Titlebook: Ireland, Memory and Performing the Historical Imagination; Christopher Collins (Teaches),Mary P. Caulfield (V Book 2014 Palgrave Macmillan

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Theatre of Dissent: the Historical Imagination of the Irish Workers’ Dramatic Companyrish Workers’ Dramatic Company was intent on a drama of disruption.. Based at Liberty Hall, the headquarters of the Irish Transport and General Workers’ Union, and concerned with the material welfare of the working classes, the amateur company presents an alternative to the preoccupations of the Abb

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Staging the Body in Post-Independence Irelando seems to be smiling. The man looks appreciatively at the young woman, who is not at all discomposed by his stare, and who looks back at him. Against a background of an antiquated and down-at-heel domestic space the two figures appear preoccupied with admiring each other and at the same time posing

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Pampooties and Keening: Alternate Ways of Performing Memory in J. M. Synge’s Playst there “took”’. and left traces on his own writing. While sojourning on the Aran Islands, he consigned everything he saw and heard to notebooks which he then reworked into a narrative partaking of the travelogue, the autobiography and ethnographical recording. This was ., which became in turn the b

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‘Why Do You Always Be Singin’ That Oul’ Song?’: the Subversion of Emigrant Ballads in John B. Keane’ences flocking to hear what many are saying, but what few will dare to repeat. The way he says it may not be to the liking of all of us. But like it or not, in “Many Young Men of Twenty”, the author has a lot to say, and he says it in word and song.’. The theme of these barely repeatable articulatio

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Forgetting the phenomenology of memory. The more one attempts to defend against forgetting as a phenomenon, the more likely it is that memory becomes imaginary, because remembrance is essential. To this end, Paul Ricoeur has argued that ‘forgetting has a positive meaning insofar as having-been prevails over b

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transdermal

‘Why Do You Always Be Singin’ That Oul’ Song?’: the Subversion of Emigrant Ballads in John B. Keane’ highest rate since “the exceptional period in the 1880s”’.. The majority of emigrants were from the countryside,. and it was in the rural towns and villages that the audiences would indeed come flocking to see this play, set in a village public house in southern Ireland.

嫌惡

Boxed Rituals: Eamon de Valera, Television and e, confined form of viewing associated with the new media. The traditional theatre often followed suit, retreating even further into an already established Irish brand of naturalism, which the new framing mechanism of the television made all the more obvious.