Journal articles: 'Irish drama'

1

Richard P. Martin. "Upstaged: Irish Drama in Irish." Princeton University Library Chronicle 68, no. 1-2 (2007): 82. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0082.

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Murray, Christopher. "Contemporary Irish Drama." Moderna Språk 88, no. 1 (June 1, 1994): 1–8. http://dx.doi.org/10.58221/mosp.v88i1.10084.

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Cottreau, Deborah, Cóilín D. Owens, and Joan N. Radner. "Irish Drama 1900-1980." Canadian Journal of Irish Studies 22, no. 1 (1996): 108. http://dx.doi.org/10.2307/25513050.

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Ma, Qianqian. "John Singer's Comedic Drama and Western Culture." Journal of Education, Humanities and Social Sciences 4 (November 17, 2022): 61–63. http://dx.doi.org/10.54097/ehss.v4i.2723.

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The writing of the West in Irish drama began in the Irish Renaissance in the late 19th and early 20th centuries and continues to this day. During the Irish Renaissance, in order to resist British colonial rule, writers endowed the western frontier region of Ireland with romantic imagery and mythic qualities, seeing it as a cultural symbol embodying nationhood, poetic idyll and Irishness. The West of Ireland fits perfectly with the writers' construction of Irish culture during this period in terms of its colonial history, economic environment, sense of national identity, language and culture, and religious beliefs. Thus, the Irish West became not only a symbol of Irish identity, but also a unique ideological field for the revitalisation of the Irish nation.

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Pilkington, Lionel, Robert Welch, W. J. Mc Cormack, and Nicholas Grene. "Irish Drama and Its Contexts." Irish Review (1986-), no. 26 (2000): 118. http://dx.doi.org/10.2307/29736000.

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Benstock, Bernard, Mary C. King, D. E. S. Maxwell, and John O'Riordan. "Three Cheers for Irish Drama." Contemporary Literature 28, no. 1 (1987): 121. http://dx.doi.org/10.2307/1208577.

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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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Ní Riain, Isobel. "Drama in the Language Lab – Goffman to the Rescue." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 115–23. http://dx.doi.org/10.33178/scenario.8.2.11.

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Between 2011 and summer 2014 I taught Irish in the Modern Irish Department of University College Cork (UCC). I spent one hour a week with each of my two second year groups in the language lab throughout the academic year. Ostensibly, my task was to teach the students to pronounce Irish according to Munster Irish dialects. It was decided to use Relan Teacher software for this purpose. My main objective was to teach traditional Irish pronunciation and thus to struggle against the tide of the overbearing influence of English language pronunciation which is becoming an increasing threat to traditional spoken Irish. Achieving good pronunciation of Irish language sounds, where there is strong interference from English, is not easy. For many students there is no difference between an English /r/ and an Irish /r/. Irish has a broad and slender /r/ depending on the nearest vowel. Many students do not even acknowledge that Irish has to be pronounced differently and this is a tendency that seems to be gathering momentum. The question I asked at the beginning of my research was how could I cultivate a communication context in which students would start to use sounds they had been rehearsing in ...

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Mahony, Christine Hunt, Jacqueline Genet, and Richard Allen Cave. "Perspectives of Irish Drama and Theatre." Canadian Journal of Irish Studies 18, no. 2 (1992): 137. http://dx.doi.org/10.2307/25512939.

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Alatawi, Maha. "When Narrative Becomes Theatrical." Harold Pinter Review 5, no. 1 (May 1, 2021): 107–20. http://dx.doi.org/10.5325/haropintrevi.5.2021.0107.

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ABSTRACT Storytelling is an integral component of Irish tradition, folklore, and culture. Ireland's rich narrative tradition can be traced back to the early oral act of storytelling, undertaken by the seanchaí (storyteller or historian). Despite the wide spectrum of studies and broadly ranging arguments on storytelling in general and other specific aspects, in Irish drama narrative and the monologue, as well as narrative levels and types of narrators, have never been analyzed. In narratological terms Irish drama is rich with various degrees of diegetic narrativity employed differently by its various playwrights. This article looks more closely into a subject that until now has not received attention in the context of Irish theatre. In Irish theatre, in which language, narrative, and storytelling are recurrent topics, it is crucial that we understand how narrative is more complicated than the simple telling of a story and that it possesses techniques and levels that are worth reflecting on for their ability to change nuance and the experience of the audience.

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Hwang, Ji Hyea. "Transcolonial Nationhood." Journal of World Literature 5, no. 3 (July 23, 2020): 393–409. http://dx.doi.org/10.1163/24056480-00503005.

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Abstract The genre of modern drama was established in Korea primarily during Japan’s occupation (1910–1945), by playwrights such as Yu Ch’i-jin who sought to represent Korean nationhood on stage. Yu was especially influenced by Irish playwrights, due to the parallels he recognized in the two colonial nations. Moreover, he was also concerned with the genre of modern drama on the global scale, as he agreed with his contemporaries that Korean literature must become interconnected with world literature. As a colonial writer, Yu wrote and staged Korean national drama that was inspired by Irish national drama, which he studied alongside other foreign – mostly European – literary traditions while studying in Japan. Françoise Lionnet’s concept of transcolonialism, a spatial approach to understanding the network of colonial literatures, will be used to analyze the complex set of influences on Yu’s writings.

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12

COLLINS, CHRISTOPHER. "Synge Scholarship: Nothing to Do with Nationalism?" Theatre Research International 36, no. 3 (August 30, 2011): 272–75. http://dx.doi.org/10.1017/s0307883311000502.

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John Millington Synge (1871–1909) is the fulcrum upon which Irish drama and theatre studies is balanced. Synge's nodal position is predicated upon the dramatist's rock ‘n’ roll recalcitrance towards the dramaturgical praxis of his contemporaries; his subject matter was as shocking as the Anglo-Irish idiom in which it was articulated. After Synge's premature death in 1909, W. B. Yeats's fundamental concern was that Synge scholars would attempt ‘to mould . . . some simple image of the man’. However, W. J. McCormack's concentric biography of Synge, The Fool of the Family: A Life of J. M. Synge, and Ann Saddlemyer's The Collected Letters of John Millington Synge, have demonstrated that Synge's life was complex, multifaceted and in deep dialogue with Irish culture. But with respect to Synge's drama a simple image has surrounded critical discourse: the politics of Irish nationalism.

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Guister, Marina. "Сказочные сюжеты и сюжеты ирландских саг в драматической поэме Н. Гумилева «Гондла» (Folk-Motifs and Plots of the Irish Sagas in Goumiliev’s “Gondla”)." Studia Celto-Slavica 2 (2009): 193–207. http://dx.doi.org/10.54586/schn9351.

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The nineteenth–twentieth centuries’ frontier, and onto the nineteen-thirties, is the period when the literature and the folklore of the Celtic and Scandinavian counties were brought into Russia. In this way Nikolaj Goumilev, the author of the drama “Gondla”, translates “Countess Kathleen” by W. B. Yeats and writes his own drama “Morny’s beauty” influenced by some recurring themes of the Irish sagas. The drama-poem “Gondla” is also based on the Irish comparanda, namely on the history and the sagas of the echtrae-cycle of tales. The story takes place in Iceland in the eleventh century; Gondla, the Christian, the son of the Irish king, converts the Icelanders into Christianity. Goumilev himself mentions the sagas about “the hump-backed prince Condla” abducted by a fairy as the source of his drama. The saga of Connla the Fair, or Echtrae Chonnlai, is known to him from the work by H. d’Arboi de Jubainville Cours de Littérature Celtique, as well as, possibly, from the private conversations with A. Smirnov, the first Russian translator of the Irish sagas. The story of Connla contains some widespread folk motifs (cf. S. Thompson’s Motif-index), such as F 302 Fairy mistress, or rather F 302.3.1 Fairy entices man into fairyland. The motifs in question are closely related to those of the Swan-maiden (F 302.4.1 – Fairy comes into man’s power when he stills her wings, and D 361.1 – A swan transforms herself at will into a maiden). The swan-plots are of great importance for Goumilev’s “Gondla”, since the main characters of the drama, Gondla and Lera his fiancée (both Irish) are compared there to the swans persecuted by the wolves (the pagan Icelanders). The motifs are particularly prominent in the case of the Irish folktales and legends. The swan-plots from the Celtic and Slavonic folktales and legends are closely related in “Gondla” to the fairy-tales by Andersen, such as The Marsh King’s Daughter, The Ugly Duckling, The Swan’s Nest and The Wild Swans. The plot of the last fairytale is close to that of the Irish legend about the king Lir’s children transformed into swans (Oidheadh Chloinne Lir). In the same time, this plot is close to the fairy-tale type AT 451 – The maiden who seeks for her brothers and AT 451* – Sister as mysterious housekeeper. The story of this type, with the brothers transformed into swans and a swan maiden as the mother of the swan-children, is literary fixed in the twelfth century in the novel Dolopathos sive de Rege et Septem Sapientibus. The main character of Goumilev’s drama is the poet, the ruler and the priest who baptises Iceland at the same time. As such, he illustrates one of Goumilev’s favourite ideas: the poets must govern the world, as the druids used to do in the distant past.

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Nicholas Grene. "Irish Drama and the Occlusion of Influence." Princeton University Library Chronicle 68, no. 1-2 (2007): 503. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0503.

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15

Purinton, Marjean. "Representations of the Irish in Romantic Drama." Essays in Romanticism 7, no. 1 (January 1999): 133–48. http://dx.doi.org/10.3828/eir.7.1.8.

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16

Doherty, Francis. "Displacing the Hero in Modern Irish Drama." Theatre Research International 15, no. 1 (1990): 41–56. http://dx.doi.org/10.1017/s0307883300009512.

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The values of a community are revealed in its tragedies, and it is increasingly clear that the classical form of tragedy has been unable to accommodate modern values. It is too aristocratic for a democratic age. Sometimes it has been felt that we no longer merit a hero, and sometimes that heroes are now very dangerous and delusive. This latter view was articulated eloquently by the German philosopher-theologian, Karl Jaspers, in the aftermath of the defeat of Nazism:Tragedy becomes the privilege of the exalted few – all others must be content to be wiped out indifferently in disaster. Tragedy then becomes a characteristic not of man, but of a human aristocracy. As the code of privilege, this philosophy becomes arrogant and unloving; it gives us comfort by pandering to our self-esteem.

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17

Poulain, Alexandra. "The Radicalization of Irish Drama 1600-1900." Études irlandaises, no. 35-1 (June 30, 2010): 178–80. http://dx.doi.org/10.4000/etudesirlandaises.1897.

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18

Privas, Virginie. "The Methuen Drama Anthology of Irish Plays." Études irlandaises, no. 36-1 (June 30, 2011): 195–96. http://dx.doi.org/10.4000/etudesirlandaises.2248.

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Lachman, Michal. "Retreats from Theatricality in Contemporary Irish Drama." New Hibernia Review 19, no. 3 (2015): 110–27. http://dx.doi.org/10.1353/nhr.2015.0048.

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Waziri, Bilal, and Md Najimuddin. "A Study of Irish Cultural Identity in J.M. Synge’s Riders to the Sea." Integrated Journal for Research in Arts and Humanities 3, no. 2 (March 18, 2023): 38–42. http://dx.doi.org/10.55544/ijrah.3.2.7.

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John Millington Synge (1871-1909) is one of the most outstanding Irish playwrights. He is known for his realistic vision and authentic contributions to Irish drama. He was one of the earliest realistic writers to represent Irish society brilliantly in his plays. One of his greatest contributions has been his association with the Irish Literacy Revival. The Irish Literary Revival also called the Irish Literary Renaissance or Celtic Twilight began around 1885 and ended during the early twentieth century. Though the primary aim of this movement was to gain home rule and independence from England, it also resulted in vigorous literary productions. Writers and scholars struggled to create works that were authentically and originally Irish. Here Synge played an active and key role in writing plays in stylized peasant dialect. He was a prominent figure in the Abbey Theatre of Ireland, founded in 1903 by William Butler Yeats and Lady Augusta Gregory, which opened its doors in 1904. Thus, he contributed immensely to the development of modern Irish drama and left an indelible impression on Irish literature. This paper aims to analyze Synge’s role in the Irish Literary Renaissance and the formation of Irish cultural identity vis-a-vis his play Riders to the Sea. Riders to the Sea (1904) is a one-act tragic play that contains both modern and classical elements of tragedy. This play deals with the sorrows and predicaments of human beings on Aran Island. The paper will further explore the representation of Irish peasant society which is based upon his keen observation of the sufferings, perils, and traditions of Irish people during his staying in Aran Island.

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Haughton, Miriam. "Performing Power: Violence as Fantasy and Spectacle in Mark O'Rowe's Made in China and Terminus." New Theatre Quarterly 27, no. 2 (May 2011): 153–66. http://dx.doi.org/10.1017/s0266464x11000285.

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Mark O'Rowe's work marks a shift in Irish theatrical form and practice, positing his stories in urban landscapes that defy modernist dramatic frames and established linguistic styles. Here, angels and demons roam the earth with lost human souls and, though mythical creatures and influences are frequently made manifest, the connection to the other world does not remove the presence of popular culture – karate movies and salty snacks in particular. But perhaps the most viscerally striking aspect of O'Rowe's dramaturgy stems from the sense of pain, isolation, and trauma his characters embody and enact. His dramatized communities are either in crisis or no longer visible, thereby situating the scope for human connection or reconnection as the prize sought from their struggle – while comedy is not lost, and the ‘skullduggerous’ tone so applauded in Howie the Rookie accompanies these later works alongside an evolved dramatic voice and sense of theatrical form. Miriam Haughton is currently in the second year of her doctoral work on postmodern Irish drama in the School of English, Drama, and Film at University College Dublin. Her research interests include drama studies, Irish studies, anthropology, and sociology.

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Hill, John. "Television Drama and Northern Ireland: The First Plays 1959–67." Journal of British Cinema and Television 20, no. 3 (July 2023): 279–304. http://dx.doi.org/10.3366/jbctv.2023.0677.

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This article sets out to map the largely forgotten history of the first television dramas about Northern Ireland by Northern Ireland writers during the 1950s and 1960s. It examines the first experiments in drama production by BBC Northern Ireland and Ulster Television alongside the work by Northern Irish writers produced by ITV companies and the BBC in London. It looks at the institutional and ideological contexts in which the work emerged before going on to examine the patterns of representation that resulted. Made prior to the emergence of the Troubles in 1969, the article considers the first attempts to show Northern Ireland in television drama and assesses the ways in which the individual plays – ranging from rural comedy to working-class realism – addressed – both obliquely and explicitly – the social tensions and anxieties of the time.

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Creedon, Emma. "Disability, Identity, and Early Twentieth-Century Irish Drama." Irish University Review 50, no. 1 (May 2020): 55–66. http://dx.doi.org/10.3366/iur.2020.0434.

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This essay assesses the role of physical disability in early twentieth-century Irish dramatic literature. In particular, by focusing on such plays as W.B. Yeats's On Baile's Strand (1903) and the character of Johnny Boyle in Sean O'Casey's Juno and the Paycock (1924), it critiques the tradition of identifying characters with disabilities solely by their physical impairment and exploiting disability as metaphor; physical disability has been historically employed as a synecdoche for a thwarted morality, or blindness as an allegory for prophecy. However, scholarly criticisms of the Social Model of Disability have demonstrated how disability can be reappropriated to reconceptualize notions of bodily normalcy. Furthermore, this essay suggests that the convention of “cripping up”, an industry term describing the practice of an able-bodied actor playing a character with a physical disability, contributes to the marginalization of those with physical disability in Irish culture. The result is the potential degradation of the disabled body, a stylized performance evoking vaudevillian conventions; performance thus engenders belief in stereotype.

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Al-Khalili, Raja. "Resisting cultural colonization: the role of folk songs in modern Irish drama." Journal of Language and Literature 5, no. 3 (August 30, 2014): 33–38. http://dx.doi.org/10.7813/jll.2014/5-3/6.

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Urban, Eva. "Lessing's Nathan the Wise: from the Enlightenment to the Berliner Ensemble." New Theatre Quarterly 30, no. 2 (May 2014): 183–96. http://dx.doi.org/10.1017/s0266464x14000396.

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Lessing's Nathan the Wise (1779), exemplary for its enlightenment and humanist ideals, assembles Jews, Christians, and Muslims in dialogue during the medieval crusades in Jerusalem. Their encounters allow them to transcend conflict, to recognize their common humanity, and to resolve their differences through dialectical discourse and group arguments. In this article Eva Urban looks closely at the representation of enlightenment in this play and examines the potential role of plays and theatre practice in developing autonomous citizenship and intercultural understanding. Particular reference is made to the 2013 Berliner Ensemble production of Nathan the Wise in relation to aesthetic debates about modern political drama. Eva Urban is a British Academy Postdoctoral Research Fellow at the Faculty of English, University of Cambridge, and an Associate of Clare Hall, Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2010) and has published a number of articles on political drama and Irish studies.

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Gahan, Peter. "History and Religious Imagination: Bernard Shaw and the Irish Literary Revival—an Overview." Shaw 42, no. 2 (November 1, 2022): 267–98. http://dx.doi.org/10.5325/shaw.42.2.0267.

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ABSTRACT An overview of Bernard Shaw’s involvement in early twentieth-century Irish history, both political and cultural. Pressure building since the death of Parnell in 1891 would lead to Ireland’s independence from Britain and the establishment of the Irish free State in 1922, with Shaw’s Irish friends Horace Plunkett, Augusta Gregory, George Russell (“Æ”), and especially W. B. Yeats all prime movers in major new national cultural institutions that sprang up around the turn of the century. Through these four as well as his Irish wife, Charlotte Shaw, Shaw became involved in both the affairs of the nation as well as in Irish drama, especially Dublin’s Abbey Theatre. Yeats and his work were particularly important for Shaw’s contributions to the Irish literary revival, in which, whether in satirical, comic, or tragic modes, his Irish plays comprehend Irish mythology, history, imagination, and religious salvation.

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27

Roche, Anthony. "Memory, Trauma and Forgetting in Northern Irish Drama." Review of Irish Studies in Europe 1, no. 2 (March 10, 2017): 77–91. http://dx.doi.org/10.32803/rise.v1i2.1441.

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The ethical exhortation ‘not to forget’ runs the risk of ‘a memory that would never forget anything’. At the other extreme is the no less dangerous risk of total amnesia, an erasure of the past that immediately suggests Freud and the return of the repressed. The complex balance to be found between memory and forgetting is particularly fraught in Northern Ireland and the politics of how the past is to be negotiated in the current post peace process climate. I propose to look at this subject in relation to the trauma engendered by decades of violence in two Northern Irish plays: Quietly (2012) by Owen McCafferty, set in the post peace process climate of 2009 but harking back to a violent incident in the same location thirty-five years earlier; and Frank McGuinness’s Carthaginians (1988), a canonical play about one of the central events in ‘the Troubles’, Bloody Sunday of 30 January 1972, but set more than a decade later.

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Cottreau, Deborah, and Christopher Murray. "Twentieth-Century Irish Drama: Mirror up to Nation." Canadian Journal of Irish Studies 25, no. 1/2 (1999): 534. http://dx.doi.org/10.2307/25515294.

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O'Dwyer, Riana, Stephen Watt, Eileen Morgan, and Shakir Mustafa. "A Century of Irish Drama: Widening the Stage." Canadian Journal of Irish Studies 28/29 (2002): 211. http://dx.doi.org/10.2307/25515443.

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Countryman, John C., and Robert Hogan. "Since O'Casey and Other Essays on Irish Drama." Theatre Journal 37, no. 1 (March 1985): 134. http://dx.doi.org/10.2307/3207209.

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Mannion, Elizabeth. "Patrick Lonergan, Irish Drama and Theatre since 1950." Modern Drama 63, no. 2 (May 2020): 247–50. http://dx.doi.org/10.3138/md.63.2.br4.

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Kelly, Marie. "Patrick Lonergan, Irish Drama and Theatre Since 1950." Irish University Review 50, no. 1 (May 2020): 238–40. http://dx.doi.org/10.3366/iur.2020.0454.

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Lecossois, Hélène. "Patrick Lonergan, Irish Drama and Theatre Since 1950." Études irlandaises, no. 45-1 (September 24, 2020): 133–35. http://dx.doi.org/10.4000/etudesirlandaises.9008.

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Balázs, Zsuzsanna. "Review of Masculinities and Manhood in Contemporary Irish Drama: Acting the Man, by Cormac O'Brien." Review of Irish Studies in Europe 5, no. 2 (December 12, 2022): 1–4. http://dx.doi.org/10.32803/rise.v5i2.3076.

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Aaltonen, Sirkku. "Rewriting Representations of the Foreign: the Ireland of Finnish Realist Drama." TTR : traduction, terminologie, rédaction 9, no. 2 (March 16, 2007): 103–22. http://dx.doi.org/10.7202/037260ar.

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Abstract Rewriting Representations of the Foreign : the Ireland of Finnish Realist Drama — In this article, the author discusses what happens to culture-specific elements in the translation of realist drama. Following the polysystem approach, the hypothesis is that translation involves acculturation, or manipulation, even though realism as a style of presentation professes to be "lifelike." Which elements are acculturated, and how, is linked to the awareness assumed on the part of the audience of the cultural and generic conventions as well as of the dramatic function of the culture-specificelements in characterizationand the construction of plot, theme and atmosphere. Taking eight Irish plays rewritten into Finnish, the author concludes that they must be seen as products of the Finnish, not the Irish, theatrical system.

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Freeman, Sandra, Michael Jamieson, Christopher Murray, Ulf Danatus, Göran Kjellmer, Anne Moskow, Ronald Paul, et al. "Reviews and notices." Moderna Språk 88, no. 1 (June 1, 1994): 96–120. http://dx.doi.org/10.58221/mosp.v88i1.10120.

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Includes the following reviews:pp. 96-97. Sandra Freeman. Griffiths, T.R. & Llewellyn, M. (eds.), British and Irish Women Dramatists Since 1958. pp. 97-98. Michael Jamieson. Esslin, M., Pinter the Playwright. pp. 98-100. Christopher Murray. Hodgson, T., Modern Drama: From Ibsen to Fugard. + Innes, C., Modern British Drama 1890-1990. pp. 100-103. Ulf Danatus. Russell, J.R., The Penguin Dictionary of the Theatre. + Wandor, M., Drama Today; A Critical Guide to British Drama. + Acheson, J. (ed.), British and Irish Drama since 1960. + Hilton, J. (ed.), New Directions in Theatre. pp. 103-105. Göran Kjellmer. Cowie, A.P. & Mackin, R. (eds.), Oxford Dictionary of Phrasal Verbs. p. 105. Anne Moskow. Virago Press - Feminist Publisher. pp. 105-106. Ronald Paul. Burgess, A., A Mouthful of Air. pp. 106-109. Frank-Michael Kirsch. Byram, M. (ed.), Germany. Its Representation in Text, Books for Teaching German in Great Britain. pp. 110-111. Bo Andersson. Günter, S. & Kotthoff, H. (Hrsg.), Die Geschlechter im Gespräch. Kommunikation in Institutionen. pp. 112-113. Gustav Korlén. Leiser, E., Gott hat kein Kleingeld. pp. 114-117. Elisabeth Tegelberg. L'année scandinave 1989-1991, Nouvelles du Nord 1992. pp. 117-118. Börje Schylter. Hedberg, J., Nostalgia. pp. 118-119. Lars-Göran Sundell. Boysen, G., Fransk grammatik. p. 120. Redaktionsmeddelande/A Message from the Editors

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Kelleher, Margaret. "Irish Culture(s): Hyphenated, Bilingual, or Plurilingual?" Irish University Review 50, no. 1 (May 2020): 143–52. http://dx.doi.org/10.3366/iur.2020.0441.

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This article begins with a review of the usage of the term ‘Anglo-Irish’ (including the background to the establishment of the Chair of Anglo-Irish Literature and Drama in UCD in 1966), and examines the critical fortunes of an alternative term, ‘Hiberno-English’. In the light of both contemporary creative practice and historical antecedents, it explores the possibilities extended by reconceptualising Irish literature and culture as bilingual (even plurilingual): not only as a ‘backward look’ but also as a means of securing more hospitable and open fora for cultural creativity in our present.

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Andayani, Ambar, Edi Pujo Basuki, and Ali Mustofa. "Conflict of Irish Cultural Identity in Brian Friel’s Translation." JENTERA: Jurnal Kajian Sastra 12, no. 1 (July 26, 2023): 169. http://dx.doi.org/10.26499/jentera.v12i1.6281.

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This research purposes to analyze Irish cultural identity conflict in Brian Friel’s Translation, namely by analyzing why it happens and how it impacts to Irish. The method applied to analyze is descriptive qualitative method by doing content analysis through data collecting technique in the form of library research. From the data source of Brian Friel’s Translation, the researcher does the technique of interpretation by using Homi K. Bhabha’s postcolonialism theory of mimicry concept to identify the conflict of Irish cultural identity found in the literary work. The result of the research shows that the setting in Brian Friel’s Translation is Northern Ireland in the 19th century. Irish people are surrendered to be the British colony. British people colonize Irish in various ways; destroying Irish rights by forcing them to work very hard on potato plantation in the area where they live to fulfill British people food, forbidding Irish to use their own language or do their Catholic religious worship, executing Ordnance survey namely by replacing names of local places in Northern Ireland for the importance of imperialism forcibly. That colonialism causes suffering, starving and poverty. Through the dialogues, it reflects that British people want to abolish Irish language and culture to replace it to British language and culture which is considered more modern. AbstrakPenelitian ini bertujuan menganalisis konflik identitas budaya bangsa Irlandia dalam drama Translation karangan Brian Friel, yaitu dengan mengupas mengapa konflik itu terjadi, dan bagaimana akibatnya terhadap bangsa Irlandia. Metode yang diterapkan adalah metode deskriptif kualitatif, dengan menganalisa isi melalui teknik pengumpulan data berupa studi kepustakaan. Dari sumber data drama Translation karangan Brian Friel, peneliti memakai teknik interpretasi melalui teori postkolonialisme konsep mimikri dari Homi K Bhabha untuk mengidentifikasi konflik identitas budaya bangsa Irlandia yang ditemukan pada karya sastra tersebut. Hasil penelitian menunjukkan bahwa seting yang terdapat pada drama tersebut adalah pedesaan Irlandia Utara pada abad 19. Bangsa Irlandia takluk menjadi koloni bangsa Inggris. Bangsa Inggris menjajah dengan berbagai cara, menghancurkan hak-hak bangsa Irlandia dengan memaksa mereka kerja paksa di perkebunan kentang tempat tinggal mereka untuk memenuhi kebutuhan makanan rakyat Inggris, melarang mereka menggunakan bahasa asli atau melakukan ibadah agama Katolik, dan melakukan survei Ordnance yaitu mengganti paksa nama-nama lokal di Irlandia utara ke bahasa Inggris untuk kepentingan imperialisme. Penjajahan tersebut menyebabkan penderitaan, kelaparan dan kemiskinan. Melalui dialog-dialognya tercermin bahwa bangsa Inggris ingin melenyapkan budaya serta bahasa Irlandia, lalu menggantinya dengan budaya dan bahasa Inggris yang dianggap lebih modern.

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Trotter, Mary. "Which Fiddler Calls the Tune? The Playboy Riots and the Politics of Nationalist Theatre Spectatorship." Theatre Survey 39, no. 2 (November 1998): 39–52. http://dx.doi.org/10.1017/s0040557400010139.

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In October of 1903, The United Irishman, a leading newspaper of the Irish nationalist movement, published an essay by William Butler Yeats entitled “The Irish National Theatre and Three Sorts of Ignorance.” Yeats wrote this essay after an infuriated nationalist community protested the Irish National Theatre Society's production of John Millington Synge's play, In the Shadow of the Glen. In response to Yeats's admonishment of the nationalist movement for putting politics over aesthetics in their creation and judgment of Irish drama, Arthur Griffith, the editor of the newspaper, added some remarks of his own:Mr. Yeats does not give any reason why if the Irish National Theatre has no propaganda save that of good art it should continue to call itself either Irish or National. If the Theatre be solely an Art Theatre, then its plays can be fairly criticized from the standpoint of art. But whilst it calls itself Irish National its productions must be considered and criticised as Irish National productions.

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Klepuszewski, Wojciech. "“Addiction is a strange bastard”: Alcohol(ism) in Irish Fiction." Acta Universitatis Lodziensis. Folia Litteraria Polonica 61, no. 2 (June 30, 2021): 25–37. http://dx.doi.org/10.18778/1505-9057.61.02.

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Although it is hard to challenge the claim that alcohol can be considered inherent in Irish culture, the common perception of the fact often feeds on clichés. What helps understand this question is Irish literature. On the one hand, it portrays jubilant festivity to be found in many literary works; on the other, it renders the drama behind alcohol dependency, shifting the focus from joviality towards the more murky aspects of drink consumption, mostly thematised in contemporary literature. This article takes a closer look at how Irish literature renders alcohol use and abuse, and how the literary representations offer a broader perspective, allowing to reconsider some of the stereotypical notions of the proverbial Irish propensity for drink.

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Meer, Sarah, and Nathaniel Zetter. "Andy Blake; or, the Irish Diamond." Nineteenth Century Theatre and Film 49, no. 2 (November 2022): 182–223. http://dx.doi.org/10.1177/17483727221128818.

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This scholarly edition of Andy Blake includes an introduction arguing for its claim to be Dion Boucicault’s first Irish drama. It also emphasises Agnes Robertson’s part in developing Boucicault’s comic heroes, while playing a boy. Consideration of the French source text reveals a connection with a revolutionary figure, the gamin de Paris, and demonstrates how Boucicault’s adaptation added a backdrop of British military imperialism.

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Zou, D. Z. "On Carr’s Eleven-Dimensional Dramaturgy." International Journal of Languages, Literature and Linguistics 7, no. 3 (September 2021): 144–48. http://dx.doi.org/10.18178/ijlll.2021.7.3.302.

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Contemporary Irish playwright Marina Carr integrates eleven-dimension theory into her post dramatic art creation, forming a unique eleven-dimensional dramaturgy. This unique eleven-dimensional dramaturgy runs through Carr's whole drama creation career, and has different focuses in different periods: in her early drama, Carr concentrated on the expression of the concept of “non-linear time”. In the mid-land drama, she focuses on the creation of “high dimensional space”, while in the later drama of death and fantasy, she focuses on the presentation of “multidimensional worlds”. Finally, with the connection of the eleven-dimensional dramaturgy, Carr created a “non-linear”, “high dimensional” and “multi-dimensional” dynamic post-dramatic theater, and conveyed the eleven-dimensional philosophy of life beyond time and space.

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Kurdi, Mária. "Ondrej Pilny. Irony and Identity in Modern Irish Drama." ABEI Journal 11 (June 17, 2009): 221. http://dx.doi.org/10.37389/abei.v11i0.3660.

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John P. Harrington. "New World Drama: Fashioning Irish Theater in Lower Manhattan." Princeton University Library Chronicle 68, no. 1-2 (2007): 306. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0306.

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Deane, Seamus, and D. E. S. Maxwell. "A Critical History of Modern Irish Drama, 1891-1980." Canadian Journal of Irish Studies 12, no. 1 (1986): 95. http://dx.doi.org/10.2307/25512669.

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Quinn, Kathleen A. "Hearts Turned to Stone: Myth in Modern Irish Drama." Canadian Journal of Irish Studies 16, no. 1 (1990): 15. http://dx.doi.org/10.2307/25512805.

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Ananisarab, Soudabeh. "A Review of Irish Drama and the Other Revolutions." International Yeats Studies 3, no. 1 (November 1, 2018): 81–85. http://dx.doi.org/10.34068/iys.03.01.06.

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Ezell, Brice. "Irish Drama and Theatre Since 1950 by Patrick Lonergan." Theatre History Studies 40, no. 1 (2021): 214–16. http://dx.doi.org/10.1353/ths.2021.0017.

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Rusinko, Susan, and D. E. S. Maxwell. "A Critical History of Modern Irish Drama, 1891-1980." World Literature Today 60, no. 1 (1986): 111. http://dx.doi.org/10.2307/40141247.

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Trotter, Mary. "Re-Imagining the Emigrant/Exile in Contemporary Irish Drama." Modern Drama 46, no. 1 (March 2003): 35–54. http://dx.doi.org/10.3138/md.46.1.35.

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Journal articles on the topic 'Irish drama'

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