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The Ulster renaissance poetry in Belfast, Clark, Heather L. Publication Information:. Physical Description:. Subject Term:. English poetry -- Irish authors -- History and criticism. His huge range of interests is reflected here in the considerations of key texts in the Irish canon by scholars of the highest distinction, in addition to essays on cricket, film and visual culture, Shakespeare and the predicament of the classics.
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The collection is framed by two previously unpublished poems, one by Seamus Heaney and the other by Dennis O'Driscoll. Like all of the contributors to this book, they have been John Devitt's friends, colleagues, students: Irish readers shaped by a great Irish teacher. Other postage rates available on application. Emily Lawless is one of the most important of Ireland's forgotten women writers. From a Protestant ascendancy background, she combined nationalist feelings with unionist sympathies.
This important new study argues that her own term, 'interspace', can be used to explain her vision of Ireland and her position as an Anglo-Irish woman writer determined to resist categorisation or stock solutions at a time of polarisation and cultural transition.
This is the first comprehensive study of the writing of Emily Lawless and includes biographical information, letters and contemporary reception as well as analyses based on present-day theoretical approaches, especially feminist criticism and cultural geography. The study begins with a presentation of Lawless's family background, her social circle and a description of her literary career, including how her works have been received up until the present.
Her early fiction, novels and stories set outside Ireland are then explored and successive chapters deal with her landscape writing and her novels about the west of Ireland, her negotiations with the voice of authority in historical and biographical writing, her historical fiction and her three collections of poetry. The concluding chapter argues that the contradictory aspects of her writing are an effect of her desire to avoid categorisation.
Monologue is to be found across the spectrum of modern and postmodern theatre and drama, from Samuel Beckett and Harold Pinter to Karen Finley and Spalding Gray. The theatre of monologue revolves around the ambiguities of narrative as a means of knowing and communicating, and is conditioned by dubious authenticity. This collection will bring together original essays on monologue by theatre scholars and practitioners that address the complexities of the form as it appears in contemporary drama and performance.
Synge look as if he was nailed to the ground. Fiona Brennan has done an immense service to Irish theatre by gifting us this thorough and sympathetic biography of the great Kerry magician. Her introduction to his considerable output, and exhumation of long-buried autobiographical details, allow us a much greater appreciation and understanding of Fitzmaurice, the one remaining under-celebrated genius of twentieth century Irish Drama. Contents Foreword by Fintan O'Toole 1. Life in Bedford, Co. Kerry, where Fitzmaurice was born 2. Kerry, after his father's death 3.
The Short Stories 4. The Country Dressmaker - his first Abbey success 7. The Pie Dish 8. George Fitzmaurice's Drama: An Interpretation The Return from France after serving in the Great War The s The Post-War Plays Kerry His Death and the Following Years.
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Collective identity has been a dominant theme throughout the history of modern Irish drama, from the time of the Irish Literary Theatre up till the cultural changes that have resulted from the economic boom of the late s. This book focuses on playwrights from W. Yeats and J. Synge to Sean OCasey, Denis Johnston, Brian Friel, Stewart Parker and Martin McDonagh and discusses the variegated ironic interactions of their work with the discourse of Irishness, highlighting the difficulties entailed in essentialist definitions of identity, be they called nationalist, post-colonial or otherwise.
At the same time, the book points out the sheer amount of theatrical and thematic innovation the ironic relationship with identity has brought about over the decades. Synges works in Czech translation. This volume of essays explores the fascinating and immensely rich legacy of Irish women playwrights throughout the twentieth century and opens up essential dialogue on the politics of authorship, representation and the 'canon' of Irish theatre.
The book features essays from leading practitioners and academics, including Marina Carr, Olwen Fouere, and many others. The website gives details about the books, sample essays, and review extracts.
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Their site can be found here:- www. Versions of Ireland brings a refined postcolonial theoretical optic to bear on many of the most urgent questions within contemporary Irish cultural studies. Drawing on, and extending, the most advanced critical work within the discipline, the book offers a subtle critical genealogy of the development of Ireland's diverse postcolonial projects. Furthermore, it reflects on the relevance and the effectiveness of postcolonial and subaltern historiographical methodologies in an Irish context, interrogating the ethical and political problematics of such discursive importation.
Flannery's work highlights the operative dynamics of imperial modernity, together with its representational agents, in Ireland, and also divines moments of explicit and implicit resistance to modernity's rationalising and accumulative urges.
The Ulster Renaissance : Poetry in Belfast, 1962-1972 by Heather Clark (2006, Hardcover)
The book is pioneering in the facility and ease with which it navigates the interdisciplinary terrain of Irish studies. Flannery provides enabling and challenging new readings of the poetry of the bi-lingual poet, Michael Hartnett; the politically imaginative vistas of the republican mural tradition in the North of Ireland; the gothic anxieties inherent in the fiction of Eugene McCabe and the semi-fictional writing of Seamus Deane, and the differential codes of visual surveillance apparent in Irish tourist posters and late nineteenth century photography in Ireland.
Versions of Ireland does not dwell on the exclusively theoretical, but offers rich critical analyses of a range of Irish cultural artefacts in terms of Ireland's protracted colonial history and contested postcolonial condition. Its individual chapters are strongly researched and reverberate beyond their immediate context into wider meta-critical debates, and it is here that the real strength of the work is found. Colin Graham "Versions of Ireland is an exciting and innovative addition to the body of Irish and international postcolonial criticism.
Flannery is an engaging and persuasive critic whose writings are both theoretically informed and politically engaged. The range of his work is exhilarating from Northern Irish murals to the poetry of Michael Hartnett to the configuration of Ireland as a tourist destination and throughout his analyses there is a keen respect for his primary materials alongside a robust and invigorating re-assessment of their meanings and importance.
A signal virtue of Flannery's writing is to remind his readers that Empire has by no means disappeared or been made redundant by new political arrangements. On the contrary, the force of Versions of Ireland comes from the extreme topicality of his insights into the way in which power, coercion and oppression operate and are justified. What is more, Flannery demonstrates how strategies of resistance are elaborated and how these bring with them emancipatory potential.
Versions of Ireland is an important and timely book and deserves the widest possible readership in Ireland and beyond. He is the author of several articles on Irish poetry, contemporary Irish fiction, postcolonial studies and visual culture. Enemies of empire addresses a conspicuous gap in the current literature on colonial and postcolonial literary, theoretical and historical studies and introduces new perspectives on the qualitative nature of empire.
Themes examined include Irish literature, African history, Cold War politics, circuits of knowledge, religious history, Indian hunger-strikes, early 20th-century humanitarianism, globalization and subaltern studies. Limerick , Angus Mitchell U. This is the first full-length study of the extraordinary period of intense poetic activity in Belfast known as the Ulster Renaissance - a time when young Northern Irish poets such as Seamus Heaney, Derek Mahon, Michael Longley, James Simmons, and Paul Muldoon began crafting their art, and tuning their voices through each other.
Drawing extensively upon new archival material, as well as personal interviews and correspondence, The Ulster Renaissance argues that these poets' friendships and rivalries were crucial to their autonomous artistic development. The book also sheds new light on the idea of a collaborative Belfast coterie - often treated derisively by critics - and shows that the poets frequently engaged in efforts to promote a cohesive 'Northern' literary community, distinct from that which existed in London and Dublin.
It suggests that it was this cohesion - at turns inclusive and confining - which ultimately challenged the Belfast poets to find their individual voices. During much of the twentieth century, Irish women's position was on the boundaries of national life. Using Julia Kristeva's theories of nationhood, often particularly relevant to Ireland, this study demonstrates that their marginalization was to women's, and indeed the nation's, advantage as Irish women writers used their voice to subvert received pieties both about women and about the Irish nation.
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These writers, whose voices have frequently been sidelined or misunderstood because they write against the grain of their country's cultural heritage, finally receive their due in this important contribution to Irish and gender studies. He also knew people in London, which somehow gave him prestige, and he was taking all of those Belfast young men seriously.
The Group served as a forum where anxieties about cultural identity, estrangement, could be voiced freely in front of an audience. It most importantly allowed these young poets to become friends and rivals while at the same time providing impetus, instilling mutual admiration, and helping them to find their individual voices against one another. Poems should include a dimension of experience, be accessible to the reader and easy to interpret.
Therefore plain diction, dramatic monologues, autobiographical lyrics were favoured. From the point of view of the actors of that renaissance it is clear that there were reasons to be optimistic. The magazine was publicized and well received in Ireland, and more specifically in the North. She examines their influence each in turn after reminding the reader of their biographical details and connections to Ulster. By moving back to the forties, she links up the two periods to show the permanence of such questions as identity and what it means to be Irish while also establishing the continuity and vitality of a literary tradition in Ulster.
Hewitt and MacNeice are definitely the poetic father-figures of the generation that set up a renaissance in motion. The Second World War may also have distracted the minds from latent contrary energies for a while: on the one hand, because of travelling restrictions, it caused people to keep within the boundaries of the province, on the other hand it gave the Protestants an opportunity to prove their loyalty to Britain.
Then, post-war reforms concerning education and artistic life, initiated by the British government as a way to control its regions, created the possibility for changes in the cultural life of the province. The gap between literature and the underground forces that were to lead to sectarianism and violence in the s and the complexities of a region alienated from the Free State and from England also form part of the backdrop and context.
Heather Clark. The Ulster Renaissance - Poetry in Belfast
One of the advantages of a literary community was to offer them recognition and promotion. As a group they formed a literary community that redefined a poetic tradition as distinct from that of Dublin. A bad point was that the reviewers made comparisons and found it difficult to assess individual works without referring to the others.