Relevant bibliographies by topics / English Irish authors History and criticism

Academic literature on the topic 'English Irish authors History and criticism'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "English Irish authors History and criticism"

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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (May 13, 2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.

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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Overton, Bill. "Review: Authors and Authority: English and American Criticism 1750–1990." Literature & History 2, no. 1 (March 1993): 96–97. http://dx.doi.org/10.1177/030619739300200107.

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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.

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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics." Modern Italy 24, no. 1 (October 11, 2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.

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Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.
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Kirilov, D. A. "REPRESENTATION OF LORD LIEUTENANTS AND LORD JUSTICES OF IRELAND IN IRISH ODES AND POEMS, 1701–1714." Вестник Пермского университета. История, no. 2(53) (2021): 148–59. http://dx.doi.org/10.17072/2219-3111-2021-2-148-159.

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In the late 17th and early 18th century, Ireland experienced a constitutional struggle in parliament, as well as the gradual development of a party system along the English partisan lines. Reflection of those events in the public sphere (primarily in the works of Molyneux and Swift) remains a popular research topic for Irish historians. This article attempts to look at the development of the Irish political system by examining poetic works in support of the chief governors of Ireland: lord lieutenants and lord justices of 1701–1714. Irish poems dedicated to governors were usually similar to English odes, which in turn were influenced by Abraham Cowley’s Pindarics. Irish odes to lord lieutenants of 1701–1711 had significant genre similarities, and most of them were also similar in general means of representing the chief governor. It was of utmost importance for the authors to show the brilliant ancestry of the ode’s hero; perhaps even more important for them was to show the similarity between the viceroy and the monarch, since the former was supposed to represent the latter. There were, however, significant differences between the odes, which were attributed to the shifting context of Irish politics. The odes of 1707 and 1711 are much more embedded in politics than the odes of 1701 and 1703: since at least 1707, the authors were more likely to include lord lieutenants in the context of Irish and British partisanship, while simultaneously emphasizing the loyalty of recipients to Queen Anne in her struggle against parties. The zenith of partisanship in Ireland coincides with the appearance of short poems with some features of an ode in 1710, which closely associate the figure of the lord lieutenant or lord justice with the Whigs or Tories.
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Fyodorov, Sergey E., and Feliks E. Levin. "Reflections on the Medieval and Early Modern Insular Identities." Vestnik of Saint Petersburg University. History 65, no. 4 (2020): 1336–51. http://dx.doi.org/10.21638/11701/spbu02.2020.420.

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The article reflects on the monograph by Sparky Booker Cultural exchange and identity in late medieval Ireland: The English and the Irish of the four obedient shires (Cambridge, Cambridge University Press, 2018) which offers a revised perspective on the issue of assimilation and acculturation in late medieval Ireland on the basis of the material of the four obedient shires: Dublin, Meath, Louth, and Kildare. The scholar presents a complex and multi-faceted image of interethnic interplay in the region distinguishing between cultural and legal dimensions. She demonstrates that cultural practices were not the main resource of identity in the late medieval Ireland in which political allegiance and descent were prioritized. She highlights two aspects: the discursive level and the level of everyday interaction. Despite the obvious merits of the book, the material presented there requires more theoretical consideration of the issue of medieval identities. The authors of the article argue that the situation of interethnic interplay in the four obedient shires described by Booker could have been suitable for the emergence of consensual identity. Having coined this term, the authors define it as the type of identity which originates in the situation of interethnic interplay; entails intercultural switching; and has supragentile character, i.e., not insisting on common descent. The discourse of consensual identity did not emerge in the four shires during the period under consideration because of the absence of common subjecthood of the English and the Irish as well as prevalence of gentilism but its full potential was realized during the Early Stuarts.
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Sethi, Devika. "The Ban Formula." Indian Historical Review 45, no. 1 (June 2018): 1–23. http://dx.doi.org/10.1177/0376983618768934.

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In a colonial context, and against the backdrop of an anti-colonial movement, it is all too easy to see censorship of publications operating along racial lines and to assume that only publications by Indian authors were subject to censorship. However, non-Indian authors—former colonial officials and soldiers, journalists and missionaries—writing in English on matters concerning India commanded audiences in their home countries in addition to being read by an influential section of the Indian population. Precisely because they escaped colonial stereotyping about ‘seditious natives’, non-Indian authors’ words carried a greater illusion of neutrality and sometimes more weight. Their criticism of the colonial state or excessive approbation of nationalist leaders could less easily be dismissed as biased than that by Indians. By reconstructing the question of, and the controversy over, the possible banning of seven such books by the colonial state in the 1920s–30s, this article will question commonly held assumptions about the conduct of the censorship of publications in late colonial India.
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Agnew, Robin. "The Prelude to Stethoscopy: Some French, British and Irish Contributions in the Early Nineteenth Century." Journal of Medical Biography 11, no. 3 (August 2003): 135–41. http://dx.doi.org/10.1177/096777200301100305.

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In 1819, René Laënnec published his classical work on the newly invented stethoscope; this was translated into English by John Forbes in 1821. This article describes some of the early contributions by various authors in their attempts to link the new auscultatory signs to the underlying pathology in the thorax.
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HEAL, FELICITY. "Mediating the Word: Language and Dialects in the British and Irish Reformations." Journal of Ecclesiastical History 56, no. 2 (April 2005): 261–86. http://dx.doi.org/10.1017/s0022046904003161.

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Translating the Scriptures into the vernacular was a primary concern of Protestant reformers. This led to worries about the precise language-form in which they should be made accessible to lay folk. This article situates such evangelical debates within contemporary understanding of the nature and role of native tongues. Tudor and Stuart governments sometimes saw English as a tool of political control; humanists questioned the ‘copiousness’ of the vernacular; the Celtic tongues were readily identified with barbarity; the status of the written word might be contaminated by the use of dialect. Translators and authors sought to address these concerns, with great success in England, Lowland Scotland and Wales, but much less effectively in Gaelic-speaking Ireland and Scotland.
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PARRIS, D. L. "Review. French-Canadian Authors: A Bibliography of their Works and of English-Language Criticism. Kandiuk, Mary." French Studies 47, no. 1 (January 1, 1993): 113. http://dx.doi.org/10.1093/fs/47.1.113-a.

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Dissertations / Theses on the topic "English Irish authors History and criticism"

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Maxedon, Tom. "A course portfolio, what is "Irishness?" : surveying Ireland's struggle to define a unified national identity, depicted in the country's literature from 1801-present." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027119.

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The purpose of this creative project was to advance scholarship in areas suffering a lack of attention by Ball State University. Exploring a broader scope of Irish writing than most theses would cover, this project could easily be incorporated by other universities which share Ball State's departmental impotence with regard to Irish literary studies. I chose a time frame of two-hundred years to focus attention for this course.My directed readings from my project chairperson and my research at the Dublin Writers Museum led me to the design of this hypothetical course in contemporary Irish Literary Studies. I chose texts from 1801-Present which examine the varied cultural assumptions that various sects of the Irish citizenry hold, as depicted in their literature. What I found is that as time progresses, the emphasis toward violent preservation of cultural identity increases literally. This portfolio maps out those assumptions via Irish literature.
Department of English
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Hopper, Keith. "Imagining otherwise : Neil Jordan's counter-narratives." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.

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Macbeth, Georgia School of Theatre Film &amp Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.

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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
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Bennett, Sarah. "The American contexts of Irish poetry, 1950-present." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.

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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.

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Witen, Michelle Lynn. "Perceiving in registers : the condition of absolute music in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669882.

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Sturgeon, Sinéad. "Law & literature in the writings of Maria Edgeworth, William Carleton, and James Clarence Mangan." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711601.

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O'Farrell, Kevin. "Joyce after Nietzsche : irony and the will to truth." Thesis, University of Oxford, 2012. https://ora.ox.ac.uk/objects/uuid:3de0686a-b70f-433c-ae20-9de7d554b08e.

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This thesis explores and evaluates the work of James Joyce using the ideas of Friedrich Nietzsche. It does so not only by examining Joyce's knowledge of Nietzsche's writings, but also through demonstrating how effectively they can illuminate Joyce's themes and techniques, and aid in a general reconceptualisation of his literary project. My analysis draws on several of Nietzsche's key concepts - perspectivism, ressentiment, the will to power - and applies them to Joyce's work. The main idea I use however is the will to truth. I argue that Joyce's primary concern as an artist was the depiction of what he saw as the truth of contemporary existence, in Dublin and more generally. This aim determines his technē, the origin and form of his work of art. Various manifestations of irony, a key element of Joyce's technique, help illustrate the importance of this will to truth. This understanding of his work eliminates the false division between form and content and through an emphasis on Joyce's artistry and philosophy, rather than the historical context in which he wrote (that is, on the author rather than the man), allows for a truly critical assessment. The five chapters that follow my introduction are chronologically ordered. They examine the early works, Dubliners, A Portrait of the Artist as a Young Man, and especially Ulysses, in considerable detail and from various angles. Though careful to respect the individuality of each, my analyses find a common thread of realism uniting the three major works of prose fiction; beginning with the French naturalism of the short stories, moving on to a new development of perspectival irony and a unique mode of allegory in his first novel, and ending in what Joyce called 'the new realism' of his epic. My study then explains how and why realism is problematised in the later chapters of Ulysses as the will to truth comes to question itself. The thesis concludes with an assessment of Finnegans Wake, considering how it marks a radical departure from Joyce's earlier practice, and why I regard it a failure.
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Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.

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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.
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Books on the topic "English Irish authors History and criticism"

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Karen, Vandevelde, ed. New voices in Irish criticism 3. Dublin: Four Courts, 2002.

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Voicing dissent: New perspectives in Irish criticism. Dublin: Irish Academic Press, 2012.

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Etherton, Michael. Contemporary Irish dramatists. Basingstoke: Macmillan Education, 1989.

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Etherton, Michael. Contemporary Irish dramatists. London: Macmillan, 1989.

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Irish poets. Ipswich, Mass: Salem Press, 2012.

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1963-, Boran Pat, ed. Flowing, still: Irish poets on Irish poetry. Dublin: Dedalus Press, 2009.

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Brian, Arkins, ed. Kingfishers: Essays on Irish and English poetry. Newbridge, Co. Kildare: Goldsmith Press, 2001.

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Liddy, James. On Irish literature and identities. Edited by Wall Eamonn 1955-. Dublin: Arlen House, 2013.

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Michael, Kenneally, ed. Irish literature and culture. Savage, Md: Barnes & Noble Books, 1992.

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Scottish and Irish romanticism. Oxford: Oxford University Press, 2008.

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Book chapters on the topic "English Irish authors History and criticism"

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Canny, Nicholas. "Composing Counter-Narratives in the Sixteenth and Seventeenth Centuries." In Imagining Ireland's Pasts, 29–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198808961.003.0002.

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This chapter explains how denigration of all Irish people by apocalyptic authors, and the conquest that it legitimized, proved traumatic for all Irish people whether at home or in exile. Annalists despaired of the future but Irish authors from Gaelic and English ancestries who had found refuge in Catholic Europe took inspiration from Catholic histories they encountered there to compose histories in Latin, Irish, and English defending Ireland’s reputation, and arguing from history that foreign powers should sustain Ireland and Catholicism. Divisions emerged between authors, notably Philip O’Sullivan Beare, who advocated renewed warfare, and those, notably David Rothe and Geoffrey Keating, who wrote conciliatory narratives. These argued from history that Catholics of both ancestries in Ireland had been bonded by religion into a single nation, and that Catholics who still prevailed in Ireland should owe allegiance to the British monarchy.
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Barlow, Richard Alan. "Joyce and Scott." In Modern Irish and Scottish Literature, 75—C3.P54. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192859181.003.0004.

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Abstract There are important similarities between Walter Scott and James Joyce as authors—both were fascinated by the histories of their respective nations, in the relationship between their home country and English power, and in the historical development of societies. Furthermore, Joyce owned some of Scott’s poetry and prose, and there is a network of intertextual links between Scott’s work and Joyce’s texts Dubliners (1914), A Portrait of the Artist as a Young Man (1916), Ulysses (1922), and Finnegans Wake (1939). Chapter 3 studies Joyce’s reading of Scott and examines allusions and references to Scott and his work in Joyce’s texts. Special attention is paid to the links between Scott, incest, and masturbation in Joyce’s work, as well as to the different conceptions of history offered by these two writers—Scott’s quasi-Smithian view of history is contrasted to Joyce’s interest in the theories of Giambattista Vico.
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Aliseienko, Olha. "THE MAIN ASPECTS OF ARTISTIC SPACE AND TIME IN CONTEMPORARY LITERARY CRITICISM." In Іншомовна комунікація: інноваційні та традиційні підходи. Випуск 2, 136–63. Primedia eLaunch LLC, 2022. http://dx.doi.org/10.36074/ikitp.monograph-2022.07.

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The author of the scientific research does not set the goal of exhaustively fully explain the state of the problem of artistic time and space in modern literary criticism, to give its genesis, the history of study, neither to propose its own theoretical concept. The scientific research is giving the outlook on the conceptions of time and space as investigated by the prominent literary criticism authors as well as is considering the theoretical concepts of artistic time and space in the creative work of XX century writers. The research given is about the system of conceptual concepts that have developed in modern literary criticism, which can be relied upon in the study of the uniqueness of the artistic time and space of the novels of the English writer I. Murdoch, in particular, her novels, published in 1960s.
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Sommer, Tim. "Usable Pasts: Anglo-American Literature and the Authority of Tradition." In Carlyle, Emerson and the Transatlantic Uses of Authority, 69–100. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491945.003.0003.

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This chapter analyses how discussions about race and nationhood surfaced in nineteenth-century British and American literary criticism and literary historiography. It discusses Carlyle’s and Emerson’s writings about the relationship between literature and nationality and argues that, drawing on a handful of near-contemporary German and French authors, they positioned themselves at the crossroads of cultural nationalism and literary cosmopolitanism. The second half of the chapter explains how Carlyle and Emerson conceptualised continuity and change in literary history and highlights the role of Romantic expressivism in their nation-centred poetics. The two developed conflicting accounts of English literary history: where Carlyle’s narrative emphasised the past achievement and future global dominance of metropolitan writing, Emerson tended to invest in the authority of the English canon to locate the future of a specifically Anglo-American tradition in the cultural periphery.
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Canny, Nicholas. "Re-Imagining Ireland’s Early Modern Past during the Later Nineteenth Century." In Imagining Ireland's Pasts, 257–90. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198808961.003.0009.

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The Great Famine provided a stimulus to the writing of history, not least because it eroded the credibility both of British rule in Ireland, and of Irish landowners. The new interpretations can be characterized as follows. The authors of a Catholic narrative wanted the Catholic nation that had emerged from suffering to be treated as an equal with the English and Scottish nations within a shared British monarchy. Militant nationalist historians cherished memories of Catholic sufferings in the hope that these would foment popular ‘disaffection’ and further revolutionary action. Moderate Unionist historians acknowledged the unjust treatment of the Irish in the past and detailed this to encourage the present government to promote reform that would elicit loyalty. Hard-line Unionist historians also faulted past British rule. Their concern, however, was that governments had not stuck rigidly to stern measures that would have produced stability. They believed that stability might still be achieved if the present government avoided conciliation.
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Canny, Nicholas. "New Histories for a New Ireland." In Imagining Ireland's Pasts, 60–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198808961.003.0003.

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Authors who approved of the conquest of Ireland ransacked history for clues on how the dominant Protestant minority might bring the majority Catholic population to conform to English civil and religious norms. Military historians, acknowledging the support the Crown had received from loyal Irish lords, suggested that these might be trusted to lead their subordinates towards reform. The lawyer Davies and the religious historians Ussher and James Ware disputed this, and argued from history that because Ireland’s population had just been conquered they stood ready to embrace reform provided they were protected from being tyrannized by their lords and by Catholic clergy. They also imagined Ireland returning to a lost golden age—for Davies to when Ireland had been a source of profit to the Crown, and for Ussher and Ware to when the true Christianity preached by St Patrick had been the envy of Europe.
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