Journal articles: 'Irish landscape'

1

Muir, Richard, Frank Mitchell, and Michael Ryan. "Reading the Irish Landscape." Geographical Journal 164, no. 2 (July 1998): 217. http://dx.doi.org/10.2307/3060376.

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Glasscock, Robin E., and Frank Mitchell. "The Shell Guide to Reading the Irish Landscape (Incorporating The Irish Landscape)." Geographical Journal 154, no. 1 (March 1988): 108. http://dx.doi.org/10.2307/633487.

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Brereton, Pat, and Danielle Barrios-O’Neill. "Irish energy landscapes on film." Journal of Environmental Media 2, no. 1 (March 1, 2021): 101–15. http://dx.doi.org/10.1386/jem_00042_1.

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Landscape, and its relation to place identity, is a powerful tool for visualizing and making legible the effects of environmental change. So often the operations of resource consumption and conservation occur in a way that shapes and changes particular regional landscapes. This is significant in an era where inspiring audiences and policy-makers to respond to unsustainable resource use and environmental change is difficult, but where we are still compelled to care for particular elements of place as they relate to identity. In this article we examine how resource use and landscape change are communicated through Irish films, where the interactions of place identity and landscape are central. A key through line argument is how landscape is an important vehicle for expressing anxieties and contexts for resource interdependency; another is how elements of local and regional identity compete and interact with global concerns, such as climate change or globalization, in complex ways. We analyse these interactions to demonstrate how energy resource use and environmental change are linked, highlighting ‘small nation’ tensions concerning geographic identity and resource ownership that are relevant to real-world energy transitions and apply much more broadly.

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Wang, Yena. "The Landscape Representation of the Anglo-Irish Cultural Estrangements in Bowen’s The Last September." Theory and Practice in Language Studies 8, no. 8 (August 1, 2018): 1029. http://dx.doi.org/10.17507/tpls.0808.16.

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The isolation of the Anglo-Irish landscape is the geographical representation of the colonizer community’s cultural estrangements since their settlement in Ireland till the 1920s. The depressing Irish landscape presented in the novel is a best expression of the existing state of the Anglo-Irish community: threatened, isolated, estranged and set in dilemma. The constituents and arrangements of the Anglo-Irish landscape: the Big House, its garden and the surroundings are actors who can tell the story about the living condition, social relationships and beliefs of the Anglo-Irish Ascendancy in the last days in Ireland.

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Tim Wenzell. "Ecocriticism, Early Irish Nature Writing, and the Irish Landscape Today." New Hibernia Review 13, no. 1 (2009): 125–39. http://dx.doi.org/10.1353/nhr.0.0059.

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Farrell, Orna, Karen Buckley, Lisa Donaldson, and Tom Farrelly. "Eportfolio in Ireland: A landscape snapshot of current practice." Irish Journal of Technology Enhanced Learning 6, no. 1 (December 11, 2021): 89–109. http://dx.doi.org/10.22554/ijtel.v6i1.99.

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This article reports on a study that explored eportfolio practice in Irish higher education. The aim of this research was to gain a landscape snapshot of eportfolio practice and technologies across Irish Higher Education Institutes (HEI) and to address a gap in the literature that there is little empirical evidence about how Irish HEIs engage and adopt eportfolio in practice. The project adopted a mixed method approach and was framed by two research questions: RQ1: What are the features of eportfolio practice in Irish higher education? RQ2: What are the experiences of Irish higher education practitioners in adopting eportfolio? Data was collected from seventy-nine participants from a range of Irish HEIs using an anonymous online survey. The four central themes that make up the study’s findings highlight key issues related to institutional engagement with eportfolio including features of eportfolio practice; technology underpinning eportfolio practice; enablers of eportfolio adoption and barriers to eportfolio adoption. The findings of this study indicate that Irish teaching staff use eportfolios with their students primarily for assessment, reflection, to support placement experiences and to develop student employability skills. There was also evidence that staff are using eportfolios for personal and/or professional purposes. Furthermore, it is particularly noteworthy that hardly anyone in the study reported evaluating their eportfolio practice. In addition, our findings indicate that the implementation and adoption of eportfolio by Irish HEIs has been quite uneven, the majority of institutions were reported to be at the early stages of adoption. While this study provides useful insight regarding the institutional and staff perspective, the research team do acknowledge that the student voice was not captured in this instance.

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Hart, John Fraser, F. H. A. Aalen, Kevin Whelan, and Matthew Stout. "Atlas of the Irish Rural Landscape." Geographical Review 88, no. 4 (October 1998): 602. http://dx.doi.org/10.2307/215719.

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Hennessy, Mark. "Atlas of the Irish Rural Landscape." Cartographic Journal 53, no. 1 (January 2, 2016): 95–96. http://dx.doi.org/10.1080/00087041.2016.1163848.

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Woodward, F. I., T. Quaife, and M. R. Lomas. "CHANGING CLIMATE AND THE IRISH LANDSCAPE." Biology & Environment: Proceedings of the Royal Irish Academy 110, no. 1 (January 1, 2010): 1–16. http://dx.doi.org/10.3318/bioe.2010.110.1.1.

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SIHRA, MELISSA. "Publications Dossier: Changing the Landscape of Irish Theatre Studies." Theatre Research International 36, no. 3 (August 30, 2011): 269–71. http://dx.doi.org/10.1017/s0307883311000496.

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This dossier aims to report on recent developments and interventions that are changing the landscape of Irish theatre-studies scholarship, revealing the ways in which discourses of nationalism, sexuality, gender, class and the family are being renegotiated. Critical analysis of Irish theatre has, up until recently, focused upon the dramatic text in a legacy of work that has traditionally been valued for its ‘literary’ merit. Now, we can see how an interrogation of the process of canonicity and a focus on the conditions and potential of performance are being addressed by a new generation of scholarship. Such research serves to critique the narratives leading up to, and beyond, Irish independence, repositioning the relationship between the founders of the Irish Literary Revival at the turn of the twentieth century and cultural nationalism, as well as resituating the dramaturgical praxis of a central figure such as John Millington Synge. Contributors to this dossier also draw attention to the ways in which recent publications on Irish theatre take social transformations into account, and give a sense of the ever-shifting trajectories of theatre, performance and culture on the island.

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Slater, Eamonn. "Contested Terrain: Differing Interpretations of Co. Wicklow's Landscape." Irish Journal of Sociology 3, no. 1 (May 1993): 23–55. http://dx.doi.org/10.1177/079160359300300102.

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This paper looks at how Irish landscape was interpreted in the mid 1800s, when modern tourism in Ireland began. It attempts to discover the ideological structures present in this appreciation of Irish landscape, and it does so in relation with the Hall's description of Co. Wicklow landscape. It argues that there are two ‘socially constructed’ ways to read Irish landscape, the picturesque and the oral interpretations, which create senses of detachment and attachment respectively to the local terrain. It explores in this context how the picturesque corresponds to the way an outsider wishes to gaze upon a landscape, either as a colonialising landlord or as a tourist. Although the picturesque excludes human work from its vision, it was manufactured in the demesnes of the landlord class according to compositional techniques. But the ideological structure of the beautiful aspect of the picturesque excludes the native people who actually live in the landscape, because they are seen as a source of disharmony. The native gaze, on the contrary, creates a sense of attachment to the local place.

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Parsons, Cóilín. "The Turd in the Rath: Antiquarians, the Ordnance Survey, and Beckett's Irish Landscapes." Journal of Beckett Studies 22, no. 1 (April 2013): 83–107. http://dx.doi.org/10.3366/jobs.2013.0059.

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This paper engages with one of the potential sources to which the experience of being lost, or misrecognising the landscape, that is so common in Beckett's work might be traced. Linking Beckett's often ignored early collection of short stories, More Pricks Than Kicks, to the abstract landscapes of the post-war fiction, allows us to trace an interest in unsettled places to a much earlier point in Beckett's work than is usually allowed. The interest in antiquities so prevalent in the early fiction emerges from a larger national conversation in Ireland about the preservation of the Gaelic past in the face of capital's push for abstract space. This work of preservation was begun by the Ordnance Survey in the 1830s, and the Survey's abstract representations of a landscape fractured by colonialism bears many resemblances to Beckett's early landscapes, which this paper traces. The tendency towards placelessness was already a key component of Beckett's most placed early work – he recognised that the landscape of Ireland was radically alienated from itself.

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Smyth, William J. "Representing the National Landscape in Irish Romanticism." Journal of Historical Geography 53 (July 2016): 125–26. http://dx.doi.org/10.1016/j.jhg.2015.08.011.

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Smyth, Patricia. "The Popular Picturesque: Landscape in Boucicault's Irish Plays." New Theatre Quarterly 32, no. 4 (October 14, 2016): 347–62. http://dx.doi.org/10.1017/s0266464x16000427.

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The inspiration for Dion Boucicault's first Irish subject, The Colleen Bawn, in a set of pictur esque views of Ireland after the artist W. H. Bartlett is well documented, and Bartlett's iconography of wild scenery, moonlight, round towers, and ruined abbeys features strongly throughout the Irish plays. Although Bartlett's compositions were widely known in the nineteenth century, there has been little consideration of how they may have informed the audience's understanding of the plays. Rather, they are regarded as a set of clichéd, stereotyped images, which the playwright subverted through a process of ironic distancing and repurposing. In this article Patricia Smyth argues that, on the contrary, Boucicault made use of the mythical and supernatural associations of picturesque Ireland in order to convey a particular narrative of Irish history. Patricia Smyth is a Visiting Research Fellow at the University of Warwick. She has published articles and book chapters on French and British nineteenth-century art, visual culture and theatre. She is co-editor of Nineteenth-Century Theatre and Film, co-edited with Jim Davis a special issue dedicated to theatrical iconography (2012), and is currently completing a book on Paul Delaroche and theatre.

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Mollenhauer, Jeanette. "Stepping to the fore: The promotion of Irish dance in Australia." Scene 8, no. 1-2 (December 1, 2020): 47–60. http://dx.doi.org/10.1386/scene_00022_1.

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This article contributes to scant literature on Irish dance praxis in Australia by demonstrating how the confluence of global and local factors have permitted Irish dance in Australia to step to the fore. Irish step dance is a globally recognizable genre that has dispersed through, first, the migration of Irish people throughout the world and, more recently, through itinerant theatrical troupes. In Australia, a significant node of the Irish diaspora, Irish step dance has managed to achieve unusual prominence in a dance landscape that has traditionally been dominated by genres from within the Western concert dance canon. Drawing on both extant literature and ethnographic data, this article examines three threads from the narrative of Irish dance in Australia. First, the general choreographic landscape of the nation is described, showing that the preferences of Australian dance audiences have been shaped to privilege styles that are popular onstage and on-screen, with the resulting marginalization of culturally-specific genera. Second, localized effects of the global contagion instigated by the development of the stage show Riverdance are explored. Here, the domains of aesthetics and decisive marketing strategies are discussed, showing how engagement with Australian audiences was achieved. Finally, the article introduces an idiosyncratic localized influence, the children’s musical group The Wiggles, which was conceived independently but which also promoted interest and enthusiasm for Irish dance in Australia by engaging with young children and presenting propriety of Irish dance as available to all, regardless of cultural ancestry.

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Woodward, F. I., T. Quaife, and M. R. Lomas. "Praeger Review: Changing climate and the Irish landscape." Biology and Environment: Proceedings of the Royal Irish Academy 110B, no. 1 (2010): 1–16. http://dx.doi.org/10.1353/bae.2010.0020.

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Maguire, Martin. "Churches and Symbolic Power in the Irish Landscape." Landscapes 5, no. 2 (October 2004): 91–114. http://dx.doi.org/10.1179/lan.2004.5.2.91.

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MacConville, Una. "Mapping Religion and Spirituality in an Irish Palliative Care Setting." OMEGA - Journal of Death and Dying 53, no. 1 (August 2006): 137–52. http://dx.doi.org/10.2190/63pd-0flj-8cx5-ldty.

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Kellehear's (2000) proposed theoretical model of spiritual care suggests that there is considerable interaction and overlap between situational, biographical and religious needs and the social and cultural contexts in which people are located. This article reports a study that used a cartographic approach to “map” understandings of religion and spirituality in an Irish palliative care setting (MacConville, 2004). Aspects of religion and spirituality have been explored within a multilayered Irish cultural setting to reveal a complex landscape—a landscape that is changing but which draws upon the past in shaping the present.

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Künzler, Sarah. "Sites of memory in the Irish landscape? Approaching ogham stones through memory studies." Memory Studies 13, no. 6 (January 2, 2019): 1284–304. http://dx.doi.org/10.1177/1750698018818226.

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The nexus between landscape, identity formation(s) and cultural memory has long been of interest to archaeology, cultural geography and various disciplines in the humanities. This article suggests that in medieval and early modern Irish texts, the depiction of monuments addresses precisely this complex relationship. On the basis of close readings of textual evidence and a critical engagement with Pierre Nora’s idea of lieux de mémoire, it will be argued that the cognitive interplay between literary-imagined and archaeological-material monuments enabled the medieval Irish literati to situate themselves within the world they inhabited both spatially and culturally. The article thus contributes substantially to our understanding of the material aspects of social remembrance and advocates the potential benefits of including the extremely rich Irish textual and archaeological sources into broader, interdisciplinary discussions.

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Mcmann, Jean. "Forms of power: dimensions of an Irish megalithic landscape." Antiquity 68, no. 260 (September 1994): 525–44. http://dx.doi.org/10.1017/s0003598x00047037.

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‘What must it have been like to be here in ancient times?’ — where ‘here’ is inside one of the Great Zimbabwe enclosures or a Mesoamerican ball-court. An architectural approach to built spaces may make coherent that felt experience, here applied to the Loughcrew chamber-tombs, classic built spaces of Irish prehistory.

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Armstrong, Charles I. "Recognition and Dissimulation: Nationalism and Genre in James Clarence Mangan's 'The Lovely Land'." Romantik: Journal for the Study of Romanticisms 2, no. 1 (December 1, 2013): 55. http://dx.doi.org/10.7146/rom.v2i1.20081.

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James Clarence Mangan has been celebrated by James Joyce and W. B. Yeats as one of the preeminent Irish writers of the nineteenth century. This essay interprets his poem ‘The Lovely Land’, first printed in The Nation on 18 July 1846, in terms of genre and nationalism. In an early Irish example of ekphrasis, the poem stages a rhetorical misreading where the speaker mistakes an unnamed Irish landscape of Daniel Maclise’s for a painting by Veronese or Poussin. Where – among his English and German Romantic predecessors – might Mangan have found a precedent for the poem’s treatment of landscape? And how does the colonial relationship between Ireland and England fit in with the poem’s complex manoeuvring of different national iconographies? In seeking to answer these questions, this essay looks to further the ‘mapping’ of Mangan’s position in Romanticism as an international movement.

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Armstrong, Charles I. "Recognition and Dissimulation: Nationalism and Genre in James Clarence Mangan's 'The Lovely Land'." Romantik: Journal for the Study of Romanticisms 2, no. 1 (December 1, 2013): 55. http://dx.doi.org/10.7146/rom.v2i1.20193.

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James Clarence Mangan has been celebrated by James Joyce and W. B. Yeats as one of the preeminent Irish writers of the nineteenth century. This essay interprets his poem ‘The Lovely Land’, first printed in The Nation on 18 July 1846, in terms of genre and nationalism. In an early Irish example of ekphrasis, the poem stages a rhetorical misreading where the speaker mistakes an unnamed Irish landscape of Daniel Maclise’s for a painting by Veronese or Poussin. Where – among his English and German Romantic predecessors – might Mangan have found a precedent for the poem’s treatment of landscape? And how does the colonial relationship between Ireland and England fit in with the poem’s complex manoeuvring of different national iconographies? In seeking to answer these questions, this essay looks to further the ‘mapping’ of Mangan’s position in Romanticism as an international movement.

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23

Doherty, Gareth, and Pol Fité Matamoros. "From Line to Landscape: The Irish Northwest Border Region." Architectural Design 90, no. 1 (January 2020): 100–105. http://dx.doi.org/10.1002/ad.2532.

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Carville, Justin. "Lifeworlds at the edge of Europe: photography, place and ireland in the new millennium." Journal of European Studies 47, no. 4 (October 24, 2017): 426–46. http://dx.doi.org/10.1177/0047244117736662.

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Drawing on the concept of the ‘geographical imagination’ and the phenomenologically based theory of human geography, ‘lifeworlds’, this essay discusses the work of several Irish photographers who circumvent the objectification and polar opposites of inside and outside in representations of place by highlighting the everyday connectedness and sense of belonging of people and their environments. Discussing Irish photography from after the global economic crash of 2008, the essay argues that presence has emerged as a visual trope in recent Irish photography, to explore the everyday social relations between people and place following the transformations to the Irish landscape as a result of the Celtic Tiger economy of the 1990s and the financial collapse of 2008.

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Hale, Brenda. "The Changing Legal Landscape." Legal Information Management 19, no. 4 (December 2019): 217–23. http://dx.doi.org/10.1017/s1472669619000525.

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AbstractThe Willi Steiner Memorial Lecture 2019 was delivered at the British and Irish Association of Law Librarians’ Annual Conference by Brenda Hale, Baroness Hale of Richmond, DBE,1 the President of the Supreme Court of the United Kingdom. Lady Hale reflected upon some of the major changes in the law and access to justice since she was an undergraduate at the University of Cambridge and Willi Steiner was Law Librarian at the Squire Law Library. Her lecture coincided with BIALL's fiftieth anniversary year and focused on five significant developments: the explosion of judicial review of administrative action, the arrival of EU law, the growth of international human rights law, the recognition of gender and other equality, and devolution and the evolution of a new constitutional role for the courts.

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Smith, Angèle. "Landscapes of power in nineteenth century Ireland." Archaeological Dialogues 5, no. 1 (July 1998): 69–84. http://dx.doi.org/10.1017/s1380203800001173.

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The British Ordnance Survey mapping of Ireland in the nineteenth-century was an official systematic survey which created a picture document of the landscape and the past. While the maps influenced the institutionalization of archaeology, the documenting of an archaeological record on the maps shaped their look and language. Within a setting of the political contest between British colonialism and Irish nationalism, both the Ordnance Survey maps and the archaeological past they recorded became powerful tools that helped to construct Irish identity and a sense of place and heritage.

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Lecky, Katarzyna. "Wetnurse Politics in Spenser’s View and Jones’ Arte and Science." Explorations in Renaissance Culture 47, no. 1 (June 16, 2021): 56–72. http://dx.doi.org/10.1163/23526963-47010005.

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Abstract This essay places Edmund Spenser’s View of the Present State of Ireland (1596) into conversation with John Jones’ 1579 nursing manual Arte and Science in order to contextualize Spenser’s medical solution to Irish rebellion. For both, the Irish wetnurse, who controlled the political system of fosterage undermining England’s agenda in Ireland, is central to the corporate identity of a conjoined Anglo-Irish kingdom. A View’s relationship to Jones’ text reveals the vexed ontological landscape of England’s early imperial self-fashioning, which linked the re-engineering of the genetic nature of colonial bodies to the management of women’s reproductive labor.

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Jarząb, Joanna. "The Significance Of Space In Iris Murdoch’s The Unicorn As A Twentieth-Century Irish Gothic Novel." Studia Anglica Posnaniensia 49, no. 4 (December 1, 2014): 5–20. http://dx.doi.org/10.1515/stap-2015-0009.

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Abstract During the twentieth century almost all literary genres came back to prominence in different and alternative forms. The Gothic is no exception to this phenomenon as many a writer made an attempt at using this eighteenth-century genre once again, but adding to it some contemporary elements. Consequently, an abundance of new techniques have been introduced to Gothic fiction to evoke the feeling of horror and terror among the more and more demanding readers of modern times. Still, some writers prefer to return to the traditional concept of the Gothic – as does Iris Murdoch in her novel The Unicorn. The purpose of this article is to analyse the text from the perspective of the Irish Gothic. Those features of the genre which are traditional as well as local are going to be discussed in the context of space as the dominating aspect of the novel. The typical Irish landscape abounding in marshes, bogs and the sea will be contrasted with the inner space of the house, and its resemblance to the old Victorian mansions popular among the Anglo-Irish ascendancy of nineteenth-century Ireland. In what follows, the paper aims at showing how Murdoch’s skilful play with the spatial differentiation between the inside and the outside dislodges other more universal issues, such as the question of freedom, of social taboos and of the different anxieties still present in Irish society today.

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Becker, Katharina. "Irish Iron Age Settlement and Society: Reframing Royal Sites." Proceedings of the Prehistoric Society 85 (October 18, 2019): 273–306. http://dx.doi.org/10.1017/ppr.2019.10.

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This paper attempts to resituate the Irish so-called ‘Royal’ sites within our vision of the Iron Age by challenging current understanding of their function as primarily situated in a ceremonial or ritual realm. While the evidence from these sites speaks to the complexity of their function, conceptualisation, and symbolic relevance, it is argued here that they are integral focal points of settled landscapes. Their architecture is suggested to address very specific concerns of the agrarian communities that built them and, in its very distinct change over the course of the Iron Age, to reflect broader societal developments, namely the emergence and decline of new society formations. Artefacts and ecofacts, architecture and landscape context of these sites contain a wealth of information on the activities that were taking place on and near them. It is argued that, freed from a binary ritual/profane interpretational framework, this evidence becomes readable as a record of Iron Age society and its dramatic changes over time.

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Kelly, Mary C. "“Spiritual heirs of the great Protestants who gave their lives for Ireland”: Expanding Irish American Nationalist Landscapes, 1919–1922." Journal of American Ethnic History 40, no. 4 (July 1, 2021): 5–40. http://dx.doi.org/10.5406/jamerethnhist.40.4.0005.

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Abstract Overshadowed by more numerous Catholic immigrant compatriots, Irish Protestants receive scant attention in histories of post-colonial Irish settlement. This neglected dimension of the ethnic history is addressed here through a nationalist organization that supported Ireland’s independence cause from an explicitly Protestant worldview. Protestant Friends of Ireland (PFI) operations reveal a more diverse and complex ethnic landscape than the historical record suggests. Despite their distancing from cultural roots across the Atlantic, ethnic Irish communities maintained interest in Ireland’s political status. This article argues that the short duration of Protestant Friends campaigns between 1919 and 1922 belies their scale and impact. Ethnic contemporaries witnessed an extensive Protestant nationalist presence in PFI crusading and active recollection of Protestant Irish patriots. PFI connections embraced by Ireland’s polarizing political principal, Éamon de Valera, assume a central role in this account, while the confluence of events in 1921 signaled a transition for America’s Irish.

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WALSH, FINTAN. "Performance and Queer Praxes: Recent Paradigmatic Shifts." Theatre Research International 36, no. 3 (August 30, 2011): 283–85. http://dx.doi.org/10.1017/s0307883311000538.

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Performance studies and queer studies are two of the most significant paradigmatic shifts to energize the analysis of Irish theatre and performance in very recent times. The development of these critical approaches can be seen to respond to the growth of more experimental, performance-centred methods of making and interpreting practice, and the emergence of a wide range of identities within theatre and performance sites, and the Irish social and cultural landscape more generally.

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Frag, Asst Prof Dr Amal Nasser. "Irish Poets: Keepers of National Lore." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 1 (March 15, 2019): 43–54. http://dx.doi.org/10.36473/ujhss.v58i1.834.

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This paper discusses three noteable Irish poets: Augustine Joseph Clarke (1896-1974), Richard Murphy (1927- ), and Patrick Kavanagh (1904–1967), who are considered as keepers of national lore of Irland. It explains these poets’ contribution to world literature through the renewal of Irish myths, history, and culture. Irish poets tackle the problems of Irish people in the present in a realistic way by criticising the restrictions imposed on the Irish people in their society.Augustine Joseph Clarke’s poems present a deep invocation of Irish past and landscape. While Richard Murphy offers recurring images of islands and the sea. He explores the personal and communal legacies of history, as many of his poems reveal his attempts to reconcile his Anglo-Irish background and education with his boyhood desire to be, in his words, “truly Irish”. Patrick Kavanagh was not interested in the Irish Literary Renaissance Movement that appeared and continued to influence many Irish writers during the twentieth century which called for the revival of ancient Irish culture, language, literature, and art. He, unlike the Irish revivalists who tried to revive the Gaelic language as the mother tongue of the Irish people like Dillon Johnston and Guinn Batten, uses a poetic language based on the day-to-day speech of the poet and his community rather than on an ideal of compensation for the fractures in his country’s linguistic heritage. The paper conculdes with the importance of the role of the Irish poet as a keeper and a gurdian of his national lore and tradition

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Day, Rosemary. "A snapshot of Irish radio 2021." Interactions: Studies in Communication & Culture 12, no. 1 (April 1, 2021): 65–78. http://dx.doi.org/10.1386/iscc_00037_1.

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Radio is very popular in Ireland with listenership rates of over 80 per cent consistently. While the move to digital platforms is starting to happen, loyalty to the FM band is very high. Irish people love radio and their engagement with a public commission on the future of media provides insights into why this may be the case. This article presents a snapshot of the radio landscape in Ireland today. It looks at regulation, ownership, audiences, technologies for delivery and programming. The three sectors of licensed Irish radio are considered: the public service broadcaster, RTÉ; the commercial radio sector, composed of local, regional and national radio stations and the third sector of Irish broadcasting, composed of small-scale community radio stations.

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Behrendt, Stephen C. "Representing the National Landscape in Irish Romanticism. Julia M. Wright." Wordsworth Circle 45, no. 4 (September 2014): 305–6. http://dx.doi.org/10.1086/twc24311848.

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Delahunty, J. L. "Yew Tree Toponyms and their Connection to the Irish Landscape." Focus on Geography 51, no. 4 (March 2009): 1–6. http://dx.doi.org/10.1111/j.1949-8535.2009.tb00234.x.

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Dennehy, Emer. "Placeless Dead?: Finding Evidence for Children in the Irish Landscape." Journal of the History of Childhood and Youth 9, no. 2 (2016): 213–31. http://dx.doi.org/10.1353/hcy.2016.0044.

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Hall, Valerie A. "Pollen analytical investigations of the Irish landscape ad 200–1650." Peritia 14 (January 2000): 342–71. http://dx.doi.org/10.1484/j.peri.3.406.

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Van Hout, Marie Claire, and Evelyn Hearne. "The changing landscape of Irish Traveller alcohol and drug use." Drugs: Education, Prevention and Policy 24, no. 2 (July 7, 2016): 220–22. http://dx.doi.org/10.1080/09687637.2016.1197886.

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Gilbert, Edmund, Seamus O’Reilly, Michael Merrigan, Darren McGettigan, Veronique Vitart, Peter K. Joshi, David W. Clark, et al. "The genetic landscape of Scotland and the Isles." Proceedings of the National Academy of Sciences 116, no. 38 (September 3, 2019): 19064–70. http://dx.doi.org/10.1073/pnas.1904761116.

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Britain and Ireland are known to show population genetic structure; however, large swathes of Scotland, in particular, have yet to be described. Delineating the structure and ancestry of these populations will allow variant discovery efforts to focus efficiently on areas not represented in existing cohorts. Thus, we assembled genotype data for 2,554 individuals from across the entire archipelago with geographically restricted ancestry, and performed population structure analyses and comparisons to ancient DNA. Extensive geographic structuring is revealed, from broad scales such as a NE to SW divide in mainland Scotland, through to the finest scale observed to date: across 3 km in the Northern Isles. Many genetic boundaries are consistent with Dark Age kingdoms of Gaels, Picts, Britons, and Norse. Populations in the Hebrides, the Highlands, Argyll, Donegal, and the Isle of Man show characteristics of isolation. We document a pole of Norwegian ancestry in the north of the archipelago (reaching 23 to 28% in Shetland) which complements previously described poles of Germanic ancestry in the east, and “Celtic” to the west. This modern genetic structure suggests a northwestern British or Irish source population for the ancient Gaels that contributed to the founding of Iceland. As rarer variants, often with larger effect sizes, become the focus of complex trait genetics, more diverse rural cohorts may be required to optimize discoveries in British and Irish populations and their considerable global diaspora.

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Kumar, M. Mahavir. "Plaided or Dusky Forms: Highland Landscape in Scotland and Kenya." Cambridge Journal of Postcolonial Literary Inquiry 7, no. 2 (April 2020): 176–98. http://dx.doi.org/10.1017/pli.2020.4.

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Accounts of empire in postcolonial critique largely remain silent on colonial relations internal to the United Kingdom, tending to elide the work of Scots, Irish, and Welsh within a solely English imperial enterprise. This article draws on recent reevaluations of the Scottish role in empire to outline the ambivalent place of Britain’s “Celtic Fringe” in its global hegemony. Focusing on eighteenth-century cartography and Scottish accounts of African exploration, it argues that the aesthetic practice of colonial control developed in Scotland established a pattern imperial agents could repeat in overseas territories. The colonization of the “White Highlands” in Kenya, it suggests, relied on aesthetic forms that originated in the landscape of the Scottish Highlands. By focusing on landscape's influence in a constellation of fields—in aesthetics, cartography, and natural history—this article also moves toward an understanding of landscape as a form of aisthesis, a “regime of sense perception.”

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Butler, Richard J. "Building a Catholic church in 1950s Ireland: architecture, rhetoric and landscape in Dromore, Co. Cork, 1952–6." Rural History 31, no. 2 (October 2020): 223–49. http://dx.doi.org/10.1017/s0956793320000126.

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Abstract This article explores the intellectual culture of Catholic architectural production in 1950s Ireland through the study of a church-building project in rural West Cork. It analyses the phenomenon of the Irish ‘church-building priest’ in terms of their socio-economic background, fundraising abilities, and position within rural communities – in the context of significant rural emigration and economic stagnation. It also considers the role that the Irish countryside played in conditioning clerical understandings of architectural style and taste, and priests’ political readings of the rural landscape. Furthermore, it explores the phenomenon of Marianism in church design and ornamentation around the time of the international ‘Marian Year’ of 1954, and the political meanings of the rhetoric employed by clerics at church consecration ceremonies. The article concludes with reflections on social and economic aspects of Irish rural life and religious expression in a decade primarily understood as one of cultural insularity and conservative Catholicism.

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Kaul, Adam. "Music on the edge: Busking at the Cliffs of Moher and the commodification of a musical landscape." Tourist Studies 14, no. 1 (December 29, 2013): 30–47. http://dx.doi.org/10.1177/1468797613511684.

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The Cliffs of Moher is one of the most popular tourist sites in all of Ireland, and buskers have been playing traditional music there for generations. The site and traditional music have each become powerful metonyms for Irish identity. In this article, I explore the complex and changing relationship between Irish identity, music, and tourism at the cliffs. In particular, I analyze recent conflicts that have erupted between musicians and the local tourism authorities which opened a €32 million award-winning interpretive center there in 2007.

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Consalvo, Deborah McWilliams. "Thomas Moore and Victorian Ireland." Journal of Interdisciplinary Studies 4, no. 1 (1992): 46–62. http://dx.doi.org/10.5840/jis199241/23.

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This essay examines the political environment in Ireland during the nineteenth century and evaluates the impact of national patriotism upon the social landscape. In analyzing the changing topography of Victorian Ireland, religious ideology played a significant role in carving out the model of Irish culture at the close of the century. Thomas Moore's poetry reflects the cultural significance of both political and religious ideals by his use of imagery and language to unite these two social forces and represent them as thematic cooperatives essential to the identity and survival of Irish nationhood.

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Consalvo, Deborah McWilliams. "Thomas Moore and Victorian Ireland." Journal of Interdisciplinary Studies 4, no. 1 (1992): 46–62. http://dx.doi.org/10.5840/jis199241/23.

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This essay examines the political environment in Ireland during the nineteenth century and evaluates the impact of national patriotism upon the social landscape. In analyzing the changing topography of Victorian Ireland, religious ideology played a significant role in carving out the model of Irish culture at the close of the century. Thomas Moore's poetry reflects the cultural significance of both political and religious ideals by his use of imagery and language to unite these two social forces and represent them as thematic cooperatives essential to the identity and survival of Irish nationhood.

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Sen, Malcolm. "Risk and Refuge: Contemplating Precarity in Irish Fiction." Irish University Review 49, no. 1 (May 2019): 13–31. http://dx.doi.org/10.3366/iur.2019.0376.

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Financial speculation and capitalist accumulation leave spatial and temporal traces. When the waves of the global financial collapse reached Ireland and culminated in the extreme measure of the comprehensive state guarantee, the receding excesses of the Celtic Tiger revealed a landscape that was gentrified and alienating. The spectrality of the ghost estates of Ireland became a synecdochal signifier of Ireland's ignominious fall from the podium of neoliberal grace and the focus of both popular lament and critical intervention. This essay provides a deferred assessment of the uncanniness of dwelling in post-Celtic Tiger Ireland by concentrating on the socioecological fallout of ruins and the longterm casualties of land speculation: that is, transformations of landscape into real estate, and of place into property. Reading Ireland's ghost estates as ‘imperial formations’ that ‘register the ongoing quality of processes of decimation, displacement, and reclamation’ – to use Ann Laura Stoler's term – the essay brings to the fore questions of dwelling and homeliness that suggest more protracted imperial processes which ‘saturate the subsoil of people's lives and persist, sometimes subjacently, over a longer durée’. To demonstrate these arguments the essay will analyse works by Kevin Barry, Sara Baume, and Claire Keegan.

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Lehner, Stephanie. "‘Absent and yet Somehow Present’: Idealized Landscapes and the Counter-historical Impulse in Contemporary Northern Irish Photography and Writing." Review of Irish Studies in Europe 1, no. 2 (March 10, 2017): 64–76. http://dx.doi.org/10.32803/rise.v1i2.1438.

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This article explores how three artists are responding to the idealized landscape that is contemporary Northern Ireland. I argue that the rural/urban dichotomy which implicitly or explicitly forms a point of departure in the photographic collections of David Farrell’s Innocent Landscapes (2001) and John Duncan’s Trees from Germany (2003) is also evident in David Park’s 2008 novel, The Truth Commissioner, offering a new lens to explore the play of absences and presences that constitute the peace process. The three works allow us to perceive how idealized landscapes act as façades that conceal, contain and defer alternative realities.

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Fontijn, David, and David Van Reybrouck. "The luxury of abundance." Archaeological Dialogues 6, no. 1 (July 1999): 55–73. http://dx.doi.org/10.1017/s1380203800001380.

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AbstractThe last decade has witnessed a significant increase in the number of comprehensive syntheses on Irish prehistory, both in terms of academic textbooks and popular accounts. The present review essay finds that these syntheses are highly convergent in terms of theme, scope, and theoretical underpinnings. Although large-scale migrations are rejected as explanations for culture change, Ireland is still perceived as the receptacle for foreign ideas and overseas inventions, whereby imports are not just introduced but also perfected in Ireland. We argue that a similar attitude can be noted in the perception of the history of Irish prehistory. This convergence and absence of overt polemics are explained by referring to the small size of the Irish archaeological community. The increase in syntheses is accounted for by a number of empirical preconditions, the theoretical climate of opinion, the institutional expansion of the discipline, the public impact of a rapidly changing natural and political landscape and the notion of an Irish identity.

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Stalmaszczyk, Piotr. "The Permanence of Place: Places and Their Names in Irish Literature." Studia Celto-Slavica 2 (2009): 93–109. http://dx.doi.org/10.54586/bcbf2160.

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This paper discusses the relation between places and their names as reflected in Irish literature. According to Robbie Hannan (1991: 19) attachment to place is among the strongest human emotions, explicitly revealed in literature. Celtic literature is ‘saturated’ with images of landscape and preoccupied with places and their names, landscape is constantly present in ancient sagas and bardic poetry, modern drama, short stories, novels and essays. The sense of place is explicitly manifest in medieval heroic tales (such as The Táin), and twentieth century novels (e.g. James Joyce’s Ulysses) and poetry, or contemporary drama (e.g. Brian Friel’s Translations). Patrick Sheeran (1988: 194) has observed that the idea of the Irish sense of place is: (a) a product of the native tradition; (b) it is a verbal or nominal preoccupation and has little to do with any actual cultivation of things; (c) it relates to death rather than to life. The principal aim of this paper is to further add to the above characteristics.

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McCafferty, Kevin. "Victories fastened in grammar: historical documentation of Irish English." English Today 27, no. 2 (June 2011): 17–24. http://dx.doi.org/10.1017/s0266078411000162.

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In ‘Murdering the language’ Moya Cannon imagines Ireland as a shore washed over by human tides. Each invasion added fresh layers to landscape, community and language, until:[…] we spoke our book of invasions –an unruly wash of Victorian pedantry,Cromwellian English, Scots,the jetsam and the beached bones of Irish –a grammarian's nightmare. (Cannon, 2007: 88)

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MacGugan, Joanna Huckins. "Landscape and lamentation: constructing commemorated space in three Middle Irish texts." Proceedings of the Royal Irish Academy: Archaeology, Culture, History, Literature 112C, no. 1 (2012): 189–217. http://dx.doi.org/10.1353/ria.2012.0009.

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Journal articles on the topic 'Irish landscape'

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