Titlebook: Voice and Discourse in the Irish Context; Diana Villanueva Romero,Carolina P. Amador-Moreno, Book 2018 The Editor(s) (if applicable) and T

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Introduction, included in the volume aim to examine Ireland through different disciplinary domains, such as linguistics, literature, media performance and translation. Chapters are grouped by theme. In Part I, ‘Enregistered Voices’, Vaughan and Moriarty approach the analysis of . in the discourse of the Rubberba

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,Voicing the ‘Knacker’: Analysing the Comedy of the Rubberbandits,ity with a national reputation for social disadvantage and criminal gangs, and the Rubberbandits’ particular brand of satirical and musical comedy is based on the inner-city urban identity of Limerick. They appropriate and localise rap and hip-hop genres to the context of Limerick city in their orig

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NEG/AUX Contraction in Eighteenth-Century Irish English Emigrant Letters,tters from the eighteenth century. Irish English is still an understudied variety and, by examining it historically, this study adds new insights into the development of NEG/AUX contraction at an early stage of Irish English. The study looks at contexts in which negative-contracted, auxiliary-contra

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,A Corpus-Based Approach to ,’s Stage Directions: A Comparison between the French and the English Vend .. Beyond shaping the ongoing dramatic situation, stage directions may also function as a means of character definition and identification within the making of a play from a textual point of view. As a result of their dispersed nature, however, the systematicity with which some of them are used t

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,Samuel Beckett’s Irish Voice in ,,n . (1972), by Samuel Beckett. This experimental play consists only of a mouth which produces a relentless discourse, gathering fragments of what puzzled spectators guess is a neglected and abandoned life. This play has been studied from numerous points of view, all of them valid attempts to deciphe

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