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Relevant bibliographies by topics / Northern Irish poetry

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Academic literature on the topic 'Northern Irish poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Northern Irish poetry"

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Stubbs, Tara. "Northern Irish poetry: the American connection." Irish Studies Review 24, no. 3 (May 29, 2016): 381–83. http://dx.doi.org/10.1080/09670882.2016.1190124.

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Holdridge, Jefferson. "Northern Irish poetry and theology; Yeats and Modern Poetry." Irish Studies Review 24, no. 1 (November 19, 2015): 116–22. http://dx.doi.org/10.1080/09670882.2015.1112542.

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Tynan, Aidan. "A Season in Hell: Paradox and Violence in the Poetry of Padraic Fiacc." Irish University Review 44, no. 2 (November 2014): 341–56. http://dx.doi.org/10.3366/iur.2014.0128.

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The work of Belfast poet Padraic Fiacc is an important but critically neglected contribution to the canon of Northern Irish poetry. This article explores Fiacc's work, giving particular attention to the collections published during the bloodiest years of the Northern Ireland conflict and to the anthology of poems on the subject of the conflict which he edited and published in 1974 with the Blackstaff Press. Beyond the intrinsic value of Fiacc's poems themselves, his work has the benefit of causing us to reconsider issues of canonicity in the Irish poetic tradition and to revisit some of the assumptions about the relationships between poetry, history, and politics which have become dominant in our understanding of this tradition. Fiacc's poetry, while located in a distinctly Irish cultural context, bears important resemblances to the work of continental figures such as Rimbaud and Celan. In addition, Fiacc's work raises crucial questions about the relationship between violence, poetry, and language at a more general level. The article addresses some of these questions through the insights of philosophers such as Slavoj Žižek, Theodor Adorno, and Walter Benjamin.

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Alexander, Neal, Shane Alcobia-Murphy, and Richard Kirkland. "Sympathetic Ink: Intertextual Relations in Northern Irish Poetry." Canadian Journal of Irish Studies 33, no. 2 (2007): 80. http://dx.doi.org/10.2307/25515695.

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Stuart, Maria. "Strange English: Emily Dickinson and Northern Irish Poetry." Emily Dickinson Journal 21, no. 1 (2012): 79–97. http://dx.doi.org/10.1353/edj.2012.0009.

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Kearney, Kirsten. "Northern Irish Poetry and Theology. By Gail McConnell." Literature and Theology 30, no. 1 (July 13, 2015): 118–20. http://dx.doi.org/10.1093/litthe/frv027.

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

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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.

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Obert, Julia C. "Northern Irish Poetry and Domestic Space by Adam Hanna." New Hibernia Review 20, no. 3 (2016): 155–57. http://dx.doi.org/10.1353/nhr.2016.0051.

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Wheatley, David. "?That Blank Mouth?: Secrecy, Shibboleths, and Silence in Northern Irish Poetry." Journal of Modern Literature 25, no. 1 (September 2001): 1–16. http://dx.doi.org/10.2979/jml.2001.25.1.1.

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Marklew, Naomi. "The future of Northern Irish poetry: Fragility, contingency, value and beauty." English Academy Review 31, no. 2 (July 3, 2014): 64–80. http://dx.doi.org/10.1080/10131752.2014.965419.

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Dissertations / Theses on the topic "Northern Irish poetry"

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Horton, Patricia. "Romantic intersections : romanticism and contemporary Northern Irish poetry." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337039.

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McConnell, Gail Florence. "For a words sake : Theological aesthetics in contemporary Northern Irish poetry." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534658.

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Lavery, Ian. "Rewritings, appropriations, deformations : aspects of intertextuality in contemporary Northern Irish poetry." Thesis, University of Stirling, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319808.

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Buxton, Rachel. "The influence of Robert Frost on Seamus Heaney and Paul Muldoon." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391013.

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Redmond, John Plunket. "Aspects of the interrelationship of British and Northern Irish poetry : 1960-1994." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365622.

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Haworth, Simon. "Fast enough : poems and places where a thought might grow : culture, liminality and the Troubles in Derek Mahon's Lives (1972) and The Snow Party (1975)." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/fast-enough-poems-and-places-where-a-thought-might-grow-culture-liminality-and-the-troubles-in-derek-mahons-lives-1972-and-the-snow-party-1975(a0aee0c1-7887-49e2-aaed-62ced953fffa).html.

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Fast Enough is a collection of poems that plays on the potential implications of its title when thinking about history, time, place, nationality, religion and culture. These things are always in flux, there are no fixed systems, no solutions can be endorsed. There is a nagging anxiety and sense of being overwhelmed by these forces as the poems negotiate and come into contact with them. Formally the poems are interested in the possibility of the stanza, a controlled but arbitrary use of line and rhyme, the use of enjambment and variations in tone or delivery, from the colloquial to the intellectual. They use both urban and bucolic imagery, interspersing this to disorientate and confuse. The collection aims to unsettle, to propose and reject when thinking about the relationship of poetry to historical and contemporary pressures; the result is an unattached individualism. The poems offer a critique and inform. Distance and detachment are important elements for these poems as they move between England, Ireland, America and Europe. This is both a search for subject matter, and a signal of their interest in peripherality, the margins, the interstices and an angular or askance approach to place. Often a composed outsiderliness can be sensed in the subject matter, or in alienated but open speakers who are strangers in their own country or another, and existentially aware (or alert – alert to the dangers of past, present and future events/selves) observers. The critical element of this thesis, Places Where a Thought Might Grow: Culture, Liminality and the Troubles in Derek Mahon’s Lives (1972) and The Snow Party (1975), is a long piece of academically engaged literary criticism that assesses Mahon’s second and third collections of poetry. Using a theoretical filter of liminality, the work argues that Mahon strategically or deliberately writes the liminal into his poetry as a form of dissent against the cultural fixity apparent in Northern Ireland in the early 1970s. This derives from a profound sense of alienation from his Northern Irish, Protestant/Presbyterian inheritance and a reluctance to assume a role akin to that of a communal spokesperson. To do so the work considers important and specific poems from both collections. These are contextualised around the Troubles, an era when unique and overwhelming political and religious extremes decisively and long lastingly impacted Mahon’s poetry. It reads these collections as a two-part project in which Mahon implements liminal, peripheral and interstitial ideas (through the use of place, objects, subject matter and form) to interrogate absolutism and tribalism in the province. The work also argues that Mahon’s poems, influenced by existentialism, millenarianism and postcolonialism, are liminal zones where identity and subjectivity can be freely re-conceptualised and the unwieldy, prescriptive influence of such things as nationalism and history broken down. The poetry of some of Mahon’s Northern Irish contemporaries (notably Seamus Heaney, Michael Longley and Paul Muldoon) is considered. The study also proposes that the influence of the writers Samuel Beckett and Louis MacNeice (key literary catalysts in Mahon’s divorce from his Northern Irish origins) are simultaneously at work in both collections, creating unresolvable tensions and paradoxes in these poems.

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Sperry, Amanda N. ""Emblems of adversity" W. B. Yeats's poetics of violence and contemporary Northern Irish poetry /." Winston-Salem, NC : Wake Forest University, 2009. http://dspace.zsr.wfu.edu/jspui/handle/10339/41353.

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Kruczkowska, Joanna. "The role of contemporary northern Irish poetry in the context of the conflict in Ulster." Paris 3, 2003. http://www.theses.fr/2003PA030134.

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Cette thèse a pour but de démontrer que le conflit en Irlande du Nord impose aux poètes de jouer certains rôles. Les méthodes d'approches du conflit ainsi que les divers modes de descriptions utilisés par les poètes dont l'œuvre est analysée dans cette thèse reflètent la situation en Irlande du Nord et le sentiment d'identité des poètes en question. Ces méthodes d'approches et modes de description constituent un 'prisme' au travers duquel ils peuvent rendre compte d'une manière adéquate des émotions et des évènements, et essayer de comprendre les mécanismes sous-jacents du conflit. Les poètes étudiés en détail sont Tom Paulin et Michael Longley. Le dernier chapitre, consacré aux relations entre la poésie nord-irlandaise et la poésie polonaise contemporaine, abordera également certains aspects de l'œuvre de Seamus Heaney
The aim of this dissertation is to demonstrate that the situation of the Northern Irish conflict necessitates taking roles by poets, even if they claim having no 'public' role to perform in this context. The poets' approaches to the conflict and modes of description analysed in this work reflect the situation in the North and the poets' sense of identity. Those attitudes and modes serve to find a 'mirror' through which to convey emotions and events in an appropriate way and try to understand mechanisms behind the conflict. The poets discussed in detail are Michael Longley and Tom Paulin, two poets of the Ulster Protestant background. The last chapter, devoted to the links between Northern Irish and Polish contemporary poetry considers also some aspects of Seamus Heaney's work. It is based on Paulin's and Heaney's reading of Polish poetry and on the convergences between history and literature of both countries

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Pryce, Alexandra Rhoanne. "Selective traditions : feminism and the poetry of Colette Bryce, Leontia Flynn and Sinead Morrissey." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:3cff3422-3046-48d1-b765-05a815963ecd.

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This thesis seeks to argue for the problematising role of tradition and generational influence in the work of three Northern Irish poets publishing since the late 1990s. The subjects, Colette Bryce (b. 1970), Leontia Flynn (b. 1974) and Sinéad Morrissey (b. 1972), emerged coterminously, each publishing with major UK publishers. Together they represent a generation of assured female poetic voices. This study presents one of the first critical considerations of the work of these poets, and it remains conscious of the dominance of conceptions of tradition and lineage which are notable in poetry from Northern Ireland from the twentieth-century onwards. In suggesting that this tradition is problematised for emerging women poets by precursor-peer dominance and the primacy of male perspectives in the tradition, this thesis combines a study of poetics, themes relating to gender, detachment and paratexts. From consideration of these elements, it proposes that contemporary poets are not necessarily subject to the powers of tradition and influence, but rather, are capable of a selective approach that in turn demonstrates the malleability of contemporary traditions. The approaches are laid out in four chapters which move from a consideration of “threshold” paratexts (following from the work of Gérard Genette), including book reviews and dedications, through studies of thematic divergence and detachment, the changing status of women’s poetry traditions within Northern Ireland and beyond, the significance of gendered subjects in poetry, and influence found not in thematic or paratextual aspects, but in the individual aspects of poetic form. These aspects combine to form poems and the tradition(s) in which they continue. The thesis provides extensive coverage of the work of Bryce, Flynn, and Morrissey, combining close readings with the application of theoretical frameworks interrogating the implications of literary traditions on later writers (especially when the writers are temporally and culturally close), giving particular consideration to gender and feminist politics. It explores a variety of different critical truisms applied to the poetic generations that precede the younger poets and identifies both compliance and divergences from the contemporary Northern Irish canon. In doing so, this study simultaneously illuminates the frailties of the popular, overwhelmingly male, tradition, particularly as regards to representations of women, and provides direction for studies of post-millennial Northern Irish poetry.

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Annunciação, Viviane Carvalho da. "Exile, home and city: the poetic architecture of Belfast." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30102012-123412/.

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The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging.
A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.

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Books on the topic "Northern Irish poetry"

1

Kennedy-Andrews, Elmer. Northern Irish Poetry. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390.

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McConnell, Gail. Northern Irish Poetry and Theology. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137343840.

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Buxton, Rachel. Robert Frost and Northern Irish poetry. Oxford: Clarendon Press, 2004.

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Robert Frost and Northern Irish poetry. Oxford: Oxford University Press, 2004.

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Hanna, Adam. Northern Irish Poetry and Domestic Space. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137493705.

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Schwerter, Stephanie. Northern Irish Poetry and the Russian Turn. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137271723.

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Improprieties: Politics and sexuality in Northern Irish poetry. Oxford: Clarendon Press, 1993.

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Peter, McDonald. Mistaken identities: Poetry and Northern Ireland. Oxford: Clarendon Press, 1997.

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McDonald, Peter. Mistaken identities: Poetry and Northern Ireland. Oxford: Clarendon Press, 2002.

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Heaney, Seamus. Place and displacement: Recent poetry of Northern Ireland. [Grasmere, Westmorland?]: Trustees of Dove Cottage, 1985.

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Book chapters on the topic "Northern Irish poetry"

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Kennedy-Andrews, Elmer. "Transnational Poetics." In Northern Irish Poetry, 1–26. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_1.

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Kennedy-Andrews, Elmer. "John Montague: ‘Circling to Return’." In Northern Irish Poetry, 27–58. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_2.

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Kennedy-Andrews, Elmer. "Seamus Heaney: ‘the Appetites of Gravity’." In Northern Irish Poetry, 59–98. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_3.

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Kennedy-Andrews, Elmer. "Derek Mahon: ‘Resident Alien’." In Northern Irish Poetry, 99–127. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_4.

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Kennedy-Andrews, Elmer. "Paul Muldoon: Expatriate Transnationalism." In Northern Irish Poetry, 128–97. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_5.

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Kennedy-Andrews, Elmer. "Ciaran Carson: Indigenous Transnationalism." In Northern Irish Poetry, 198–224. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_6.

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Kennedy-Andrews, Elmer. "Conclusion: a Widening Circle." In Northern Irish Poetry, 225–57. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137330390_7.

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Heaney, Seamus. "Place and Displacement: Reflections on Some Recent Poetry from Northern Ireland." In Contemporary Irish Poetry, 124–44. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-80425-2_7.

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Heidemann, Birte. "Between the Lines: Post-Agreement Poetry." In Post-Agreement Northern Irish Literature, 141–89. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28991-5_4.

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Craig, Patricia. "History and its Retrieval in Contemporary Northern Irish Poetry: Paulin, Montague and Others." In Contemporary Irish Poetry, 107–23. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-80425-2_6.

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