Bibliographies thématiques / Ghosts – Ireland

Littérature scientifique sur le sujet « Ghosts – Ireland »

Auteur : Grafiati

Publié le 25 juillet 2024

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Articles de revues sur le sujet "Ghosts – Ireland"

Quealy-Gainer, Kate. « Ophie’s Ghosts by Justina Ireland ». Bulletin of the Center for Children's Books 74, n^o 8 (2021) : 339. http://dx.doi.org/10.1353/bcc.2021.0159.

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Chace, William M. « Joyce's Ghosts : Ireland, Modernism, and Memory ». Common Knowledge 22, n^o 3 (septembre 2016) : 516. http://dx.doi.org/10.1215/0961754x-3634262.

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Mydla, Jacek. « The Fertility of the Supernatural : Stuart Neville’s ”The Ghosts of Belfast” ». Lublin Studies in Modern Languages and Literature 43, n^o 2 (3 juillet 2019) : 51. http://dx.doi.org/10.17951/lsmll.2019.43.2.51-59.

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<p>In <em>The Ghosts of Belfast</em> (2009), spectres of the conflict’s victims haunt Gerry Fegan, a former “soldier” and assassin. Picking up the metaphorical cue from the epigraph to Neville’s novel – “the place that lacks its ghosts is a barren place” – the article addresses the thriller’s supernatural content. The meaning and role of the titular ghosts have been in part determined by Neville’s debt to the Western traditions of making sense of the supernatural. However, they assume new roles within the narrative and possibly also in the author’s vision of the peace process: i.e. in keeping Northern Ireland “fertile”.</p>

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Norris, Margot. « Luke Gibbons, Joyce's Ghosts : Ireland, Modernism and Memory ». Irish University Review 47, n^o 2 (novembre 2017) : 387–89. http://dx.doi.org/10.3366/iur.2017.0292.

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Gibson, Andrew. « Joyce’s Ghosts : Ireland, Modernism, and Memory by Luke Gibbons ». Modernism/modernity 23, n^o 4 (2016) : 920–22. http://dx.doi.org/10.1353/mod.2016.0085.

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O'Callaghan, Katherine. « Joyce's Ghosts : Ireland, Modernism, And Memory by Luke Gibbons ». James Joyce Quarterly 54, n^o 3-4 (2017) : 441–46. http://dx.doi.org/10.1353/jjq.2017.0017.

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Zalewski, Marysia. « Gender Ghosts in McGarry and O'Leary and Representations of the Conflict in Northern Ireland ». Political Studies 53, n^o 1 (mars 2005) : 201–21. http://dx.doi.org/10.1111/j.1467-9248.2005.00524.x.

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This article focuses on how ideas about gender function in academic analyses of the conflict in Northern Ireland. Part of the reason for doing this is to explore the paradox afflicting contemporary feminism, namely that in the midst of apparent success feminism still seems largely irrelevant to matters of political significance. A second reason involves a demonstration of the political value of poststructural feminism. To achieve these aims, I first consider the use and political aims of poststructuralist analyses, partly through an analysis of the use of poetry in social scientific analyses. The main site used to demonstrate the functions of gender and the political possibilities of poststructural feminism is John McGarry and Brendan O'Leary's book Explaining Northern Ireland: Broken Images. The sub-title of this book refers to a Robert Graves' poem, ‘In Broken Images’, a poem the authors use to explain their desire to ‘break images’ when explaining the conflict in Northern Ireland. I next reflect on and illustrate how ideas about gender function by focusing primarily on Explaining Northern Ireland: Broken Images. The final section re-considers the paradox of contemporary feminism, suggesting that feminism's own methodologies contribute towards its persistent marginalisation.

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Susan Elizabeth Howe. « In Ireland, Meeting the Ghosts, and : Rhododendron Glade, Kew Gardens ». Prairie Schooner 82, n^o 4 (2008) : 39–41. http://dx.doi.org/10.1353/psg.0.0167.

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Myers, Jason. « Ghosts of the Somme : commemoration and culture war in Northern Ireland ». Irish Studies Review 27, n^o 4 (21 août 2019) : 592–94. http://dx.doi.org/10.1080/09670882.2019.1657620.

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Graff-McRae, Rebecca. « Ghosts of the Somme : commemoration and culture war in Northern Ireland ». Irish Political Studies 34, n^o 1 (15 novembre 2018) : 141–42. http://dx.doi.org/10.1080/07907184.2018.1545195.

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Thèses sur le sujet "Ghosts – Ireland"

Parrott, Jennifer Mae. « Ghostly Faces and Liminal Spaces : Landscape, Gender, and Identity in the Plays of Marina Carr ». OpenSIUC, 2010. https://opensiuc.lib.siu.edu/dissertations/196.

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In my dissertation, I argue that Marina Carr creates liminal spaces in her plays, exploring the tensions inherent in the issues of landscape, gender, and identity. She uses these liminal spaces to expose her audiences to more complex conceptions of Ireland in the twenty-first century. For example, Carr frequently challenges perceived notions of gender identity, drawing attention to gender as performance and creating female protagonists who resist their roles as wives and mothers. Landscape is also an important element of Carr's plays; most frequently she uses the landscape of the Irish Midlands as a space that is liminal both in terms of its geography in the center of the country and in terms of the bogs, which are neither land nor water. Finally, throughout her plays she combines elements of the Irish dramatic tradition with non-Irish elements as a way of expressing Ireland's complicated post-Celtic Tiger identity. I address Carr's plays chronologically in an attempt to trace her development of her use of liminality, which begins primarily with gender in Low in the Dark and expands to include landscape and identity through the Midlands plays. Most recently, plays like Woman and Scarecrow and The Cordelia Dream are set in the liminal moments between life and death and in the unconscious world of the characters' dreams, illustrating Carr's continuing exploration of new liminal spaces.

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Baxter, Patrick. « Ghost developments on film : an experimental ethnographic exploration of place and space in post-Celtic Tiger Ireland ». Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/618444/.

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How can film and social research be used to interrogate the relationship between a marginalized place and its vacant spaces - what I refer to as Ghost Developments? This research project investigated aspects of the post-Celtic Tiger Ireland newly built environment through the production of an experimental ethnographic documentary film and an accompanying scholarly text. In the wake of the Global Financial Crisis, the Republic of Ireland experienced one of the most dramatic property market collapses in recorded history, resulting large swathes of vacant and/or unfinished housing and commercial property throughout the country. My hometown and county Longford was one of the places that suffered disproportionally as a site of what became known as ‘ghost estates’ - unfinished housing estates, though it should be noted there remained a paucity of social or artistic research into vacant commercial property. In my research I have expanded on the popular term ‘ghost estate’ to arrive at ‘ghost developments’ as a new conceptualization within ruin studies that seeks to explore the aesthetic, artistic, historical, relational, material and experiential qualities of a range of ruined spaces in post-Celtic Tiger Ireland, and furthermore what they can tell us about the social dynamics of place. I use the ‘ghost development’ conceptualization as a social and filmic device that not only questions how vacant space has been represented in post-Celtic Tiger Ireland, but furthermore to propose the idea that through these spaces we can begin to think of the categories of urban/rural/suburban not solely as spatial delineations but as sets of social practices which are negotiated differently depending on social setting or location. My film A Place Where Ghosts Dwell employs a number of different styles, film modes and techniques to narratively tease out the spaces between ethnographic film and the essay-film to create an artistic film that is subjective and intersubjective, stylized and socially contextualized. As an experimental ethnography, this project (text and film) is both artistic and social research.

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Wong, Kuok. « The ghost story across cultures : a study of Liaozhai Zhiyi by Pu Songling and the Celtic Twilight by William Butler Yeats ». Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1943892.

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Ireland, Patricia Anne. « Live Ghosts ». 2010. http://trace.tennessee.edu/utk_gradthes/634.

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In Live Ghosts, Patricia (Patty) Ireland offers a gathering of short stories based upon real life characters she encountered while growing up in the South. Exploring the diversity, complexity and moral ambiguity of those we might normally perceive as being stereotypically “Southern,” Ireland’s tales encompass a variety of time periods, settings, and characters, including: a modern-day family struggling to reconcile the reality of death, interracial lovers in the early 1950’s who are descended from masters and slaves, and an insane killer locked for life in a mental institution of the 1990’s. Live Ghosts is infused with tales of fear, love, loss, regret, madness, and self discovery, themes intrinsic not only to Southern culture, but to the universal vulnerability in all of us.

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Livres sur le sujet "Ghosts – Ireland"

Daly, Ita. Unholy ghosts. London : Bloomsbury, 1996.

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Holzer, Hans. The lively ghosts of Ireland. Avenuel, N.J : Wings Books, 1996.

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Butler, Rosemary. Ghostly encounters : Ireland, England, and Spain. Heathsville, Va : Sun on Earth Books, 2010.

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Rooney, E. Ashley. Ireland's ghosts, legends & lore. Atglen, PA : Schiffer Publishing, 2013.

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Dillon, Eilís. The island of ghosts. London : Faber, 1991.

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The island of ghosts. New York : Scribner, 1989.

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Dillon, Eilís. The island of ghosts. London : Faber, 1990.

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Byrne, Trevor. Ghosts & lightning. Edinburgh : Canongate, 2009.

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Dunne, John J. Haunted Ireland : Her romantic and mysterious ghosts. 2^e éd. Belfast : Appletree, 1989.

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Creedon, David. Ghosts of the faithful departed. Cork : Collins Press, 2011.

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Chapitres de livres sur le sujet "Ghosts – Ireland"

Morash, Christopher. « Ghosts and Wires : The Telegraph and Irish Space ». Dans Ireland and the New Journalism, 21–33. New York : Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137428714_2.

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Sneddon, Andrew. « Fortune Telling, Culture, Law, and Gender in Ireland, C.1691–1840 ». Dans Magic, Witchcraft, and Ghosts in the Enlightenment, 123–47. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003049326-7.

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Peter, Christine St. « Returning from the ‘Ghost Place’ : Recomposing History ». Dans Changing Ireland, 66–93. London : Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230596467_4.

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Mitchell, Claire. « Northern Protestants' Irish Ghost Limb ». Dans The Routledge Handbook of the Northern Ireland Conflict and Peace, 462–69. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003224372-40.

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Doyle, Martin. « A ghost estate and an empty grave ». Dans The Routledge Handbook of the Northern Ireland Conflict and Peace, 607–21. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003224372-54.

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Moi, Ruben. « ‘In a ghostly pool of blood / a crumpled phantom hugged the mud’ : Spectropoetic Presentations of Bloody Sunday and the Crisis of Northern Ireland ». Dans Crisis and Contemporary Poetry, 61–81. London : Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306097_5.

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Fennell, Jack. « Ghosts, Narrative, and Noumenal Reality ». Dans Rough Beasts, 99–128. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620344.003.0005.

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This chapter considers Ireland’s rich tradition of ghost stories through the lens of Kant’s ‘noumenal reality’ – that is, facts of nature that are (and will forever remain) beyond the understanding of human minds: ghosts resist comprehension in proportion to the scrutiny applied to them, appearing as self-evident facts to the untroubled believer and as frustrating enigmas to those who look for scientific evidence. It is thus hardly surprising that their manifestations interfere with our ability to create narratives, whether on an interpersonal or national scale. The ghost stories considered here complicate traditional family dynamics and nation-building historiography alike, and pose interesting questions regarding the role of storytellers in a modern Ireland where literal belief in the supernatural is no longer a constant feature.

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« Ghosts of our lives ». Dans Northern Ireland a generation after Good Friday. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526139276.00009.

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Ryan, Ray. « Between the Falls Road and Kildare Street : Thomas McCarthy and the Location of Memory ». Dans Ireland and Scotland, 199–249. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198187769.003.0005.

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Abstract In One Key episode from Thomas McCarthy’s 1991 novel Without Power, rival Fianna Fail and Coalition workers, campaigning in the presidential election of 19 81, wander lost in thick fog in their west-Waterford constituency. The Coalition workers have destroyed Fianna Fail election posters, but retribution is suspended as a swirling mist envelops both factions. The Fianna Fail workers become ‘one eye, one ear … as if the cold ghosts of the mountain’s memory had taken over, and were now directing the progress of their minibus’ (WP, n7).

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Pigott, Michael. « Chronotopic Ghosts and Quiet Men : José Luis Guerín’s Innisfree ». Dans Journeys on Screen, 70–85. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421836.003.0005.

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In 1988 José Luis Guerín took a film crew from Spain to the western coast of Ireland, in search of the filming locations of John Ford’s The Quiet Man (1952). The resultant film, Innisfree (1990), blends documentary with fiction, and the present with the past, to seemingly uncover the physical, cultural and spectral remnants of the Hollywood production in this small rural locality. Innisfree is both the product of a journey (the Spanish filmmaker’s fannish field trip) and the representation of several journeys and returns. This essay examines Guerín’s depiction of the ghostly persistence of The Quiet Man in the landscape, by using Mikhail Bakhtin’s concept of the chronotope to identify the lasting significance of real and imagined time-spaces in the cinematic landscape. Just as immigrant Irishman Sean Thornton (John Wayne) returns to his spiritual homeland from Pittsburgh, USA to reclaim his family land, Ford himself returns to the land of his parents’ birth. In Innisfree Thornton’s, Ford’s and Guerín’s imagined Irelands all mingle and intertwine in a confusing crossroads of time, fiction, memory and landscape.

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