Academic literature on the topic 'Radio Éireann'

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Journal articles on the topic "Radio Éireann"

1

Eileen Morgan-Zayachek. "Frank O’Connor and the Literary Development of Radio Éireann." New Hibernia Review 13, no. 3 (2009): 52–73. http://dx.doi.org/10.1353/nhr.0.0092.

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Morgan-Zayachek, Eileen. "Losing Their Day Jobs: The Radio Éireann Players as a Permanent Repertory Company." Theatre Survey 46, no. 1 (May 2005): 31–48. http://dx.doi.org/10.1017/s0040557405000037.

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During a 1966 Radio Telefis Éireann broadcast celebrating the first forty years of indigenous radio in the Republic of Ireland, Maxwell Sweeney characterized the evolution of radio drama in the nation as a slow process, one that grew out of readings of short stories and poetry. Like all other facets of the early national radio service, dramatic broadcasting suffered greatly from inadequate funding and resources. Equally detrimental to its progress was the widespread, if understandable, ignorance about the new medium's possibilities. Indeed, music dominated the airwaves in the first decade of national radio in Ireland because relaying music performances and gramophone records did not pose the same challenges as speech and dramatic broadcasting. 2RN, as the service was initially called, was but “a part-time affair,” broadcasting for a mere five and a half hours, and “eighty percent of transmission time was devoted to recitals by small groups of instrumentalists, solo traditional musicians, and amateur choirs.” Consequently, though understanding of dramatic broadcasting steadily developed, the Irish Independent could accurately claim in 1933 that radio drama in the Free State had not significantly improved since the establishment of the service seven years earlier.
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3

Davies, William. "A Text Become Provisional: Revisiting The Capital of the Ruins." Journal of Beckett Studies 26, no. 2 (September 2017): 169–87. http://dx.doi.org/10.3366/jobs.2017.0201.

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This essay is a reexamination of Samuel Beckett's The Capital of the Ruins, the untransmitted radio script written for Raidió Éireann (now Raidió Teilifís Éireann) in 1946 following his work with the Irish Red Cross in Saint Lô. The first half of this essay is concerned with the archival and publishing history of the text. This section examines the variants introduced by various editors or publishers and makes a case for a definitive edition of the text based on the edited photocopy of the typescript held in the Beckett International Foundation archive at the University of Reading. The second half of this essay then uses this close attention to the text to reconsider the focus of The Capital of the Ruins and the extent to which the piece is more firmly directed towards socio-political aspects of post-neutrality Ireland than has previously been identified.
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McMahon, Daithí. "Informed & Educated." Public Service Broadcasting in the Digital Age 8, no. 16 (December 19, 2019): 59. http://dx.doi.org/10.18146/2213-0969.2019.jethc175.

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Using the Irish Radio Industry as a case study, this chapter illustrates how the Public Service Broadcaster (PSB), Raidió Teilifís Éireann (RTÉ), was slow to react to change and the effect this had on the organisation’s competitiveness. This chapter analyses how RTÉ’s youth radio station, RTÉ 2fm, lost its place as the market leader to the competition including commercial station Beat and other stations as it resisted the required technological, social and economic change which ultimately affected its listenership. The author argues that the independent sector led the way in innovation and affected change which greatly benefited the industry as a whole and brought it into the digital age. This research was based on a methodology involving in-depth interviews, online surveys, textual analysis, direct observation and a longitudinal content analysis.
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5

McCarthy, Anna. "The Angelus: Devotional Television, Changing Times." Television & New Media 22, no. 1 (November 30, 2020): 12–31. http://dx.doi.org/10.1177/1527476420976120.

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The ringing of the Angelus, a Catholic call to prayer, is a staple of Irish state television broadcasting, occurring at 6 o’clock every evening. Over the years, the image track accompanying the bell has changed, transitioning from still to moving images and incorporating an increasingly secular pictorial repertoire. Although the Angelus is TV you are not supposed to watch, the document archives at Radió Teleifís Éireann offer plenty of rich evidence that people have always watched the Angelus closely, that they feel a personal stake in its modes of representation, and that they approach religious images as statements about religion and the Church.
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6

Watson, Laura. "Epitaph for a Musician: Rhoda Coghill as Pianist, Composer and Poet." Journal of the Society for Musicology in Ireland, March 15, 2016, 3–23. http://dx.doi.org/10.35561/jsmi11151.

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A pianist by profession, Dublin woman Rhoda Coghill (1903–2000) also sought to establish herself as a composer from the 1920s to the early 1940s before abruptly switching her artistic focus to poetry in the late 1940s and 1950s. This article is the first detailed study of Coghill’s work. It explores her career in the first half of the twentieth century chronologically and thematically; it addresses her impact as a performer, the nature of her compositions and the circumstances of their creation, and further claims that her poetry captures the essence of her musical experience and ideas. These themes are considered in relation to nationalist cultural politics as Ireland transitioned from Free State to Republic. As part of this, the institutional influences of Radio Éireann and the Feis Ceoil on Coghill’s musical identity and activities are scrutinized. Building on current developments in Irish musicology and reflecting literary scholars’ recent efforts to reassess Coghill’s importance, this article aims to understand her musical and literary outputs as the expression of a unified aesthetic and to stimulate interdisciplinary dialogue about this underappreciated pianist-composer-poet.
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Books on the topic "Radio Éireann"

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Window and mirror: RTÉ television: 1961-2011. Doughcloyne, Wilton, Cork: The Collins Press, 2011.

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Broadcasting and public life: RTÉ news and current affairs, 1926-1997. Dublin: Four Courts Press, 2004.

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Sailing by: Celebrating 25 years of Seascapes on RTÉ Radio 1. Dublin, Ireland: The Liffey Press, 2014.

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4

RTE off camera. Dublin: Poolbeg, 2004.

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Guthrie, Patrick P. The GAA and radio Éireann, 1926 - 2010: The story of the commentators who broadcast Gaelic games. [Dublin, Ireland]: Patrick P. Guthrie, 2013.

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Sayers, Peig. Peig Sayers: Labharfad le cách : scéalta agus seanchas taifeadta ag Radio Éireann agus BBC. Dublin: New Island Press, 2009.

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Sayers, Peig. Peig Sayers: Labharfad le cách : scéalta agus seanchas taifeadta ag Radio Éireann agus BBC. Dublin: New Island Press, 2009.

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8

Corcoran, Farrel John. RTÉ and the globalisation of Irish television. Bristol: Intellect, 2004.

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9

Ireland. Working Group on Irish Language Television Broadcasting. Working group on Irish language television broadcasting: Report to the Ministers for the Gaeltacht and Communications. [Dublin]: Working Group on Irish Language Television Broadcasting, 1987.

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10

Meitheal oibre ar chraolachán teilifíse trí Ghaeilge: Tuarascáil d'Aire na Gaeltachta agus don Aire Cumarsáide. [Dublin]: Working Group on Irish Language Television Broadcasting, 1987.

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Conference papers on the topic "Radio Éireann"

1

Boothby, Peter, Graham Canty, Robert Andrews, and Simon Slater. "Assessment of an Existing Hot Tap Connection on the Bord Gáis Éireann Brighouse Bay Gas Export Terminal." In 2014 10th International Pipeline Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/ipc2014-33645.

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A previous IPC conference paper (1) described the technical challenges associated with the installation of a new hot tap connection, supplementary to an existing hot tap connection, on the Bord Gáis Éireann Brighouse Bay high pressure gas export terminal in the UK. Work carried out to verify that the hot tap connection would be fit for purpose included a pipe stress analysis, Finite Element Analysis (FEA) and Engineering Critical Assessment (ECA). These assessments were performed because the split tee shell thickness and consequently also the circumferential fillet weld leg lengths did not achieve the 2 × carrier pipe thickness criterion required by UK specifications for applications where design stress levels exceed 30% specified minimum yield strength. Subsequently, it was identified that the existing hot tap connection installed in 2001 also did not meet the 2 × carrier pipe thickness criterion. Furthermore the material grade was lower than that for newer hot tap, i.e. P355 compared with P460 and the tee had been chamfered down from 50 mm to 40 mm at the ends, leading to reduced section circumferential fillet welds. This resulted in a leaner design than that for the newer hot tap and an ASME B31.3 area replacement calculation revealed that the area replacement ratio barely achieved the 1.0 requirement of the code suggesting a limited tolerance to system loading. Consequently similar stress analysis, FEA and ECA assessments to those previously undertaken were also subsequently performed for the existing hot tap connection. This paper provides details of the analyses and results obtained to determine the integrity of the existing hot tap split tee assembly which required a bespoke approach and a need to challenge conventional thinking.
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Cotter, Adrian, and Peter Boothby. "Technical Challenges of a High Pressure Heavy Wall Hot Tap Connection on the Bord Gáis Éireann Brighouse Bay Project." In 2012 9th International Pipeline Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ipc2012-90173.

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The UK onshore high pressure gas export terminal at Brighouse Bay in south west Scotland is a key strategic facility for Bord Gáis Éireann currently providing the predominant source of gas supply to Ireland via two interconnector pipelines that cross the Irish sea. A high design pressure of 150 barg combined with a low minimum design temperature (−30°C) has led to the use of heavy wall thickness station pipework, i.e. 508 mm outside diameter × 38.1 mm wall thickness ASTM A333 grade 6 (240MPa yield strength) seamless pipe. A requirement for a new hot tap connection at Brighouse Bay to improve security of supply identified several issues that needed to be addressed. Firstly, the normal UK requirement for 2 × carrier pipe thickness for the shell of the full encirclement split tee for the main branch connection could not be achieved due to the impracticality of rolling 76.2 mm thickness material to an internal diameter of only 508 mm to match the carrier pipe. Consequently there was concern that the area replacement ratio achieved by use of a thinner fitting may not be adequate for any additional site specific system loading despite meeting the ASME B31.3 code. Furthermore, the pressurised circumferential fillet welds made between the split tee and the carrier pipe may not be of sufficient size in view of the restricted leg length and hence resultant reduced fillet weld throat thickness. The parameters for the Brighouse Bay pipework in term of pipe material specification, pipe wall thickness and design pressure were also outside the range for which the existing UK hot tap welding procedure had been qualified. Hence a hot tap simulation assembly would need to be fabricated to qualify the welding procedure. In addition, the 38.1mm thickness Brighouse Bay pipework required PWHT in accordance with the ASME B 31.3 design code, but PWHT was not feasible for the hot tap connection. Hence there would be a need to demonstrate adequate toughness and fitness for purpose in the as welded condition. The paper describes the detailed approach taken to address these concerns which included preliminary on-site material sampling and NDE, evaluation and assessment of the project pipe and fitting materials requirements, pipework stress analysis, finite element analysis and engineering critical assessment of the split tee connection, and hot tap weld procedure qualification. The paper concludes by describing the successful hot tap installation phase of the project.
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