Hugo’s little-acknowledged, though decisive role as a spokesperson for the Irish ‘Misérables’ during the nineteenth-century. As well as examining Hugo’s much-overlooked support for the plight of the irish, this article will move on to ...
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Collins, Lucy. "Emergent Ground: Four Poems by Vona Groarke." Irish University Review 43, no. 2 (2013): 265–69. http://dx.doi.org/10.3366/iur.2013.0078.
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Vona Groarke (b. 1964) is a contemporary Irish poet. Born in Edgeworthstown in the Irish midlands, and now resident in Manchester, Groarke is the author of five collections of poetry with Gallery Press; her sixth collection, X, will be published early in 2014. Her work appears regularly in British and Irish journals, and has received numerous awards, including the Strokestown International Poetry Award and the Forward Prize. Four previously unpublished poems by Vona Groarke appear here, introduced by Lucy Collins.
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Clarke, R. W. "Oliver St John Gogarty." Journal of Laryngology & Otology 111, no. 1 (1997): 15–19. http://dx.doi.org/10.1017/s0022215100136333.
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AbstractOliver St John Gogarty – Otolaryngologist to fashionable Edwardian Dublin – was a distinguished poet and a Senator in the fledgling Irish Free State after its establishment in 1922. He numbered amongst his acquaintances the poet William Butler Yeats, the novelist James Joyce and a host of political and literary persona who helped to shape modern Ireland. He was satirised as ‘stately plump Buck Mulligan’ in Joyce's novel Ulysses.
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MORLEY, VINCENT. "Hugh MacCurtin: an Irish Poet in the French Army." Eighteenth-Century Ireland 8, no. 1 (1993): 49–58. http://dx.doi.org/10.3828/eci.1993.5.
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Bolton, Jonathan. "‘I cannot rub this strangeness from my sight’: Contemporary Belfast and Sinéad Morrissey's Through the Square Window." Irish University Review 47, supplement (2017): 416–31. http://dx.doi.org/10.3366/iur.2017.0301.
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Focussing on the poems in Sinéad Morrissey's Through the Square Window (2009), this essay examines how the poet envisions a transformed, post-troubles Belfast through a range of perspectives, shifting her attention away from but not entirely forgetting the ways in which the past impinges on the present. The result is a poetry that is to some extent free from the political imperatives that have confronted earlier generations of Northern Irish poets and apprehends Belfast's landscape and urban geography in fresh ways and incorporates a more cosmopolitan and post-national consciousness.
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Lipking, Lawrence. "The Genius of the Shore: Lycidas, Adamastor, and the Poetics of Nationalism." PMLA/Publications of the Modern Language Association of America 111, no. 2 (1996): 205–21. http://dx.doi.org/10.2307/463102.
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A collaboration between poetry and nationalism, exemplified by the tutelary border guard or “genius of the shore,” accounts for the interest of many Renaissance poems; redrawing the map, poets express the myths and grievances that hold their nations together. In “Lycidas,” Milton tries to redeem the fatal voyage of Edward King, his Anglo-Irish friend, by renewing the ideal of a missionary spirit, joining poet, saint, and soldier in a protectorate to bridge Ireland and England. In The Lusiads, Camões personifies the Cape of Storms as the titan Adamastor (“Unconquerable”), who curses the audacity of da Gama's voyagers and predicts their future calamities; hence the figure represents both the glory and the self-pity of Portugal and of its national poet. Though Milton and Camões hope for a bright colonial future, they turn their faces, like Benjamin's Angel of History, toward memories of shipwreck in the past.
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Beyad, Maryam Soltan, and Ehsan Kazemi. "Digging the Liminal Spaces: Chronotopic Representation of Liminality in Seamus Heaney’s North and Station Island." Anglia 138, no. 1 (2020): 62–79. http://dx.doi.org/10.1515/ang-2020-0003.
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AbstractChallenging the established poetic idea of Ireland as a unified whole, new Irish poetry encourages a perspective toward homeland alongside with a corresponding revision of Irish subjectivity as liminality. Introduced by Homi Bhabha as a postcolonial cultural term, the idea privileges hybrid cultures and challenges solid or authentic ones. Moreover, this liminal rationale entails a corresponding chronotopic rendition, as Bakhtin intends to theorize it, whereby the notion of spatio-temporality assists the poet in rethinking the Irish identity. An archeologist shrouded as a poet, Heaney’s early work, North (1975), is an attempt to reterritorialize the Motherland while Station Island (1984) represents the deterritorialization of the land, a collection in which Heaney proposes an alternative notion of Irish identity. The present study seeks to show how Heaney’s aforementioned poetry collections manifest a transition from a patently nationalist reception of land to a tendency to liminal spaces. Hence, a critical juxtaposition of these two works bears witness to an endeavor to move beyond the solid, reductionist perspective of the unified Ireland into a state of liminality with respect to Bhabha’s idea of hybridity. Furthermore, it is argued how Bakhtin’s idea of chronotope can accommodate to the accomplishment of such a poetic project.
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Carter, Richard. "Jonathan Swift (1667–1745): master satirist, eccentric dean and frustrated lover." Journal of Medical Biography 15, no. 3 (2007): 181–85. http://dx.doi.org/10.1258/j.jmb.2007.06-12.
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Jonathan Swift, Irish author and poet, became an Anglican Dean with a macabre interest in medicine. He wrote 'Verses on the Death of Dr Swift' predicting how his death would be received in Dublin and London.
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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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McDonagh, Enda. "The Priest, the Poet and the Woman, An Irish Yearbook." Études irlandaises 21, no. 1 (1996): 155–62. http://dx.doi.org/10.3406/irlan.1996.1279.
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Cummins, James. "‘The history of Ireland he knew before he went to school’: The Irish Tom Raworth." Irish University Review 46, no. 1 (2016): 158–70. http://dx.doi.org/10.3366/iur.2016.0208.
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In an interview in 1971 Tom Raworth states ‘I don't really see any reason for a term like “English poet”’ and throughout his career Raworth has resisted such simple national classifications. His work is often discussed in relation to the strong relationship he fostered with American poets and poetics. Raworth, for many, exemplifies the transatlantic conversation that flourished during the 1960s onward. He was influenced by numerous schools of American poetry and would in turn act as an influence to many American writers. As Ted Berrigan states ‘he's as good as we are, & rude a thing as it is to say, we don't expect that, from English poets today, (I wonder is he better?)’. However, considering Raworth's mother was Irish and that since 1990 Raworth himself has travelled under an Irish passport this simple duality of British / American does not go far enough in exploring Raworth's complex national poetic identity. Using a combination of contextual and biographical information alongside close readings of a number of collected and uncollected poems this essay explores the influence Ireland, its culture, religion and history, has had on Raworth's upbringing, his sense of national identity and his poetry.
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Mills, Lia. "In Full Voice: Celia de Fréine in Conversation with Lia Mills." Irish University Review 48, no. 2 (2018): 169–82. http://dx.doi.org/10.3366/iur.2018.0347.
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Celia de Fréine is a multi-award winning poet, playwright, screenwriter and librettist, who also writes essays and fiction in both English and Irish. She has published eight collections of poetry, including three dual-language editions with Arlen House. Four of her plays have been awarded Duais an Oireachtais for best full-length play, and her biography (in Irish) of Louise Gavan Duffy – Ceannródaí – is due out later this year. This conversation with writer Lia Mills explores the innovative nature of de Fréine's work, in language, form and subject matter. It discusses key poetry volumes, such as her response to the Hepatitis C scandal – Fiacha Fola | Blood Debts – and A Lesson in Can't, which draws on the lives of Irish Travellers. It also considers her commitment to writing for theatre in both Irish and English, and her recent prose. The dialogue sheds light on the complex relationship between Irish and English in de Fréine's work, and her evolving creative practice.
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Gilmore, Peter E. "“Hark ye, Sweet Liberty Boys”: David Bruce, Western Pennsylvania’s Federalist Frontier Poet." Pennsylvania History: A Journal of Mid-Atlantic Studies 89, no. 4 (2022): 552–79. http://dx.doi.org/10.5325/pennhistory.89.4.0552.
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ABSTRACT The poetry of Western Pennsylvanian David Bruce in the 1790s offers a unique perspective on the politics of a turbulent decade in a region emerging from frontier conditions. His advocacy of Federalist politics enjoyed vibrant coloration as verse composed in Scots. His choice of language expressed his own background as a recent Scottish immigrant while allowing him to pose as “the Scots-Irishman.” A project that began as an act of political ventriloquism became admonition, reproachment, and condemnation as Bruce used his poetic skill to criticize and ridicule frontier democrats who actually were Irish of Scots cultural legacy. His poetry both gives voice to the concerns of a Federalist shopkeeper and offers pen-portraits of leading “Irish Jacobins” (as Bruce would have seen them) in Washington County and their views in the years between the Whiskey Rebellion and the Democratic-Republic triumph in 1800.
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Johnson, Odai. "Remains: Performance at the Edge of Empire." Theatre Survey 58, no. 2 (2017): 233–45. http://dx.doi.org/10.1017/s0040557417000084.
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So wrote the Irish American poet John Montague of the great loss of culture under Great Britain's empire, a violent overmapping of identity whose poignant erasure was itself richly preserved in plays, poems, and songs. Nothing of Ireland's past, it seems, was remembered quite so vigorously as its erasure. And because that disappearance has become such a familiar text of loss, in poem, play, and song, I want to evoke that archive of absence for this study of a similar erasure, centuries earlier—not the Irish under English of Brian Friel's Translations, but the Gallic Celts under Rome; not The Dying Gaul whose images of self-slaughter ennobled their extirpation, but those who survived the conquest, the surrendered, widows and children of the slaughtered who grew that grafted tongue, the twice-born who learned to live again as refugees under Roman rule, and adopt foreign ways—to tease out what little remains there are of the theatre's role in that erasure, resistance, and that monumental realignment of identity called “Romanizing.”
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Frawley, Oona. "Edmund Spenser and Transhistorical Memory in Ireland." Irish University Review 47, no. 1 (2017): 32–47. http://dx.doi.org/10.3366/iur.2017.0255.
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Edmund Spenser has been beleaguered by some critics who deem him to be a willing and active representative of the worst of English colonial aspirations, and defended by others who see him as a humanist poet caught in the closing jaws of an imperial mission. This vacillation of opinion is seen in the rewriting of Spenser by Irish writers over time. Spenser has also haunted Irish critical work, moving through the contemporary academy in a swift transmission beginning in the 1980s, when ‘Spenser and Ireland’ became a subject of some significance. Yet now, only thirty years later, that attention has been diverted, leaving Spenser, in an Irish context at least, as a placeholder of memory. This essay considers key moments or changes in the rewriting of Spenser's cultural memory in Ireland, considering the long duration of his figuring in Irish literature and culture as a case study of transhistorical memory.
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O’Shea, Edward. "Seamus Heaney at Berkeley, 1970–71." Southern California Quarterly 98, no. 2 (2016): 157–93. http://dx.doi.org/10.1525/ucpsocal.2016.98.2.157.
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Irish poet Seamus Heaney spent the 1970–71 academic year as a visiting professor at the University of California, Berkeley. He had come from Northern Ireland in the time of the Troubles; he arrived at a campus stirred by anti-war protest. This article explores the impacts of Heaney’s time in Berkeley on his poetry.
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Kitishat, Amal Riyadh. "William Butler Yeats: The Hidden Nationalism." Journal of Language Teaching and Research 10, no. 3 (2019): 484. http://dx.doi.org/10.17507/jltr.1003.11.
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W.B. Yeats the famous Anglo Irish poet and dramatist was accused of a lack of sense of nationalism. His achievements in the reviving of the Irish culture as a means to establish a dependent Irish identity was regarded with suspicions simply due to his being a descendant of Anglo -Irish origins.In this light, the study comes to shed light on Yeats’ tremendous achievements concerning his sense of nationalism and his role in the reviving Irish culture. Also, the study aims at refuting the charges against Yeats which considered him as a representative of the colonizer’s class. Finally, the study proved that Yeats revealed a mature vision of nationalism which most of his contemporaries failed to notice since they only focused on one aspect of Irish identity and neglected the other; in discussing the Irish question, they were either politicians or culturalists. Whereas Yeats shows a higher degree of awareness as he believed that establishment of an identical distinctive Irish identity must be done with having both the cultural and the national elements united in one word that is “Irishness." His national creed is rooted in a kind of cohesion between culture and nationalism. It is this conclusion that not only refuted the charges againstYeats’ nationalism but also put him in a position superior to any other Irish Nationalists.
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Keatinge, Benjamin. "‘I see where I stand’ Detachment and Engagement in Harry Clifton’s Poetry." Humanities 9, no. 1 (2020): 20. http://dx.doi.org/10.3390/h9010020.
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This essay reads Harry Clifton’s poetry as a body of work that illustrates the poet’s engagement with and detachment from the poetry of his peers. It notes Clifton’s chosen routes of travel in Africa, Asia, and Europe, his interest in Ireland and its elsewheres and his endeavours to find an ideal distance to write from. It also elucidates his Irish subject matter, his involvement with journals, editors and publishers as well as his critical readings of 20th-century Irish poetry. The essay engages with important strands of current critical thinking that have sought to examine a post-nationalist Ireland with Clifton being seen as a bridge between an older and younger circle of writers. Neither hermetic nor sociable, Clifton emerges as a poet engaging with concentric circles of Irish poetry on his own terms.
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McIlfatrick-Ksenofontov, Miriam. "Eccentric Sonnets: Ciaran Carson’s poetics in The Twelfth of Never." Interlitteraria 23, no. 2 (2019): 383–98. http://dx.doi.org/10.12697/il.2018.23.2.13.
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The dialogic nature of language use and the impossibility of an uninfluenced work of literature complicate the notion of poet-as-originator. Yet originality persists as a sought-after quality in literature for both writers and readers. The article focuses on the Northern Irish poet, writer, and translator Ciaran Carson, known for his fascination with language as a medium and his linguistic experimentalism. In 1998, Carson published two collections of poetry: The Alexandrine Plan, translations of sonnets by Mallarmé, Baudelaire and Rimbaud, and The Twelfth of Never, a sequence of his own sonnets – both in rhyming alexandrines, suggestive of simultaneous composition. In its borrowed form, The Twelfth of Never offers a kaleidoscopic montage of motifs and discourses from Irish history, literature, folklore, music, and myth, and flits to and fro between Ireland, France, and Japan, evoking a never-land in which “everything is metaphor and simile”.
 The article adopts a neuro-anthropological view of human culture as distributed cognition and of art as a way of knowing and self-reflectively putting the world together for both artist and audience. The analysis of Carson’s poems seeks to explicate how recognisable characters, emblems, and rhetoric appear in and are altered by unfamiliar guises and settings; how cultural symbols and literary forms are interrupted in the act of representing; and how the dreamlike quality of the collection depends on the looping and metamorphosing of motifs, images and voices from one poem to another. I suggest that this does not generate a chaotic textual product but amounts to an engaging reflection on the nature of originality in the making and making sense of poetry.
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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry." Interlitteraria 21, no. 1 (2016): 51. http://dx.doi.org/10.12697/il.2016.21.1.5.
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Ciaran Carson is a renowned Northern Irish poet with a distinguished record of translating poetry from Irish, Italian and French. This article focuses on his translation practice as evidenced in his three volumes of French poetry in translation: sonnets by Baudelaire, Mallarmé and Rimbaud; prose poems by Rimbaud; and poems by Jean Follain. Guided by the music, the matter, and the linguistic and ontological going-beyond of the originals, Carson variously ‘adapts’ prose poems to a rhyming alexandrine format, makes explicit use of derivation, shifts spatio-temporal perspective, and ‘doubles’ his French translations with English originals. Carson’s approach of ‘fetching’ poems from ‘elsewhere’ is assessed in the light of Meschonnic’s poetics of translation, which would define the overarching objective as producing new poems in English which do in English what the originals do in French. The analysis of Carson’s new poems is also informed by conceptualizations of creativity and originality arising from research in cognitive science, literary studies and critical theory. Carson’s practice of working under constraints suggested by the original poems and exploiting possibilities offered by and between the two languages leads to an expressive plurality that unsettles notions of source and target language. His translation artefacts and commentaries are examined for the light they shed on originality and derivation; writing and translating; the subjectivity of the translator; and the relationship between original poem and new poem.
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Guister, Marina. "Сказочные сюжеты и сюжеты ирландских саг в драматической поэме Н. Гумилева «Гондла» (Folk-Motifs and Plots of the Irish Sagas in Goumiliev’s “Gondla”)". Studia Celto-Slavica 2 (2009): 193–207. http://dx.doi.org/10.54586/schn9351.
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The nineteenth–twentieth centuries’ frontier, and onto the nineteen-thirties, is the period when the literature and the folklore of the Celtic and Scandinavian counties were brought into Russia. In this way Nikolaj Goumilev, the author of the drama “Gondla”, translates “Countess Kathleen” by W. B. Yeats and writes his own drama “Morny’s beauty” influenced by some recurring themes of the Irish sagas. The drama-poem “Gondla” is also based on the Irish comparanda, namely on the history and the sagas of the echtrae-cycle of tales. The story takes place in Iceland in the eleventh century; Gondla, the Christian, the son of the Irish king, converts the Icelanders into Christianity. Goumilev himself mentions the sagas about “the hump-backed prince Condla” abducted by a fairy as the source of his drama. The saga of Connla the Fair, or Echtrae Chonnlai, is known to him from the work by H. d’Arboi de Jubainville Cours de Littérature Celtique, as well as, possibly, from the private conversations with A. Smirnov, the first Russian translator of the Irish sagas. The story of Connla contains some widespread folk motifs (cf. S. Thompson’s Motif-index), such as F 302 Fairy mistress, or rather F 302.3.1 Fairy entices man into fairyland. The motifs in question are closely related to those of the Swan-maiden (F 302.4.1 – Fairy comes into man’s power when he stills her wings, and D 361.1 – A swan transforms herself at will into a maiden). The swan-plots are of great importance for Goumilev’s “Gondla”, since the main characters of the drama, Gondla and Lera his fiancée (both Irish) are compared there to the swans persecuted by the wolves (the pagan Icelanders). The motifs are particularly prominent in the case of the Irish folktales and legends. The swan-plots from the Celtic and Slavonic folktales and legends are closely related in “Gondla” to the fairy-tales by Andersen, such as The Marsh King’s Daughter, The Ugly Duckling, The Swan’s Nest and The Wild Swans. The plot of the last fairytale is close to that of the Irish legend about the king Lir’s children transformed into swans (Oidheadh Chloinne Lir). In the same time, this plot is close to the fairy-tale type AT 451 – The maiden who seeks for her brothers and AT 451* – Sister as mysterious housekeeper. The story of this type, with the brothers transformed into swans and a swan maiden as the mother of the swan-children, is literary fixed in the twelfth century in the novel Dolopathos sive de Rege et Septem Sapientibus. The main character of Goumilev’s drama is the poet, the ruler and the priest who baptises Iceland at the same time. As such, he illustrates one of Goumilev’s favourite ideas: the poets must govern the world, as the druids used to do in the distant past.
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Bixby, Patrick. "Frightful Doctrines: Nietzsche, Ireland, and the Great War." Modernist Cultures 13, no. 3 (2018): 323–39. http://dx.doi.org/10.3366/mod.2018.0215.
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After the outbreak of war in August 1914, Friedrich Nietzsche's name quickly became prominent in Irish and English newspapers as shorthand for a ‘philosophy of evil’ associated with the German Empire. This essay considers the rhetorical uses made of the philosopher and his ideas by commentators in the popular press, including: Thomas Kettle, University College Dublin economics professor and minor poet turned war correspondent and British recruitment officer, who wrote a series of articles attributing the rise of German militarism to Nietzsche's influence; a host of Ireland's Catholic clerics, who negotiated their difficult position between the Irish nationalist cause and the British war effort by arguing in newspapers around the country that both nations must stand together against Nietzsche's ‘frightful’ doctrines; and W. B. Yeats, who rather mischievously evoked the philosopher's name in Kettle's presence at a nationalist celebration in November 1914, drawing rousing applause from his Dublin audience and generating headlines in the Irish press. During the course of the war, the Nietzsche controversy raged on in newspapers across the allied nations, while Yeats remained largely silent about the conflict. But, in January 1919, only weeks after the armistice was signed, he returned to Nietzsche's philosophy through a series of allusions in ‘The Second Coming’, a poem that famously responds to the trauma – and the propaganda – of the war years by transforming the imagery of Christian faith into a nightmarish vision of the Anti-Christ.
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Novák, Radomil. "Contrapuntal text and rondo (in the poetry of Desmond Egan and Jaroslav Seifert)." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (2019): 345–58. http://dx.doi.org/10.18778/1505-9057.52.20.
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This paper is concerned with the complicated relationships between poetry and music. It tries to show that one of the common denominators between both arts can be the musical form in poetry, strictly speaking a method of poetry creation based on a musical principle. For this paper, two illustrations of this process are chosen: an Irish poet Desmond Egan’s contrapuntal poems (chosen from all Egan’s poetry) and a Czech poet Jaroslav Seifert’s Mozart in Prague. The conclusions concern the impact on the reader’s reception of poetic texts, which in their graphic form or theme stimulate references to music. We conclude that knowing (active and passive) the musical principles of counterpoint and ronda can help readers to better understand the structure, theme and meaning of the texts.
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Shehata, Abdel Kareem. "The "Demonic Other” and the Colonial Figures in Kipling’s The White Man’s Burden and Taher’s Sunset Oasis: A Comparative Study." International Journal of Language and Literary Studies 4, no. 4 (2022): 12–26. http://dx.doi.org/10.36892/ijlls.v4i4.1066.
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In 1899, The British poet Rudyard Kipling directed his poem, The White Man’s Burden, to the United States on the occasion of the invasion of the Philippine Islands. In his poem, Kipling mainly encourages the States to occupy the Islands. Kipling also draws a portrait of the colonized peoples. In 2007, the Egyptian novelist Bahaa Taher published his novel (Waht Al Ghoroub), Sunset Oasis. In his novel, Taher presents a group of Egyptian, English, Irish and Circassian characters who live in Egypt during and after the Urabi Revolution (1882). The first aim of this paper is to show the main features of the picture of the colonized people in Kipling's poem. The second aim is to highlight the traits of the pictures of the characters, who are terribly influenced by the imperial project throughout the history in Taher's novel. Comparing Kipling's and Taher's pictures is another important aim of the paper. The paper will achieve these aims in the light of the postcolonial theory and the paper comes in two parts and a conclusion.
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Lapidge, Michael. "The earliest Anglo-Latin poet: Lutting of Lindisfarne." Anglo-Saxon England 42 (December 2013): 1–26. http://dx.doi.org/10.1017/s0263675113000057.
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AbstractIn a ninth-century manuscript now in St Gallen (Stiftsbibliothek, 254) are found three Latin poems in three different metres dedicated by a poet who names himself as Lutting, in memory of his master Bede who, according to the first of the poems, died in AD 681 (and cannot, therefore, have been the much better known Bede of Monkwearmouth–Jarrow). In the St Gallen manuscript the poems are transmitted alongside Cuthbert's Epistola de obitu Bedae; judging from the language of Bede's ‘Death Song’ which it contains, the Epistola was copied from a Northumbrian exemplar, and the same is apparently true of the three Latin poems. The fact that the names of Lutting and his master Bede are found near to each other in the Durham Liber Vitae raises the possibility that they were together at Lindisfarne; and detailed metrical analysis indicates that two of the poems follow Hiberno-Latin metrical practice in significant ways, which also points to the Irish cultural milieu of Lindisfarne. In an Appendix, the poems are edited for the first time, with translation and commentary.
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Gorenc, Janez. "William Butler Yeats in the Slovene cultural space." Acta Neophilologica 35, no. 1-2 (2002): 13–27. http://dx.doi.org/10.4312/an.35.1-2.13-27.
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William Butler Yeats, Irish poet, dramatist and essayist, winner of the Nobel prize in 1923, was also widely known for the active part he played in Irish politics. Even though he was mostly involved culturally - he wro.te about Irish politics in his works, established several literary clubs, founded theatres - he also activated himself as a politician when he was a senator during the years 1923-1928. This article focuses on the mention of his political activities in different English and Slovene texts. It makes a presentation of the vast majority of the texts on Yeats that have appeared in Slovene. It also points out that while the majority of English encyclopaedias and literary histories openly write about Yeats's politics, Slovene texts about Yeats focus mostly on his literary opus and less on his involvement in politics. When they do mention it, however, they usually avoid the details. This article tries to determine some reasons for this fact.
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Mouton Kinyon, Chanté. "Foregrounding (Lost) Rituals in the Irish and Harlem Renaissances: John Millington Synge, Zora Neale Hurston, and the Transatlantic Gesture." Modern Drama 65, no. 4 (2022): 499–521. http://dx.doi.org/10.3138/md-65-4-1128.
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In the preface to The Book of American Negro Poetry (1922), James Weldon Johnson argues that “the colored poet in the United States needs to do something like what Synge did for the Irish.” This article considers the theatrical works of Zora Neale Hurston in light of Johnson’s injunction. In their theatres, John Millington Synge and Zora Neale Hurston work to create a breathing archive of Irish and Black American cultures, respectively, using the stage to portray Irish and Black American folk cultures and give spectators the opportunity to see, hear, and experience performative aspects of those traditions. In addition to drafting scripts that attempt to stage Irish and Black American rituals, their emphasis on interpreting the unique rhythms of vernacular spoken traditions and of directly staging collected folk stories offers evidence of this goal. This article focuses on the use of the keen in Riders to the Sea and the use of the cakewalk in Color Struck to highlight how Synge and Hurston locate rituals in their cultural contexts, thereby giving a representation of them that audiences might consider authentic, while also writing against the stereotypes associated with the cultures under discussion.
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O'Riordan, Michelle. "Professors and Performers and 'Others of Their Kind': Contextualising the Irish Bardic Poet." Irish Review (1986-), no. 23 (1998): 73. http://dx.doi.org/10.2307/29735915.
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Pernot-Deschamps, Maguy. "History and Memory in Eiléan Ní Chuilleanáin's « Autun » – An Irish Poet in Burgundy." Études irlandaises, no. 39-1 (June 30, 2014): 219–22. http://dx.doi.org/10.4000/etudesirlandaises.3845.
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Tynan, Aidan. "A Season in Hell: Paradox and Violence in the Poetry of Padraic Fiacc." Irish University Review 44, no. 2 (2014): 341–56. http://dx.doi.org/10.3366/iur.2014.0128.
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The work of Belfast poet Padraic Fiacc is an important but critically neglected contribution to the canon of Northern Irish poetry. This article explores Fiacc's work, giving particular attention to the collections published during the bloodiest years of the Northern Ireland conflict and to the anthology of poems on the subject of the conflict which he edited and published in 1974 with the Blackstaff Press. Beyond the intrinsic value of Fiacc's poems themselves, his work has the benefit of causing us to reconsider issues of canonicity in the Irish poetic tradition and to revisit some of the assumptions about the relationships between poetry, history, and politics which have become dominant in our understanding of this tradition. Fiacc's poetry, while located in a distinctly Irish cultural context, bears important resemblances to the work of continental figures such as Rimbaud and Celan. In addition, Fiacc's work raises crucial questions about the relationship between violence, poetry, and language at a more general level. The article addresses some of these questions through the insights of philosophers such as Slavoj Žižek, Theodor Adorno, and Walter Benjamin.
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McKibben, Sarah. "Queering Early Modern Ireland." Irish University Review 43, no. 1 (2013): 169–83. http://dx.doi.org/10.3366/iur.2013.0063.
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This essay reconsiders sixteenth- and seventeenth-century Ireland by queering not only ostensibly heteronormative texts and practices, but social structures writ large. I first outline the intensely homosocial and even homoerotic nature of the bardic institution (including typical poet-patron exchanges and representations as well as the dánta grá or courtly love poetry), employing Sedgwick's concept of ‘male homosocial desire’ so as to situate the bardic response to the challenge of early modern colonial authority. I argue that colonialism queers pre-existing male homosocial bonds, prompting a set of powerful, foundational responses that live on in the Irish imaginary, including, on the one hand, powerful ideological consolidations of domestic homosocial bonds and, on the other, obsessively recording of the perversity of colonial power and acculturation, as well as of an Irish manhood troubled and reconfigured in its wake.
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Molodiakov, Vasilii E. "Writers’ Letters to George Sylvester Viereck in a Private Collection." Literature of the Americas, no. 10 (2021): 337–49. http://dx.doi.org/10.22455/2541-7894-2021-10-337-349.
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German-born American poet, novelist, journalist and editor George Sylvester Viereck (1884 –1962) during his almost 60-year literary career (his first poem was published in 1898) befriended, met and corresponded with hundreds of contemporaries, including world famous persons. His first biographer Elmer Gertz wrote in 1954, “One should go through Viereck’s correspondence with the great personalities of his time in order to learn the full extent of the admiration they expressed for him. Alas, that correspondence is scattered; but excerpts from it can be found in the catalogues of various autograph dealers and should be preserved”. Liberated from prison in 1947 Viereck was not able to restore his previous position in literary world, was in need of money and had to sell autographs from his personal archive. This publication includes letters of four writers addressed to Viereck and dealing with his literary and editorial work. All of them are preserved in the author’s private collection and are published in English for the first time. In Russian translation one letter is published for the first time, another one was previously published, two letters were quoted. Journalist, writer, and politician Brand Whitlock (1869 –1934) followed Viereck’s journalistic activities as well as his Decadent poetry. English author and poet Richard Le Gallienne (1866 –1947), being a living incarnation of the “naughty nineties” for Viereck, valued contributing to his magazine The International. Known as the Dean of American Biographers, famous writer Gamaliel Bradford (1863 –1932) refused to support Viereck’s protest against the prohibition of his novel My First 2000 Years in the Irish Free State. Poet, artist and filmmaker Ferdinand Earle (1878 –1951) remained faithful to his long friendship with Viereck even when the latter was emprisoned.
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Westgate. "“In Ireland He's Considered an Irish-American Playwright”: Eugene O'Neill, A Touch of the Poet, and the Irish Play." Eugene O'Neill Review 39, no. 1 (2018): 95. http://dx.doi.org/10.5325/eugeoneirevi.39.1.0095.
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