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

大洪水

riterion of Irish theatre practices. These practices can be defined as the ‘rejected‘, contested and undervalued plays and performativities that are integral to Ireland‘s political and cultural landscapes.978-1-349-47258-1978-1-137-36218-6

Horizon

Theatre of Dissent: the Historical Imagination of the Irish Workers’ Dramatic Companye aim of Yeats and Gregory was to represent the nation in plays dealing with Irish legend or ‘Irish historic personages or events’, the Irish Workers’ Dramatic Company aimed to intervene in the present moment, to reimagine the place of the individual in history and in the process to effect material change.

陳舊

The Abuse of History/A History of Abuse: Theatre as Memory and the Abbey’s ‘Darkest Corner’ry was also stolen. In addition, the wider community, in coming to believe in the narrative of place and history which had been manipulated by the Catholic Church and Irish government status quo, the wider social identity was also being repressed and circumscribed.. These repressions and manipulations represent an abuse of memory and history.

curettage

不利

Courtly Love and Heroic Death in W. B. Yeats’s Cuchulain Cycle of Playsulain and the various manifestations of Woman as fantasy object in the female characters in the plays. The aim is to reaccentuate the interpretive focus on the Cuchulain cycle, from a predominant concern with national identity, towards a critique of the gender hierarchies inherent to the plays and their cultural context of production.

Colonnade

Re-considering Oscar Wilde’s Flamboyant Flop: , e domestic sphere and dominates the public sphere, contesting traditional gender roles. Vera chooses to take her own life and her death will be examined in light of feminist theories of suicide.. Margaret Higonnet’s chapter on suicide in Susan Rubin Suleiman’s book . reflects on women’s suicide and

Munificent

Staging the Body in Post-Independence Irelandalysed present tense of a ., the easeful flirtatiousness of the pair and the contrast between the leisurely aspect of their pose and the dilapidated interior of the background, reinforce our initial impression that what we are looking at is bodies performing. The performance captured by the photogra

homocysteine

Pampooties and Keening: Alternate Ways of Performing Memory in J. M. Synge’s Playsarks on Synge’s qualities of observation, which he qualifies as ‘long unmeditative watching’. He also underlines Synge’s desire for transparency or invisibility: ‘He told me once that when he lived in some peasant’s house, he tried to make those about him forget that he was there, and it is certain

憂傷

Forgetting erality of performance in relation to forgetting as a productive and performative event that summons the contemporaneity of subterranean histories, alternative temporalities and multidirectional memories. Forgetting seen from this perspective offers a radical philosophy of performance as historiogra

征服

Ireland, Memory and Performing the Historical Imagination