Thematische Bibliographien / Women – Ireland – Poetry

Auswahl der wissenschaftlichen Literatur zum Thema „Women – Ireland – Poetry“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Women – Ireland – Poetry"

Harsh, Sarah. „poetry by women in Ireland: a critical anthology 1870–1970“. Feminist Review 110, Nr. 1 (Mai 2015): e12-e14. http://dx.doi.org/10.1057/fr.2015.7.

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Palacios, Manuela, und Marilar Aleixandre. „Damnatio ad bestias: Performing Animality and Womanhood in Contemporary Irish and Galician Poetry“. Altre Modernità, Nr. 26 (29.11.2021): 84–98. http://dx.doi.org/10.54103/2035-7680/16690.

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The concomitant subjection of women and animals was denounced as early as 1990 by Carol J. Adams in The Sexual Politics of Meat, where she identified the intersections of discourses that aim at the subjugation of women and animals and censured those practices that animalize women and feminize animals for the better exploitation of both. More recent ecofeminist debates, however, have highlighted women’s vindication of animality with the aim to recuperate one’s repressed animal nature and rebel against oppressive anthropocentric and androcentric constrictions (Velasco Sesma 2017). This article focuses on contemporary Irish and Galician poetry concerned with the performativity of animality and womanhood in contemporary society and engaged in the emancipation of women and animals from patriarchal oppression. Ireland and Galicia have shared longstanding cultural bonds and, since the 1990s, have experienced a conspicuous accession of women writers who have participated in the feminist and environmental debates of their respective communities. This article exposes the intersecting discourses and practices that subdue animals and women, as evinced in contemporary Irish and Galician writing, and shows how poetry can become a locus of resistance and woman-animal complicity in the struggle for mutual emancipation.

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Bourke, Evan. „Networking early modern Irish women“. Irish Historical Studies 46, Nr. 170 (November 2022): 270–85. http://dx.doi.org/10.1017/ihs.2022.44.

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AbstractOver the last decade, network analysis has developed as an approach within digital humanities as a wider array of tools has become available to humanities scholars, and these approaches are now beginning to make an impact on the disciplines of history and English. This article presents an overview of different ways of approaching network analysis. It assesses recent projects to see how they accounted for gender in their datasets and what can be learnt about early modern women from these projects. It then looks at how projects in Ireland are engaging with network analysis, discussing the approaches used by RECIRC and introducing MACMORRIS's analysis of the Dictionary of Irish biography (D.I.B.) and the Bardic Poetry Database (B.P.D.), looking at how the latter is attempting to overcome the unconscious gender bias inherent in the D.I.B.'s selection of early modern lives from the period between 1541 and 1660. Finally, it points to some of the wider issues we as scholars face when engaging with this methodology, such as access to the required training and collaboration, arguing that while these are not unique challenges to the study of gender history in Ireland, they are important debates that can enhance scholarship in the field.

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Coolahan, Marie-Louise. „The textual terrain: developments and directions in women's writing, 1500–1700“. Irish Historical Studies 46, Nr. 170 (November 2022): 286–300. http://dx.doi.org/10.1017/ihs.2022.48.

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AbstractThis article assesses our much-expanded view of the texts produced by early modern women in Ireland, surveying what is available to present-day researchers and considering emerging methodologies for the analysis of early modern female voices. The range of genres with which we now know early modern women engaged owes much to feminist literary historians’ capacious approach to defining literature, expanding beyond traditionally elite genres (drama, poetry, fiction) to encompass writing in all its forms. Thus, the present corpus includes letters and petitions, life writing, devotional prose, legal depositions, as well as all kinds of verse and song, in multiple languages. Moreover, where the primary evidence in Ireland sometimes seems sparse, international perspectives have illuminated the currents of women's writing. Interpretative paradigms from other fields — book history and the history of reading, culinary and medical history, network analysis — are being applied to yield fresh insights about this material. The question of how early modern Ireland was experienced by women has been explored in studies that address such texts as articulations of subjectivity, in the light of the history of emotions. The wide range of situations and genres of women's writing in early modern Ireland is now firmly evident, inspiring a host of new approaches.

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Mills, Lia. „‘I Won't Go Back to It’: Irish Women Poets and the Iconic Feminine“. Feminist Review 50, Nr. 1 (Juli 1995): 69–88. http://dx.doi.org/10.1057/fr.1995.23.

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This paper explores the dynamic interaction between contemporary Irish women poets and the notion of tradition in Irish poetry. Looking at the work of Eavan Boland, Susan Connolly, Paula Donlon, Mary Dorcey, Paula Meehan and Nuala Ní Dhomhnaill, the paper suggests that women poets today are subverting tradition and destabilizing a conventionally accepted fusion of the feminine with the national. This is achieved through direct challenge, through dislocation and through establishing a dialogue between the mythical and the real in the context of the lived experience of women in Ireland. Finally, the paper suggests the potential for civil and social effect of the work of women who engage consciously in the process of giving women an active voice.

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Gray, David. „Revising Robert Burns and the ‘No Female Bards’ of Ulster-Scots Poetry“. Burns Chronicle 132, Nr. 2 (September 2023): 166–86. http://dx.doi.org/10.3366/burns.2023.0085.

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John Hewitt’s claim to ‘no female bards’ as part of the revival of what he called the rhyming weaver poets tradition narrowed the scope of scholarly interest, just as the once popular claim that many of the writers in this tradition were simply Robert Burns imitators had done. A variety of publications have provided a range of in-depth studies on the impact of Robert Burns in Ireland, and have done much to challenge the latter claim. However, the presence and output of Ulster-Scots women writers within this wider area of scholarship remains little known. Consequently, by exploring poetry from three writers, Olivia Elder, Sarah Leech and Margaret Dixon McDougall, this essay aims to advance several lesser-known eighteenth and nineteenth-century female Irish poets, add depth to the study of Ulster-Scots women’s writing, and provide new perspectives on Burns in Ireland.

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Chuilleanáin, Eiléan Ní. „The Ages of a Woman and the Middle Ages“. Irish University Review 45, Nr. 2 (November 2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.

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This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the traditions of scholarship and the figure in the popular imagination. My account of the impact of both text and myth shows a development through the mid-twentieth century and into the twenty-first, in the work of poets writing in both Irish and English. In recent decades the work of women poets has engaged with the myths of the Cailleach as Goddess, and they have thus confronted questions of the legitimacy of treating the past, and especially mythology and folk beliefs, as a source for poetry. I believe it would be foolish for a poet who has the knowledge and critical intelligence to do it properly to ignore such a resource.

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McFadden, Hugh. „‘Our own fastidious John Jordan’: Poet, Literary Editor, Critic“. Irish University Review 42, Nr. 1 (Mai 2012): 124–40. http://dx.doi.org/10.3366/iur.2012.0012.

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For more than three decades, John Jordan (1930–88) was one of the most astute and perceptive literary critics in Ireland. As editor of the magazine Poetry Ireland in the Sixties he helped to revive Dublin as a significant literary centre, maintaining friendships with Patrick Kavanagh, Brendan Behan, and Austin Clarke. Himself a poet in the late modernist mode and a writer of witty and idiosyncratic short stories about the bohemian Dublin of the Forties and Fifties, Jordan was equally well-known as a drama critic, a staunch advocate of the later plays of Sean O'Casey, a defender of Joyce and Beckett, and a champion of the work of women authors including Kate O'Brien and the playwright Teresa Deevy. A child prodigy who corresponded with the famous English drama critic James Agate and evaluated play scripts for Edwards and MacLiammóir at the Gate Theatre, where he also acted, John Jordan distinguished himself as a scholarship student at Pembroke College Oxford and at UCD, where he lectured brilliantly on English literature. He was also a noted broadcaster on radio and TV programmes such as the Thomas Davis Lectures, Sunday Miscellany, and the TV book programme Folio.

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MILLER, BONNY H. „Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America“. Journal of the Society for American Music 8, Nr. 2 (Mai 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

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Olson, Katharine K. „‘Y Ganrif Fawr’? Piety, Literature and Patronage in Fifteenth- and Sixteenth-Century Wales“. Studies in Church History 48 (2012): 107–23. http://dx.doi.org/10.1017/s0424208400001261.

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This essay offers a reconsideration of the idea of ‘The Great Century’ of Welsh literature (1435–1535) and related assumptions of periodization for understanding the development of lay piety and literature in fifteenth- and sixteenth-century Wales. It focuses on the origins of these ideas in (and their debt to) modern Welsh nationalist and Protestant and Catholic confessional thought, and their significance for the interpretation of Welsh literature and history. In addition, it questions their accuracy and usefulness in the light of contemporary patterns of manuscript production, patronage and devotional content of Welsh books of poetry and prose produced by the laity during and after this ‘golden age’ of literature. Despite the existence of over a hundred printed works in Welsh by 1660, the vernacular manuscript tradition remained robust; indeed, ‘native culture for the most part continued to be transmitted as it had been transmitted for centuries, orally or in manuscript’ until the eighteenth century. Bardic poetry’s value as a fundamental source for the history of medieval Ireland and Wales has been rightly acknowledged. However, more generally, Welsh manuscripts of both poetry and prose must be seen as a crucial historical source. They tell us much about contemporary views, interests and priorities, and offer a significant window onto the devotional world of medieval and early modern Welsh men and women. Drawing on recent work on Welsh literature, this paper explores the production and patronage of such books and the dynamics of cultural and religious change. Utilizing National Library of Wales Llanstephan MS 117D as a case study, it also examines their significance and implications for broader trends in lay piety and the nature of religious change in Wales.

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Dissertationen zum Thema "Women – Ireland – Poetry"

Lawson, Kristen Ann. „A CATALOGUE OF NON-DRAMATIC VERSE BY OR ABOUT WOMEN PRINTED IN ENGLAND, SCOTLAND AND IRELAND, 1475-1640“. Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145294.

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A Catalogue of Non-Dramatic Verse by or about Women Printed in England, Scotland and Ireland, 1475-1640 aims to facilitate access to Early Modern primary texts relevant to the study of women. The catalogue provides a comprehensive listing of verse by or about women from the works in Pollard and Redgrave's A Short-Title Catalogue of Books printed in England, Scotland and Ireland and of English Books Printed Abroad 1475-1640. It also contains a verse index, a subject index, an index of dedicatees and persons addressed, a printers and publishers index, and a title and first-line index as aids to ease access to the information contained in the catalogue.

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Bücher zum Thema "Women – Ireland – Poetry"

Durcan, Paul. Crazy about women: Poems. Dublin: National Gallery of Ireland, 1991.

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Dilworth, Rachel. The wild rose asylum: Poems of the Magdalen laundries of Ireland. Akron, Ohio: University of Akron Press, 2010.

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Dilworth, Rachel. The wild rose asylum: Poems of the Magdalen laundries of Ireland. Akron, Ohio: University of Akron Press, 2010.

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Merriman, Brian. The midnight court: A new translation of "Cúirt an mheán oíche". Winston-Salem, NC: Wake Forest University Press, 2006.

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Merriman, Brian. The midnight court =: Cúirt an mheán oíche. Cork: Mercier Press, 1999.

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Merriman, Brian. The midnight court: A new translation of "Cúirt an mheán oíche". Winston-Salem, NC: Wake Forest University Press, 2006.

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Merriman, Brian. The midnight court =: Cúirt an mheán oíche : a critical edition. Syracuse, N.Y: Syracuse University Press, 2011.

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Merriman, Brian. Cuirt an mhean-oiche =: The midnight court. 3. Aufl. Cork: Mercier Press, 1986.

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Wilson, Rebecca E. Sleeping with monsters: Conversations with Scottish and Irish women poets. Dublin: Wolfhound Press, 1990.

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Cullingford, Elizabeth. Gender and history in Yeats's love poetry. Cambridge [England]: Cambridge University Press, 1993.

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Buchteile zum Thema "Women – Ireland – Poetry"

Coughlan, Patricia. „‘Bog Queens’: The Representation of Women in the Poetry of John Montague and Seamus Heaney“. In Theorizing Ireland, 41–60. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1057/978-1-137-11869-1_4.

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Varty, Anne. „Paula Meehan: Poetry across Boundaries“. In Women, Poetry and the Voice of a Nation, 71–99. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474489843.003.0005.

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This considers how Meehan’s work promotes transgression of boundaries between self and non-self, social class, and nation. Subheadings: Creating Distance explores the geographical and ideological distances from Ireland which Meehan generated during her early career, and wrote about in her first three collections. Gary Snyder and Meehan’s Poetry of Breath offers an account of the formative influence of Snyder’s environmental Buddhism on the development of Meehan’s mature poetic practice. Three Female Images of Ireland scrutinises the dramatic monologues, ‘The Statue of the Virgin at Granard Speaks’, and ‘Pillow Talk’, as well as the character Alice in Meehan’s play, Cell. It does this in order to explore how Meehan gives the agency of voice to previously emblematised female figures, and thereby critiques traditional ideologies of Ireland. Inside History: A Jobbing Poet of the 1990s gives an account of the integration of Meehan’s poetry in the cultural life of Dublin, and her collaboration with artists, dancers, musicians and film-makers.

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Coolahan, Marie‐Louise. „Poetry in Irish“. In Women, Writing, and Language in Early Modern Ireland, 14–62. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199567652.003.0002.

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Coolahan, Marie‐Louise. „Poetry in English“. In Women, Writing, and Language in Early Modern Ireland, 180–218. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199567652.003.0006.

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Varty, Anne. „The Laureate Roles: Three Poets and a Professor“. In Women, Poetry and the Voice of a Nation, 15–34. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474489843.003.0003.

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This juxtaposes the notion of ‘national poet’ which emerged during the Romantic era with the contemporary offices of poet laureate which obtain in post-devolution Britain and Ireland. Today, the idea of ‘national poet’ in the UK encompasses, in tandem with figures from the past, the elected, time-bound, and bureaucratically configured offices of Poet Laureate, Ireland Chair of Poetry, Scots Makar, and National Poet of Wales. The chapter is organised under subheadings of each of these roles. Each section offers an overview of the offices themselves, their formation and inter-relationship. It attends to the way the traditional but unstated ‘English’ nature of the Poet Laureate is affected by the Irish and devolved roles. It gives an account of how Clarke, Duffy, Lochhead and Meehan approached their tenures. It pays careful attention to the anomalous position of Ireland Professor of Poetry which is an academic post.

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Varty, Anne. „Brexit and Britannia“. In Women, Poetry and the Voice of a Nation, 194–207. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474489843.003.0010.

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Tensions between and within the four nations of Britain became intensely visible as a result of the Brexit referendum in 2016, made more acute by its coincidence with the centenary of the Easter Rising in Ireland. This chapter considers public poetry and drama by women as they respond to the idea and motif of an outmoded and fracturing ‘Britannia’ under these severe political provocations. It encompasses ‘Threshold’, the poetic address by the new Makar, Jackie Kay, to the opening of the fifth session of the Scottish Parliament, Carol Ann Duffy’s verbatim play, My Country: A Work in Progress, her poem ‘Britannia’, Liz Lochhead’s double bill Britannia Rules, Sinead Morrissey’s collection On Balance, and Medbh McGuckian’s poem ‘Kepler 452B’.

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Douglas, Aileen. „The Province of Poetry: Women Poets in Early Eighteenth-Century Ireland“. In Irish Literature in Transition, 1700–1780, 227–43. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108689045.013.

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„Lucy Hastings, Née Davies, Countess of Huntingdon (b. 1613)“. In Early Modern Women Poets (1520-1700), herausgegeben von Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy und Julie Saunders, 246. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0087.

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Abstract She was The daughter of Eleanor Audley (The prophetess) and her first husband, Sir John Davies of Englefield, Berks, and spent her early years in Ireland, where her faTher was Attorney General. She married Ferdin ando, son and heir of Henry Hastings, fifth Earl of Huntingdon, in 1623, at Englefield. Bathsua Makin, in her Essay, p. ro, indicates that she acted as The Countess’s private tutor: ‘I am forbidden to mention The Countess Dowager of Huntington (instructed sometimes by Mrs Makin) how well she understands Latin, Greek, Hebrew, French, and Spanish; or what a proficient she is in arts, subservient to Divinity, in which (ifl durst I would tell you), she excels.’ Lucy Hastings gave proof of The education with which Mrs Makin credits her by translating The Latin poetry of Peter du Moulin, as we know from Huntington, CH HA 9465, a letter from du Moulin to The countess thanking her for her translations.

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Ó Cearbhaill, Pádraig, und Úna Nic Éinrí. „Jacobite Sentiment in Eighteenth-Century Irish Poetry, in Word and in Song“. In The Oxford Handbook of Irish Song, 1100-1850, C38.P1—C38.N135. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.38.

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Abstract This chapter examines and illustrates eighteenth-century Irish Jacobite poetry and song against the British and European historical background of the time. Several of the relevant tunes, encompassing both traditional and borrowed material, are examined. Beginning with the defeat of King James II’s army in Ireland, some texts allude to European wars and battles and other historic events in the context of the hoped-for return of the ‘rightful king’ while others are less specific in detail. Certain tunes which were used to create a series of literary songs by poets in response to one another’s compositions have been looked at. In addition to manuscript titles, various sources of tunes for texts—such as internal textual evidence—are elucidated. Special emphasis is placed on eighteenth-century Munster poets and poetry, including compositions of the aisling genre in which an allegorical woman, who is the embodiment of Ireland, conveys a Jacobite message, usually one of hope or defiance. Special consideration is given to songs in which the otherworldly woman is given a vernacular personal name (and often a surname), such as ‘Caitlín Ní Uallacháin’. Finally, the overall value of the material, both textual and musical, is contextualized and affirmed.

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„Lady Anne Southwell (Née Harris) (1571 1636)“. In Early Modern Women Poets (1520-1700), herausgegeben von Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy und Julie Saunders, 119–23. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0046.

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Abstract Anne was The daughter of Elizabeth Pomeroy and Thomas Harris, The second of Their four children. Her faTher was a member of parliament. She married Thomas South well, squire of Spix worth in Norfolk, on 24 June 1594. Some time Thereafter, The young couple went to Ireland to participate in The plantation of Munster, and lived at Poulnalong Castle, about seven miles from Kinsale. The South wells worked hard to be accepted by The upper echelons of The colonial establishment: her miscellany includes a letter to Viscount Falkland, The Lord Deputy of Ireland, and poems addressed to George Touchet, The first Earl ofCastlehaven, and Cicely, or Cassandra, Mac Williams, Lady Ridgeway.

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