Journal articles: 'Irish literature'

1

Wade, Stephen. "Anglo-Irish literature." English Today 2, no. 4 (October 1986): 37–40. http://dx.doi.org/10.1017/s0266078400002492.

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2

Pelletier, Martine. "Northern Irish Literature." Études irlandaises, no. 34.2 (September 30, 2009): 130–31. http://dx.doi.org/10.4000/etudesirlandaises.1693.

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3

White, Jerry, and Jerry White. "Irish Literature is Not Comparative Literature." ESC: English Studies in Canada 32, no. 2 (2008): 115–40. http://dx.doi.org/10.1353/esc.2007.0092.

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4

Keefe, Joan Trodden, and Dennis Donoghue. "We Irish: Essays on Irish Literature and Society." World Literature Today 61, no. 3 (1987): 449. http://dx.doi.org/10.2307/40143404.

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5

Wall, Eamonn, and Michael Kenneally. "Irish Literature and Culture." Canadian Journal of Irish Studies 19, no. 1 (1993): 123. http://dx.doi.org/10.2307/25512960.

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6

White, Jerry, and Anne MacCarthy. "Identities in Irish Literature." Canadian Journal of Irish Studies 30, no. 2 (2004): 84. http://dx.doi.org/10.2307/25515546.

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7

Stewart, Bruce. "'Anglo-Irish Literature', "Moryah"." Irish Review (1986-), no. 14 (1993): 88. http://dx.doi.org/10.2307/29735710.

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8

Li, Chen. "Irish Literature in China." Éire-Ireland 53, no. 3-4 (2018): 268–91. http://dx.doi.org/10.1353/eir.2018.0020.

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9

Hughes, A. J., and Robert Hogan. "Dictionary of Irish Literature." Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 18, no. 1 (1999): 306. http://dx.doi.org/10.2307/29742740.

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10

Grene, Nicholas. "Reading Contemporary Irish Literature." ABEI Journal 2, no. 1 (June 1, 2000): 23–27. http://dx.doi.org/10.11606/issn.2595-8127.v2i1p23-27.

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11

Beckett, J. C., and A. Norman Jeffares. "Macmillan History of Literature: Anglo-Irish Literature." Modern Language Review 80, no. 3 (July 1985): 685. http://dx.doi.org/10.2307/3729301.

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12

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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13

Harris, Mary N. "Beleaguered but Determined: Irish Women Writers in Irish." Feminist Review 51, no. 1 (November 1995): 26–40. http://dx.doi.org/10.1057/fr.1995.31.

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A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as teachers, translators, and writers of children's literature reflected the position of women in Irish society since the achievement of independence in the 1920s. The work of earlier women poets has, for the most part, lain buried in manuscripts and is only recently being excavated by scholars. The problems of writing for a limited audience have been partially overcome in recent years by increased production of dual-language books. The increase in translation has sparked off an intense controversy among the Irish language community, some of whom are concerned that both the style and content of writing in Irish are adversely influenced by the knowledge that the literature will be read largely in translation. Nevertheless, translation also has positive implications. Interest in women's literature is helping to break down the traditional barriers between Irish literature in Irish and in English. The isolation of Irish literature in Irish is further broken down by the fact that women writers in Irish and their critics operate in a wider international context of women's literature.

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14

Kennon, Patricia. "Reflecting Realities in Twenty-First-Century Irish Children's and Young Adult Literature." Irish University Review 50, no. 1 (May 2020): 131–42. http://dx.doi.org/10.3366/iur.2020.0440.

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This article explores the evolution of Irish youth literature over the last four decades and these texts' engagement with cultural, political, and social transformations in Irish society. The adult desire to protect young people's ‘innocence’ from topics and experiences deemed dark or deviant tended to dominate late twentieth-century Irish youth literature. However, the turn of the millennium witnessed a growing capacity and willingness for Irish children's and young-adult authors to problematize hegemonic power systems, address social injustices, and present unsentimental, empowering narratives of youth agency. Post-Celtic Tiger youth writing by Irish women has advocated for the complexity of Irish girlhoods while Irish Gothic literature for teenagers has disrupted complacent narratives of Irish society in its anatomy of systemic violence, trauma, and adolescent girls' embodiment. Although queer identities and sexualities have been increasingly recognised and represented, Irish youth literature has yet to confront histories and practices of White privilege in past and present Irish culture and to inclusively represent the diverse, intersectional realities, identities, and experiences of twenty-first-century Irish youth.

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15

Malloy, Judy. "From Ireland with letters." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (November 15, 2016): 289–304. http://dx.doi.org/10.1177/1354856516675255.

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Intertwining Irish history and generations of Irish American family histories in a work of polyphonic electronic literature based on the rhythms of ancient Irish Poetry, the imagined lost Irish Sonata, streams and fountains, and Irish and Irish American song, From Ireland with Letters (2010 - 2016) is an epic electronic manuscript told in the public space of the Internet. Situating the work in the contexts of Irish public literature and of public electronic literature, this paper explores both the work itself and issues of public electronic literature and in the process both divulges little known Irish American histories and suggests the potential for the public literature telling of narrative and poetry on the Internet.

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16

John, Brian, and Michael Kenneally. "Poetry in Contemporary Irish Literature." Canadian Journal of Irish Studies 25, no. 1/2 (1999): 528. http://dx.doi.org/10.2307/25515291.

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17

Foster, John Wilson, and Christina Hunt Mahony. "Contemporary Irish Literature: Transforming Tradition." Canadian Journal of Irish Studies 26, no. 1 (2000): 127. http://dx.doi.org/10.2307/25515312.

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18

Huber, Werner, and Loreto Todd. "The Language of Irish Literature." Modern Language Review 87, no. 1 (January 1992): 157. http://dx.doi.org/10.2307/3732333.

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19

AMADOR-MORENO, CAROLINA P., and ANA MARÍA TERRAZAS-CALERO. "Encapsulating Irish English in literature." World Englishes 36, no. 2 (June 2017): 254–68. http://dx.doi.org/10.1111/weng.12257.

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20

Persson, Åke. "Themes in Contemporary Irish Literature." Moderna Språk 91, no. 2 (December 1, 1997): 141–50. http://dx.doi.org/10.58221/mosp.v91i2.9859.

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21

Ní Riain, Isobel, Ciarán Dawson, and Marian McCarthy. "Role-play in Literature Lectures." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (January 1, 2017): 94–108. http://dx.doi.org/10.33178/scenario.11.1.8.

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The following article draws on research that I carried out as part of a master’s degree in Teaching and Learning in Higher Education in University College Cork (UCC) between 2015-2016. I teach Irish language and literature in the Modern Irish Dept. of UCC. The intervention I used with my students was role-play which is not generally used in the teaching of Irish Literature. My research was an investigation into the learning students associate with the use of role-play in literature lectures. The findings show that while students reported learning many different things from role-play, there was no consensus as to what one could learn from the use of role-play in literature lectures. I am encouraged by the findings and will continue to use role-play in the future.1

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22

Tymoczko, Maria. "Two Traditions of Translating Early Irish Literature." Target. International Journal of Translation Studies 3, no. 2 (January 1, 1991): 207–24. http://dx.doi.org/10.1075/target.3.2.05tym.

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Abstract In the translation of early Irish materials into English there are two translation traditions, a scholarly and a literary one, diverging markedly in their practices and norms. The effects of the Macpherson controversy, Irish nationalism, and the Irish language movement in defining and polarizing these translation traditions are explored. In historical poetics, analysis must allow for the ways in which historical circumstances may produce a translation system, internally differentiated itself, such that investigation of a part of the translation system will not necessarily be predictive or reflective of the whole.

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23

Delaney, Juan José. "The Language and Literature of the Irish in Argentina." ABEI Journal 2, no. 1 (June 1, 2000): 131–43. http://dx.doi.org/10.11606/issn.2595-8127.v2i1p131-143.

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This is a brief account of what happened to the language of the Irish migrants who left their territory and established themselves in Argentina, the curious way they protected their identity by preserving the English language which was not their own, and how fluctuations of the Irish Language reflect the ups and downs of their slow integration into Argentine society. The second part refers to Literature. First in Irish-English and gradually in Spanish, the Irish and their descendants - William Bulfin, Kathleen Nevin, Benito Lynch and Rodolfo Walsh, among others - created a corpus of what can be called "Trish-Argentine Literature." An expanded Spanish version in book-format will be published in Buenos Aires next year.

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24

Zapin, Justine. "Irish Übermenschen (Nietzsche and Irish Modernism)." Shaw 43, no. 2 (October 2023): 298–302. http://dx.doi.org/10.5325/shaw.43.2.0298.

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25

Alsaeed, Nora Hadi Q. "Irish Poetry and Its Contribution to European Literature." English Language and Literature Studies 5, no. 4 (November 30, 2015): 27. http://dx.doi.org/10.5539/ells.v5n4p27.

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<p>Irish poetry is considered one of the oldest and most enriched sources of poetry in Europe. As a small nation with a less prominent contribution to world literature, the Irish have benchmarked some of their brightest examples in the form of Gaelic writings, and present an outstanding account of oral traditions and oral poetry that have passed down the generations to the contemporary 21st century. Their literature represents various facets of Irish culture, history, and socio-cultural aspects reflected through magical verses of poems, the nature of which has transcended generations and established itself in the history of Europe.</p>

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26

Kelleher, Margaret. "The Cabinet of Irish Literature: A Historical Perspective on Irish Anthologies." Éire-Ireland 38, no. 3-4 (2003): 68–89. http://dx.doi.org/10.1353/eir.2003.0004.

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27

Short, Clare. "Irish Terrorism and Irish Peace." Wasafiri 22, no. 2 (July 2007): 79–80. http://dx.doi.org/10.1080/02690050701337061.

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28

Wright, Loic. "Irish literature in transition, 1880– 1940." Irish Studies Review 29, no. 1 (January 2, 2021): 120–21. http://dx.doi.org/10.1080/09670882.2021.1880117.

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29

Sebald, W. G., G. J. Carr, and Eda Sagarra. "Irish Studies in Modern Austrian Literature." Modern Language Review 80, no. 1 (January 1985): 224. http://dx.doi.org/10.2307/3729461.

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30

Harrison, Liam. "Irish literature in transition: 1980–2020." Irish Studies Review 29, no. 2 (April 1, 2021): 280–83. http://dx.doi.org/10.1080/09670882.2021.1911027.

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31

Carey, Vincent P., and Robert Welch. "The Oxford Companion to Irish Literature." Sixteenth Century Journal 28, no. 3 (1997): 982. http://dx.doi.org/10.2307/2543076.

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32

Smith, Eoghan. "Irish literature in transition, 1940–1980." Irish Studies Review 29, no. 2 (April 3, 2021): 276–80. http://dx.doi.org/10.1080/09670882.2021.1911029.

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33

Villar-Argáiz, Pilar. "Irish Literature in Transition: 1980–2020." English Studies 103, no. 2 (November 23, 2021): 375–78. http://dx.doi.org/10.1080/0013838x.2021.1997478.

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34

English, Colleen. "Irish Literature in Transition 1780–1830." Irish Studies Review 29, no. 3 (June 28, 2021): 392–94. http://dx.doi.org/10.1080/09670882.2021.1947461.

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35

O’Rourke, Sean Aldrich. "Irish literature in transition, 1830–1880." Irish Studies Review 29, no. 3 (July 3, 2021): 394–96. http://dx.doi.org/10.1080/09670882.2021.1947467.

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36

hÓgáin, Dáithí Ó. "Migratory Legends in Medieval Irish Literature." Béaloideas 60/61 (1992): 57. http://dx.doi.org/10.2307/20522397.

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37

Sayers, William. "Fantastic technology in early Irish literature." Etudes Celtiques 40, no. 1 (2014): 85–100. http://dx.doi.org/10.3406/ecelt.2014.2428.

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38

Peatling, G. K. "RECENT LITERATURE ON THE IRISH DIASPORA." Studies in Travel Writing 6, no. 1 (January 2002): 108–26. http://dx.doi.org/10.1080/13645145.2002.9634925.

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39

Nally, Claire V. "Irish literature since 1990: diverse voices." Irish Studies Review 18, no. 2 (May 2010): 259–61. http://dx.doi.org/10.1080/09670881003726091.

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40

Baker, Timothy C. "Animals in Irish literature and culture." Irish Studies Review 23, no. 4 (September 11, 2015): 514–16. http://dx.doi.org/10.1080/09670882.2015.1087082.

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41

Hemming, Jessica. "An Introduction to Early Irish Literature." Folklore 123, no. 2 (August 2012): 244–46. http://dx.doi.org/10.1080/0015587x.2012.683590.

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42

Cormier, Raymond. "An Introduction to Early Irish Literature." Études irlandaises, no. 35-1 (June 30, 2010): 172–73. http://dx.doi.org/10.4000/etudesirlandaises.1884.

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43

Lanters, José, and Robert Welch. "The Oxford Companion to Irish Literature." World Literature Today 70, no. 4 (1996): 1006. http://dx.doi.org/10.2307/40152492.

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44

O'Toole, Tina. "Cé Leis Tú? Queering Irish Migrant Literature." Irish University Review 43, no. 1 (May 2013): 131–45. http://dx.doi.org/10.3366/iur.2013.0060.

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Irish lesbian, gay, bisexual, and transgender (LGBT) writers have almost all had personal experience of migration, and register the profound effect of those migrant experiences in their literary writing. Yet, to date, these voices have been silent in dominant accounts of the Irish diaspora. Focusing on queer subjects in migrant literature by women writers, this essay sets out to examine the links between LGBT and diasporic identities, and to explore the ways in which kinship and migrant affinities unsettle the fixities of family and place in the culture. Reading across the diasporic literary space carved out by Kate O'Brien, Emma Donoghue, and Shani Mootoo, the essay shows how their work resists, rejects, and questions the dominant culture, whether ‘at home’ or in the diaspora. Queer kinship, which intentionally appropriates relationships and values from the bio/genetic sphere but introduces elements of choice and agency to these connections, provides a useful framework within which we might read this literature. By the end of the twentieth century, queer kinship networks were in evidence across the Irish diaspora. In Ireland, ensuing transnational exchanges had a profound impact on grassroots social activism and theory. For instance, I argue that feminist theory and literature, often transmitted along axes of queer kinship, was key to the shaping of the women's and LGBT movements in Ireland. While we have yet to see the wide-scale effect of emerging immigrant writers on existing cultural forms in Ireland, it is only a matter of time before LGBT writers from immigrant communities begin to have an impact on the culture. While anticipating such work, we must continue to question how the space of Irish literature, and indeed of the Irish diaspora, has been constituted – and resisted – thus far.

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45

Cooney, Brian C. "Irish Literature in Transition and Romantic-Era Irish Women Poets in English." European Romantic Review 33, no. 4 (July 4, 2022): 602–7. http://dx.doi.org/10.1080/10509585.2022.2090726.

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46

Nagy, Joseph Falaky. "Observations on the Ossianesque in Medieval Irish Literature and Modern Irish Folklore." Journal of American Folklore 114, no. 454 (2001): 436–46. http://dx.doi.org/10.1353/jaf.2001.0040.

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47

Nagy, Joseph Falaky. "Observations on the Ossianesque in Medieval Irish Literature and Modern Irish Folklore." Journal of American Folklore 114, no. 454 (2001): 436. http://dx.doi.org/10.2307/542049.

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48

Larrissy, Edward. "IRISH ABUNDANCE." Essays in Criticism 61, no. 2 (April 1, 2011): 190–99. http://dx.doi.org/10.1093/escrit/cgr005.

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49

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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50

Clare, David. "Cosmopolitan versus Parochial Irishness in Bernard Shaw's Music Journalism (1877–1894)." Shaw 41, no. 2 (November 1, 2021): 385–99. http://dx.doi.org/10.5325/shaw.41.2.0385.

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ABSTRACT From the very start of his career in England, Bernard Shaw positioned himself as an Irish commentator with an incisive, outsider's view of the English. Shaw's internationalist Socialism made him wary of excessive patriotism; and in his dramas he casts a cold eye on fervent patriotism. But Shaw was also known to routinely boast about his “wild and inextinguishable pride” in being “an Irishman” and to repeatedly praise Irish “brains.” This seeming contradiction regarding partiality to one's native land raises a very pertinent question: What mode of living was Shaw recommending to his fellow Irish in England? The music reviews that Shaw wrote between 1876 and 1894 reveal his nuanced thinking in this area. In these pieces, Shaw's reflections on English-based Irish singers and composers show that he was consistent in advocating that Irish emigrants embrace cosmopolitan Irishness (being proudly Irish while also remaining mindful of non-Irish ideas and perspectives) over parochial Irishness (stubbornly adhering to Irish norms in defiance of international best practice and exaggerating Irish greatness and “exceptionalism”). This fits with Shaw's general perspective on how Irish people—both within and beyond Irish shores—should approach their “‘lived’ Irishness.”

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Journal articles on the topic 'Irish literature'

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