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1
Nash, Catherine. « Irish Origins, Celtic Origins ». Irish Studies Review 14, no 1 (février 2006) : 11–37. http://dx.doi.org/10.1080/09670880500439760.
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Stalmaszczyk, Piotr. « Celtic Studies in Poland in the 20th century : a bibliography ». ZCPH 54, no 1 (30 avril 2004) : 170–84. http://dx.doi.org/10.1515/zcph.2005.170.
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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Bondarenko, Grigory. « Alexander Smirnov and the Beginnings of Celtic Studies in Russia ». Studia Celto-Slavica 5 (2010) : 139–48. http://dx.doi.org/10.54586/vzlu3138.
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Celtic studies in Russia which have developed during the twentieth century into a recognised and respectable branch on the tree of humanities owe much to one person who undoubtedly has won a right to be called a patriarch of Celtic studies in Russia, namely Alexander Alexandrovich Smirnov. Mostly known for his pioneering translations of early Irish tales into Russian in the early days of his career he was also prominent scholar of Welsh and Breton covering many aspects of Celtic linguistics and literary studies. His biography, achievements and approach to Celtic studies in Russia deserve better attention both on the Russian side and in the view of the history of Celtic studies worldwide. We are aiming here to connect facts of his biography with his academic career in the field of Celtic studies and because of the specific aims and limits of the present conference we are not going to touch on his role as a scholar of Romance literatures and as a Shakespearean scholar. Alexander Smirnov [27.8(8.9).1883 – 16.9.1962] can be considered the first professional Celtic scholar in Russia. He was a prominent medievalist and philologist with a range of interests from early Irish and Welsh literature to Shakespearean studies. The paper is devoted to some little known facts from Smirnov’s biography especially to the early years of his academic career in Russia, France and Ireland. His earlier publications on Celtic literatures and ideas expressed therein will be brought to light and examined. Smirnov should be recognised as a ‘founding father’ of a school of Russian Celtic studies. His ideas and influence are still alive in the works of subsequent Russian scholars of Celtic.
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Kennon, Patricia. « Reflecting Realities in Twenty-First-Century Irish Children's and Young Adult Literature ». Irish University Review 50, no 1 (mai 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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Bubert, Marcel. « „Indo-European in Basis and Origin“. Das altirische Recht zwischen insularem Archaismus und europäischer Verflechtung ». Das Mittelalter 25, no 1 (3 juin 2020) : 165–79. http://dx.doi.org/10.1515/mial-2020-0012.
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AbstractResearch on Old Irish law was from the very beginning related to specific epistemological and political contexts in which Celtic and Indo-European Studies emerged as scientific disciplines at the end of the 19th century. The premise of historical linguistics that the Indo-European languages derived from a common ‘origin’ had far reaching implications for studies on medieval Celtic law tracts. Since linguists had discovered significant parallels between Old Irish and Sanskrit, the legal traditions of Ireland and India were believed to preserve archaic Indo-European continuities as well. Against this background, and in a particular political context, Irish scholars of the 20th century argued for the autonomy and isolation of Old Irish law which was supposed to be unaffected by the Latin and Christian literature of continental Europe. However, later researches departed radically from this national perspective and emphasized the impact of Canon law, hagiography and the Bible on Irish written culture. This article takes up a different perspective by focusing on the persistence of a legal imagery that was by no means essentially Indo-European but still provided conceptual tools for the interpretation and ‘translation’ of texts, as they occur in vernacular adaptations of Latin literature.
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O'Donnell, Kathleen Ann. « Translations of Ossian, Thomas Moore and the Gothic by 19th Century European Radical Intellectuals : The Democratic Eastern Federation ». Lublin Studies in Modern Languages and Literature 43, no 4 (30 décembre 2019) : 89. http://dx.doi.org/10.17951/lsmll.2019.43.4.89-104.
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<p>This article will show how translated works by European radical writers of <em>The Poems of Ossian</em> by the Scot James Macpherson and <em>Irish Melodies</em> and other works by the Irishman Thomas Moore, were disseminated. Moore prefaced <em>Irish Melodies</em> with “In Imitation of Ossian”. It will also demonstrate how Celtic literature, written in English, influenced the Gothic genre. The propagation of these works was also disseminated in order to implement democratic federalism, without monarchy; one example is the Democratic Eastern Federation, founded in Athens and Bucharest. To what extent did translations and imitations by Russian and Polish revolutionary intellectuals of Celtic literature and the Gothic influence Balkan revolutionary men of letters?</p>
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Joseph, Lionel S. « Old Irish Námae 'Enemy' and the Celtic NT-Stems ». Ériu 73, no 1 (2023) : 1–28. http://dx.doi.org/10.1353/eri.2023.a913549.
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Abstract: In this study, I will present as complete a collection as I can of Celtic nt-stems in order to answer the general question what types of nt-stems occur in Celtic, and specifically to use that collection to determine the most probable pre-form of Old Irish námae 'enemy' and its Gaulish cognates, about which there has been a lively discussion ever since 1923. I will also discuss in detail the system of adjectives and abstracts of which Old Irish lethan 'broad' : lethet 'breadth' is representative.
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Hall, Dianne, et Ronan McDonald. « Irish Studies in Australia and New Zealand ». Irish University Review 50, no 1 (mai 2020) : 198–205. http://dx.doi.org/10.3366/iur.2020.0446.
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This article gives an overview, and brief history, of Irish studies in Australia and New Zealand, within an academic context and beyond. It surveys major publications and formal initiatives, but also accounts for why Irish studies has been less vibrant in Australian than other Anglophone countries in the Irish diaspora. The Irish in Australia have a distinct history. Yet, in recent years and in popular understanding, they have also sometimes been absorbed into ‘white’ or Anglo-Celtic Australia. This makes their claims to distinctiveness less pressing in a society seeking to come to terms with its migrant and dispossessed indigenous populations.
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Alférez Mendía, Sofía. « The Continuum of Irish Female Sexuality in Sally Rooney’s Conversations with Friends and Normal People : A Contradicted Ireland ». Estudios Irlandeses, no 18 (17 mars 2023) : 148–60. http://dx.doi.org/10.24162/ei2023-11443.
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After the Celtic Tiger years, Irish society seems to have transitioned into a much more welcoming environment for the production of literature, and in general, for the arts. The proliferation of literature, and, more specifically, of women writers and portrayals of girlhood, is giving way to a significant visualization of female voices and female issues, Sally Rooney being one of those voices. Therefore, in this paper I aim to analyse her contribution to the current Irish literary landscape through her novels Conversations with Friends (2017) and Normal People (2018), where sex and female sexuality become two of the major themes. Trauma, guilt and shame (Free and Scully 2016), as key traits of recessionary Irish identity, will also be taken into account by looking into Rooney’s characters’ attitudes as they perform their own sexuality. Hence, both the advantage of a higher social awareness of female issues and the disadvantage of an ashamed Post-Celtic Tiger society mix, thus influencing the representation of 21st century Irish female sexuality, and also creating a definitely contradicted society (Crowley 2013), where social advances keep pushing forward while post-boom trauma and self-regulation keep them back.
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Borsje, Jacqueline. « The Secret of the Celts Revisited ». Religion & ; Theology 24, no 1-2 (2017) : 130–55. http://dx.doi.org/10.1163/15743012-02401007.
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What makes the Celts so popular today? Anton van Hamel and Joep Leerssen published on the popularity of imagery connected with pre-Christian Celts, Van Hamel seeing the holistic worldview and Leerssen mysteriousness as appealing characteristics. They explain waves of ‘Celtic revival’ that washed over Europe as reaction and romanticising movements that search for alternatives from contemporaneous dominant culture. Each period has produced its modernized versions of the Celtic past. Besides periodical heightened interest in things Celtic, Van Hamel saw a permanent basis of attraction in Celtic texts, which accommodate ‘primitive’ and romantic mentalities. This article also analyses Celtic Christianity (through The Celtic Way by Ian Bradley and The Celtic Way of Prayer by Esther de Waal) on the use of Celtic texts and imagery of Celtic culture. Two case studies are done (on the use of the Old-Irish Deer’s Cry and the description of a nineteenth-century Scottish ritual). Both the current search for ‘spirituality’ and the last wave of ‘Celtic revival’ seem to have sprung from a reaction movement that criticizes dominant religion/culture and seek inspiration and precursors in an idealized past. The roots of this romantic search for a lost paradise are, however, also present in medieval Irish literature itself. Elements such as aesthetics, imaginative worlds and the posited lost beauty of pre-industrial nature and traditional society are keys in explaining the bridges among the gap between ‘us’ and the Celts. The realization that Celtic languages are endangered or dead heightens the feeling of loss because they are the primary gates towards this lost way of (thinking about) life.
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Kapphahn, Krista. « Celtic Heroines : The Contributions of Women Scholars to Arthurian Studies in the Celtic Languages ». Journal of the International Arthurian Society 7, no 1 (1 septembre 2019) : 120–39. http://dx.doi.org/10.1515/jias-2019-0006.
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Abstract This article surveys some of the main contributions of female scholars to the study of Arthurian literature in the Celtic languages from the nineteenth century to the present day. Scholarship by women has been integral to the study of Celtic Arthurian literature since the translations of native Welsh texts by Lady Charlotte Guest. Since then, women’s contributions have been foundational to the field, influencing theories of transmission, analysis and the standard editions of much Arthurian material in Welsh, Irish, Gaelic and Breton. They remain vital to the life of Arthurian scholarship, and the final section addresses contributions by younger scholars whose lasting influence remains to be seen.
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Pilný, Ondřej. « Irish Studies in Continental Europe ». Irish University Review 50, no 1 (mai 2020) : 215–20. http://dx.doi.org/10.3366/iur.2020.0448.
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This essay seeks to give an overview of the study of Ireland and its culture in continental Europe from the late eighteenth century up to the present day. It discusses the early interest in Ossianic poetry, Celtic philology, and travel writing, together with the internationalist standing of modernist writers such as Joyce and Beckett as the roots of how and under which rubric Irish culture has been received by the general public and studied at universities, and then proceeds to examine the current state of Irish Studies and its prospects on the European continent.
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Mytum, H. C. « The Celtic West and Europe : Studies in Celtic Literature and the Early Irish Church (review) ». Catholic Historical Review 88, no 4 (2002) : 751–52. http://dx.doi.org/10.1353/cat.2003.0041.
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Taylor, David Emmet Austin. « Heroes of their time : The development of heroism in early Irish literature ». Boolean 2022 VI, no 1 (6 décembre 2022) : 197–202. http://dx.doi.org/10.33178/boolean.2022.1.32.
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Though medieval Irish literature is awash with characters described as ‘heroes’ by scholars and the public alike, such as Cú Chulainn and Finn mac Cumailll, what precisely is meant when we describe these characters as heroic remains uncertain. This project argues that, based on an intensive comparative study of two hundred and fifty-one medieval Irish works of heroic literature, drawn predominantly from the seventh through the fifteenth centuries, that there are six common qualities connecting medieval Irish heroes. These six qualities do not exist in a vacuum they emerged in response to cultural factors and were modified as society developed. At least two of the qualities are potentially based in ancient Celtic cultural practices described by Classical authors, while others appear to be rooted in medieval Irish aristocratic lifestyles. All six qualities change as they are influenced by historical events that shift how medieval Ireland conceptualizes aristocratic violence, such as the Norse and Norman invasions.
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Kim, Rina. « SEVERING CONNECTIONS WITH IRELAND : Women and the Irish Free State in Beckett's Writing ». Samuel Beckett Today / Aujourd'hui 15, no 1 (1 novembre 2005) : 57–69. http://dx.doi.org/10.1163/18757405-015001008.
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Beckett's female characterization in his early fiction is grotesque, devouring and sexually provocative. The intention of this article is to examine how such characterization is closely related to Beckett's resistance to the Irish Free State and the Celtic Revival movement by showing that the characterization can be attributed to the impulse to satirize the Celtic revivalists' portrayal of the idealized woman-as-Ireland. This article will argue that the male protagonists' attempt to achieve detachment from the possessive women in Beckett's early fiction gives expression to the author's desire for exile as well as to distance himself from the predominant literary nationalism.
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Kalaidjian, Andrew. « Synge and Synge : Science and Irish Modernism ». Modernist Cultures 10, no 2 (juillet 2015) : 178–200. http://dx.doi.org/10.3366/mod.2015.0108.
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Irish modernism from the Celtic Revival to the Republic of Ireland mobilized cultures of science and literature towards the larger goal of national independence. Focusing on the literary work of J. M. Synge and the popular science of his nephew J. L. Synge, I argue that a defining characteristic of the Irish modernist is the ability to mediate between literary and scientific discourses. Such a combined fluency serves to temper the Utopian impulses of Irish nationalism as well as the increasing rationalization of life that occurs during modernization. This modernist sensibility promotes cosmopolitan cultural understanding to validate a resilient national Irish identity upon an international stage.
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Townsend, Sarah L. « Muslim Integration and the Hijabi Monologues Ireland ». Irish University Review 51, no 2 (novembre 2021) : 209–26. http://dx.doi.org/10.3366/iur.2021.0515.
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In 2012 and 2013, two productions of the Hijabi Monologues, an American theatre project featuring the stories of Muslim women, were staged in Ireland. This essay considers their relationship to state-sponsored and community-led interculturalism during the Celtic Tiger and post-Tiger years. Both productions centred on the act of storytelling and tended to downplay xenophobia, instead enacting the type of feel-good intercultural exchange that has dominated Irish and European integration efforts since the late 1990s. At the same time, the 2013 production, on which the essay focuses, employed coalition-building strategies borrowed from the field of migrant activism, thereby ensuring Muslim involvement throughout the production process. The Hijabi Monologues Ireland furnishes a snapshot of a transitional moment in Irish intercultural programming when the state-funded projects of the Celtic Tiger era were giving way to migrant-led initiatives. By examining the production's artistic process, community participation, and funding streams, the essay assesses its successes and shortcomings in addressing the complex challenges of Muslim integration.
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Hickey, Ian. « Post Celtic Tiger landscapes in Irish fiction ». Irish Studies Review 29, no 1 (2 janvier 2021) : 127–29. http://dx.doi.org/10.1080/09670882.2021.1875552.
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Sen, Malcolm. « Risk and Refuge : Contemplating Precarity in Irish Fiction ». Irish University Review 49, no 1 (mai 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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Africa, Dorothy. « The Celtic West and Europe : Studies in Celtic Literature and the Early Irish Church. Doris Edel ». Speculum 78, no 1 (janvier 2003) : 161–62. http://dx.doi.org/10.1017/s003871340009919x.
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Buchanan, Jason. « Ruined Futures : Gentrification as Famine in Post-Celtic Tiger Irish Literature ». MFS Modern Fiction Studies 63, no 1 (2017) : 50–72. http://dx.doi.org/10.1353/mfs.2017.0004.
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Hadfield, Andrew. « Grimalkin and other Shakespearean Celts ». Sederi, no 25 (2015) : 55–76. http://dx.doi.org/10.34136/sederi.2015.3.
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This essay examines the representation of Ireland and Celtic culture within the British Isles in Shakespeare’s works. It argues that Shakespeare was interested in ideas of colonisation and savagery and based his perceptions on contemporary events, the history of the British Isles and important literary works such as William Baldwin’s prose fiction, Beware the Cat. His plays, notably The Comedy of Errors and Macbeth, represent Protestant England as an isolated culture surrounded by hostile Celtic forces which form a threatening shadowy state. The second part of the essay explores Shakespeare’s influence on Irish culture after his death, arguing that he was absorbed into Anglo-Irish culture and played a major role in establishing Ireland’s Anglophone literary identity. Shakespeare imported the culture of the British Isles into his works – and then, as his fame spread, his plays exported what he had understood back again, an important feature of Anglo-Irish literary identity, as many subsequent writers have understood.
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Stalmaszczyk, Piotr. « Celtic Studies in Poland : Recent Themes and Developments ». Studia Celto-Slavica 1 (2006) : 43–59. http://dx.doi.org/10.54586/wmro7332.
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Though works devoted to various aspects of Celtic philology and history appeared in Poland already by the end of the 19th century, it is Stefan Czarnowski (1879–1937) who deserves to be called the forerunner of Celtic studies in Poland. Czarnowski, the author of numerous studies on sociology, religion, history and theory of culture, also published several articles devoted to Celtic issues, especially literature and religion, and translations of specimens of Celtic literatures. However, his most important achievement in the field of Celtology was Le culte des héros et ses conditions sociales: Saint-Patrick, Héros national de l’Irlande (Paris 1919), an historical and sociological study of St. Patrick and mediaeval Ireland, in which he followed the methodological assumptions worked out by Émile Durkheim. Though published more than eighty years ago, this study has lost very little of its value and importance, and still deserves to be closely analysed. Today, several Polish scholars and institutions conduct research pertinent to Celtic Studies: most notably at the Chair of Celtic Studies at the Catholic University of Lublin, the only place in Poland where regular courses in modern Irish and Welsh have been offered, and where vigorous research, especially in the phonology of the Celtic languages is conducted. Also other universities offer more or less regular courses and seminars, such as the ‘Introduction to Celtic Studies Seminar’ at the Department of English Language at Łódź University. Hopefully, the future will see more of such initiatives. In the paper, I also stress the importance and appropriateness of providing information about Celtic Studies to students of English.
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Culpeper, Jonathan, et Alison Findlay. « National identities in the context of Shakespeare’s Henry V : Exploring contemporary understandings through collocations ». Language and Literature : International Journal of Stylistics 29, no 3 (août 2020) : 203–22. http://dx.doi.org/10.1177/0963947020949437.
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Shakespeare’s clearest use of dialect for sociolinguistic reasons can be found in the play Henry V, where we meet the Welshman Captain Fluellen, the Scotsman Captain Jamy and the Irishman Captain Macmorris. But what might contemporary audiences have made of these Celtic characters? What popular understandings of Celtic identities did Shakespeare’s characters trigger? Recent technological developments, largely in the domain of corpus linguistics, have enabled us to construct robust but nuanced answers to such questions. In this study, we use CQPweb, a corpus analysis tool developed by Andrew Hardie at Lancaster University, to explore Celtic identity terms in a corpus developed by the Encyclopedia of Shakespeare’s Language Project. This corpus contains some 380 million words spanning the 80-year period 1560–1639 and allows us to tap into the attitudes and stereotypes that would have become entrenched in the years leading up to Henry V’s appearance in 1599. We will show how the words tending to co-occur with the words Scots/Scottish, Irish and Welsh reveal contemporary understandings of these identities. Results flowing from the analyses of collocates include the fact that the Irish were considered wild and savage, but also that the word Irish had one particular positive use – when modifying the word rug. In discussing our findings, we will take note of critical discussions, both present day and early modern, on ‘nationhood’ in relation to these characters and identities. We will also conduct, partly for contrastive purposes, a brief analysis of the English identity.
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Breeze, Andrew. « Welsh Chwant ‘Desire’ and Trisantona ‘River Trent’ in Tacitus ». Вопросы Ономастики 18, no 1 (2021) : 128–39. http://dx.doi.org/10.15826/vopr_onom.2021.18.1.005.
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The article deals with the ancient name of the longest river solely in England, the Trent, flowing past Stoke-on-Trent and Nottingham to the North Sea. In a passage that has raised debate and led to a number of misinterpretations in literature, Tacitus recorded it as (emended) Trisantona, which has been explained from Old Irish sét ‘course’ and Welsh hynt ‘path’ as ‘trespasser, one that overflows’ (of a stream liable to flood). Trisantona or the like would be the name of other rivers, including the Tarrant in Dorset and Tarannon or Trannon in mid-Wales. Yet the interpretation ‘trespasser’ has grave phonetic and semantic defects. They are removed by a new etymology on the basis of Old Irish sét ‘treasure’ (Modern Irish seoid) and Welsh chwant ‘desire’ from hypothetical Common Celtic *suanto-. The paper provides textual, historical and linguistic arguments supporting this etymological interpretation. Trisantona or (preferably) reconstructed *Trisuantona (from *Tresuantona) would thus (instead of ‘trespasser, flooder’) mean ‘she of great desire, she who is much loved.’ The implication is that the Trent (like the English rivers Dee ‘goddess’ or Brent ‘she who is exalted’) was regarded as a Celtic female deity, a passionate and perhaps dangerous entity.
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Ruane, Aileen R. « Language, translation, and the Irish Theatre Diaspora in Quebec ». Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no 2 (25 mai 2020) : 63–83. http://dx.doi.org/10.5007/2175-8026.2020v73n2p63.
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This article argues for the inclusion of contemporary Québécois translations of twentieth-century Irish plays as part of the Irish theatrical diaspora. The presence of an Irish diaspora in North America was mainly the result of massive waves of immigration, in large part due to the Great Famine, peaking during the mid-nineteenth century before gradually abating. This diaspora in Quebec has resisted full linguistic assimilation, yet was also integrated into many aspects of its culture, a fact that was facilitated by similar political, religious, and even linguistic parallels and elements. Interest in Irish culture, especially in its theatrical output, remains high, with many theatre companies in the province commissioning seasons based on Celtic Tiger-era dramas, translated by Québécois playwrights who also happen to be translators. In tracing and analysing the reason for this interest, despite diminished recent immigration, this article provides the basis for continued research into the performative force of proactive translations across varying diasporic traditions.
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Karl, Raimund. « Random Coincidences Or : the return of theCelticto Iron Age Britain ». Proceedings of the Prehistoric Society 74 (2008) : 69–78. http://dx.doi.org/10.1017/s0079497x00000141.
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This paper examines whether there really are fundamental differences between a Celtic model of social organisation and the observations made by J.D. Hill about PRIA social organisation in southern England. Hill's alternative model, which in his opinion seems to be fundamentally at odds with what can be learned from Celtic sources, is characterised by the importance of three main factors. These are the essentially ideological, east-facing orientation of Iron Age houses and enclosed settlements, the ideological boundedness of individual homesteads, and the household as the centre of production. Yet, an examination of the medieval Irish andWelsh literature reveals that these three fundamental characteristics also seem to define the societies described in the Celtic texts. However, while the household is the central independent social and economic unit, the medieval texts also put great emphasis on kinship, with kin-groups fulfilling important, complementary roles for the individual households. It is examined whether a kind of society that is not dominated by either households or kinship, but by both households and kinship, can successfully explain all the archaeological phenomena observable in PRIA Britain, including different ‘hillforts’ possibly fulfilling several different functions. The striking similarities that can be found between the kinds of societies proposed by Hill as inhabiting PRIA Britain and those described in the medieval Irish and Welsh sources force us to consider whether the Celtic should not better be returned to PRIA Britain, and whether the ‘different Iron Ages’ were not that different after all.
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Pilkevych, Andrii. « «SECONDARY SOURCES» OF CELTIC AND NORSE MODES IN MODERN POPULAR CULTURE THROUGH THE PRISM OF FANTASY ». Ethnic History of European Nations, no 69 (2023) : 153–57. http://dx.doi.org/10.17721/2518-1270.2023.69.19.
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The article deals with the main sources of the modern fantasy genre, presented in the form of several blocks of borrowings. First of all, this is the influence of the figures of the «Celtic Revival», who were engaged the search, recording and systematization of mainly Irish, Scottish and Welsh tales, myths and a wide range of folklore material. This legacy was transformed into an original literary tradition characterized by a combination of legendary heritage with fictional art elements and authorial reworking. Examples of pseudo-translations from Celtic languages presented as authentic, such as the work of James Macpherson. The article identifies the key figures of the «Celtic Revival» and singles out their works, which, in the opinion of the author, had the greatest impact on the formation of the fantasy genre. In particular William Butler Yeats, Isabella Augusta Persse (usually Lady Gregory), Thomas Moore, Edward John Moreton Plunkett (usually Lord Dunsany), Irish writer, poet, painter – George Russell, Irish playwright, poet, writer, collector of folklore – John Millington Synge, Irish writer Alice Letitia Milligan. The Romantic Age in English literature had a significant impact on the fantasy genre. The author analyzed the most relevant creative developments in this connection: William Blake, John Keats, William Wordsworth, Percy Shelley, Samuel Taylor Coleridge, Robert Southey, Walter Scott, Mary Shelley. Gothic fiction and in particular Gothic novels, is an equally important «factor of influence». First of all, it is about Horace Walpole, Clara Reeve, William Beckford, Matthew Gregory Lewis, Ann Radcliffe, Bram Stoker. The author presents a vision of the «wide treasury of inspiration» opus of the main archetypes of European fantasy, which also includes «German Romanticism». It is represented Ludwig von Arnim, Ernst Hoffmann, Ludwig Uhland, Friedrich von Hardenberg (usually Novalis), Ludwig Tieck, Joseph von Eichendorff.
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HATİPOĞLU, Gülden. « Erotics of War and Sovereignty in Iris Murdoch’s The Red and the Green ». Gaziantep University Journal of Social Sciences 22, no 3 (28 juillet 2023) : 852–64. http://dx.doi.org/10.21547/jss.1237803.
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In The Red and the Green the Irish writer Iris Murdoch creates a narrative universe that focuses on the Easter Rising of 1916, one of the most tumultuous turns in twentieth century Irish history, and introduces a rich web of moral conflicts and dilemmas experienced by members of an Anglo-Irish community in Dublin. The main concern of this article is to introduce a reading of Murdoch’s The Red and the Green in the context of the mythopoetic discourse of the Easter Rising of 1916, which predominantly reflected the nationalist rhetoric of the Irish Revivalist Movement, and to show how Murdoch revisualizes recent Irish history through her own cultural origins. The argument is grounded on the premise that Millie features in the novel as the embodiment of the feminine archetype and symbolic representation of the Erotic in stark contrast to the war rhetoric of the Easter Rising that relies heavily on the desexualized, romanticized and idealized versions of the feminine in Celtic mythic imagination. Millie’s feminine archetypal image and her symbolic representation of Eros distorts and shakes the masculine rhetoric of the Rising. As a response to the desexualized, sterile, and therefore displaced representations of the Sovereignty Goddess in the literature of the Irish Revival, Murdoch introduces a critical ethos in the novel by restoring the essence of this feminine element in the portrayal of Millie, the central character around whom the plot largely revolves.
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Price, Glanville. « Celtic Presence : Studies in Celtic Languages and Literatures. Irish, Scottish Gaelic and Cornish by Piotr Stalmaszczyk ». Modern Language Review 102, no 1 (2007) : 178–79. http://dx.doi.org/10.1353/mlr.2007.0261.
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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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Stalmaszczyk, Piotr. « Place-names in Modern Scottish Gaelic Poetry ». Studia Celto-Slavica 5 (2010) : 119–28. http://dx.doi.org/10.54586/ohzi1150.
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The significance of place-names in Celtic, especially Irish, literature has been extensively discussed in numerous studies. Though an important feature of older poetry, the usage of geographical names is employed also in contemporary verse, not only in Irish, but also in Scottish Gaelic. The preoccupation with places may be viewed as a broader awareness of the geographical setting, a point extensively discussed by Sorley MacLean (1985) in connection with the consciousness of the presence of the sea in the seventeenth-century Gaelic poetry. Place-names are often used as means of appropriateness of nature, and this is one of their major functions in Gaelic poetry.
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McGrath, Paul. « Knowledge management in monastic communities of the medieval Irish Celtic church ». Journal of Management History 13, no 2 (17 avril 2007) : 211–23. http://dx.doi.org/10.1108/17511340710735591.
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PurposeThis paper aims to use the case of early medieval Irish monasticism to highlight the implicit a historicism of the knowledge management (KM) literature and to show how such a historical study can be used to increase the level of discourse and reflection within the contested and increasingly fragmented field of KM.Design/methodology/approachThe author uses secondary source analysis from a diversity of academic fields to examine the relatively sophisticated processes through which the monks gathered, codified, created, interpreted, disseminated and used religious and secular knowledge. The author then draws out a number of insights from this literature to aid current thinking on and debates within the field of KM.FindingsThe paper presents a church metaphor of KM operating at two levels. Internally the metaphor highlights the deliberate but politically contentious nature of knowledge creation, a process of developing both explicit and tacit knowledge among the monks, revolving around ideologies and cults, and primarily concerned with the avoidance, constraining and settling of controversies and debates. Externally, the metaphor highlights the political use of and the mediation of access to knowledge for the purposes of social position and influence.Originality/valueThis paper is original in providing a detailed consideration of KM activities within a specific early medieval historical context and in drawing from the study to contribute to current thinking within the field of KM.
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Barros-del Rio, Maria Amor. « Fragmentation and vulnerability in Anne Enright's The green road (2015) : Collateral casualties of the Celtic Tiger in Ireland ». International Journal of English Studies 18, no 1 (26 juin 2018) : 35–51. http://dx.doi.org/10.6018/ijes/2018/1/277781.
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This article explores the representation of family and individuals in Anne Enright's novel The Green Road (2015) by engaging with Zygmunt Bauman's sociological category of “liquid modernity” (2000). In The Green Road, Enright uses a recurrent topic, a family gathering, to observe the multiple forms in which particular experiences seem to have suffered a process of fragmentation during the Celtic Tiger period. A comprehensive analysis of the form and plot of the novel exposes the ideological contradictions inherent in the once hegemonic notion of Irish family and brings attention to the different forms of individual vulnerability for which Celtic Tiger Ireland has no answer.
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Orlando, Emily J. « Passionate Love-Letters to a Dead Girl : Elizabeth Siddall in Oscar Wilde's The Picture of Dorian Gray ». Victoriographies 7, no 2 (juillet 2017) : 101–23. http://dx.doi.org/10.3366/vic.2017.0266.
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While Oscar Wilde's attraction to Pre-Raphaelite art has been well documented, surprisingly little attention has been paid to his career-long fascination with Elizabeth Siddall (1829–62). This essay will demonstrate that Wilde's deep and abiding interest in Siddall reverberates across his only novel, The Picture of Dorian Gray (1891), to an extent that has not been considered. I will specifically argue that the suicide of Dorian Gray's lover Sibyl Vane was inspired by Elizabeth Siddall's untimely overdose. The very name Sibyl echoes Siddall, who is best known as the model for John Everett Millais's Ophelia and Dante Gabriel Rossetti's Beata Beatrix. I want to suggest that Siddall, long dead by the 1890s, may have been coded as Celtic across turn-of-the-century Irish literature in ways not hitherto considered. Although Siddall was not born of Irish parents, she served ‘as a model for “a fair Celt with red hair”’ for the Pre-Raphaelite painter William Holman Hunt, perhaps owing to the fact that she was copper-haired, ivory-skinned, Welsh, and working class. As such, Siddall – who has not previously been read in a Celtic context – might serve as a signifier of the young, pale, passive, red-haired Irish maiden romanticised across popular culture as a symbol of the Irish nation. Indeed, it is plausible that the Dublin-born Wilde was attracted to Siddall because of her resemblance to the aisling figure derived from the eighteenth-century Gaelic tradition and popular in turn-of-the-century Irish culture. The essay will examine closely the nods to Elizabeth Siddall in The Picture of Dorian Gray and ultimately will propose that the Pre-Raphaelite musings in Wilde – whose engagement with feminism and with his native Ireland have always been complicated – effectively, if not intentionally, silence the figure of the fin-de-siècle New Woman as she appeared across the British and Irish Isles.
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Clarke, Michael. « LINGUISTIC EDUCATION AND LITERARY CREATIVITY IN MEDIEVAL IRELAND ». Cahiers du Centre de Linguistique et des Sciences du Langage, no 38 (17 novembre 2013) : 39–71. http://dx.doi.org/10.26034/la.cdclsl.2013.743.
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Texts in medieval Irish were traditionally used as a source from which to excavate the remnants of a radically ancient language and world-view – Celtic, oral, pre- Christian, ultimately Indo-European. In the past twenty years a new perspective has become dominant, emphasising the sophisticated contemporary concerns of the monastic literati who composed the texts that have come down to us. However, the disjuncture between those two approaches remains problematic. This article attempts a new approach to the question, emphasising the educational and scholarly context of medieval Irish creativity. Many of the monuments of the early Irish language are part of an enquiry into the history of language and languages, in which Irish interacts closely with the « three sacred languages » and especially Latin; the texts’ depiction of the pagan past of Ireland is oriented through a scholarly engagement with Graeco-Roman paganism; and some of the key discourses of Irish saga literature are influenced by the programmes and methodologies of the Latin-based educational system of the time, especially questionand-answer dialogues. The article applies this approach in a case study from the heroic tale Tochmarc Emire, « The Wooing of Emer », in which a riddling dialogue between lovers is shown to be directly related to the lore of the canonical glossaries of Old Irish. .
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Breeze, Andrew. « Arthur in the Celtic Languages, The Arthurian Legend in Celtic Literatures and Traditions, ed. Ceridwen Lloyd-Morgan and Erich Poppe. Arthurian Literature in the Middle Ages IX. Cardiff : University of Wales Press, 2019, xxiv, 408 pp. » Mediaevistik 32, no 1 (1 janvier 2020) : 256–58. http://dx.doi.org/10.3726/med.2019.01.15.
Texte intégralRésumé :
In twenty-four chapters, Arthurian tradition in Welsh, Cornish, Breton, Irish, or Scottish Gaelic is surveyed by writers from Wales, Germany, the USA, and beyond. What they offer is familiar enough, with no surprises. The surprises are in what is ignored, not what is said. Before we reach that, however, a summary of contents.
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Connolly, Hugh. « The Irish Penitentials and Conscience Formation ». Religions 13, no 12 (23 novembre 2022) : 1134. http://dx.doi.org/10.3390/rel13121134.
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As commonly used in its moral sense I will, for the purposes of this paper, take the concept of “conscience” to be the inherent ability of every healthy human being to perceive what is right and what is wrong and, on the strength of this perception, to control, monitor, evaluate and execute their actions. Such values as right or wrong, good or evil, just or unjust, and fair or unfair have existed throughout human history and are also shaped by an individual’s cultural, political and economic environment. The medieval penitential literature offers just one such historical snapshot. These manuals or guides for confessors, including prayers, lists of questions to be asked by the confessor, and penances to be assigned for various sins were an integral part of the practice of private penance which began in the Celtic Church and later spread through Europe with the Celtic and Anglo-Saxon missions. Penitential books for use by confessors in private penance appeared in the sixth through ninth centuries. These texts were not as a rule decreed by episcopal synods. Their authority generally rested on the reputation of their compiler or editor. Public penances were assigned for public sins that caused scandal for the church. Private penances were assigned for private sins or matters of conscience. The Penitentials were generally more flexible than the churches’ ancient canonical penitential system which they largely replaced. While later European Penitentials tended to provide more complete guidance for the confessor instead of mere lists of rules and penalties; such instruction is not entirely absent from the earlier Irish texts and ancillary documents. Thus, the goal of penance in the early middle ages was not only sacramental but also didactic. It would have been an occasion to inculcate Christian beliefs, an opportunity to model proper Christian behaviour and by extension a key part of the formation of conscience. As was the case with later expressions of casuistry (Etym. Latin casus, case, or problem to be solved) the purpose of the penitential literature was thus to adapt and apply the unchangeable norms of Christian morality to the changing and variable circumstances of human life albeit in somewhat rudimentary fashion. As such this literary genre and the pastoral practices stemming from it are a valid and worthy object of any historical study and theological analysis concerning the ‘formation of conscience.’
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Worth, Katharine. « Ibsen and the Irish Theatre ». Theatre Research International 15, no 1 (1990) : 18–28. http://dx.doi.org/10.1017/s0307883300009494.
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The Irish Literary Theatre, from which a new Irish theatre was to develop, came to birth at the very point when Ibsen was about to depart from the European theatrical scene. His last play, When We Dead Awaken, appeared in 1899, the year in which Yeats's The Countess Cathleen and Edward Martyn's The Heather Field were produced in Dublin. They were the first fruits of the resolve taken by the two playwrights, with Lady Gregory and George Moore, to ‘build up a Celtic and Irish school of dramatic literature’ and they offered decidedly different foretastes of what that ‘school’ might bring forth. Yeats declared himself an adherent of a poetic theatre that would use fantasy, vision and dream without regard for the limits set by the realistic convention. Martyn, on the other hand, was clearly following Ibsen in his careful observance of day-to-day probability. The central symbol of his play, the heather field, represents an obscure psychological process which might have received more ‘inward’ treatment. But instead it is fitted into a pattern of social activities in something like the way of the prosaically functional but symbolic orphanage in Ghosts.
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McIvor, Charlotte. « Theatre and Globalization : Irish Drama in the Celtic Tiger Era (review) ». Theatre Journal 61, no 4 (décembre 2009) : 659–60. http://dx.doi.org/10.1353/tj.2009.a380380.
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Reiterová, Martina Vacková. « Scottish Gaelic Movement and Celtic Identity : An Comunn Gaidhealach at the Turn of the Twentieth Century ». International Review of Scottish Studies 48, no 2 (décembre 2023) : 94–123. http://dx.doi.org/10.3366/irss.2023.0017.
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An Comunn Gaidhealach, as the main representative of the Scottish Gaelic Movement in the late nineteenth century, pursued the essential objectives of cultivating, teaching, and promoting Gaelic language, literature, music, and culture. Its members closely collaborated with their counterparts from other so-called Celtic countries, which subsequently resulted in the formation of other pan-Celtic institutions around 1900. The countries involved supported each other in achieving similar goals through common initiatives. This article explores the nature of Celtic connections through the study of the self-representation of the Gaelic language movement. It defines the most articulated topics for An Comunn Gaidhealach and identifies to what extent Celticism was part of the society’s self-representation. An Comunn Gaidhealach looked at the experience of other Celtic countries as a source of inspiration. While Celtic identity formed a negligible part of An Comunn Gaidhealach’s self-representation, a strong Celtic element was present in its discursive strategies and in the argumentation processes, both inspired by Welsh and Irish revivalist movements. The society defended Gaelic language rights, presented itself as a patron to Gaelic education, and organised the Mòd festival, all the while embracing all political and religious beliefs. The methodology of the research, inspired by Israeli sociologist Ruth Amossy, analyzes the discourse of An Deo-Gréine, the official magazine of An Comunn Gaidhealach. This perspective highlights how An Comunn Gaidhealach intended to be perceived, what discursive strategies it employed, and subsequently, how and to what extent there was a pan-Celtic aspect to its work. The results of the analysis are complemented by archival research. The conceptual framework of the study is embedded in comparative and transnational approaches to historical research. This approach is reflected in understanding the formation of collective identities from a perspective that transcends nation-states rather than focusing solely on a national context.
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Waziri, Bilal, et Md Najimuddin. « A Study of Irish Cultural Identity in J.M. Synge’s Riders to the Sea ». Integrated Journal for Research in Arts and Humanities 3, no 2 (18 mars 2023) : 38–42. http://dx.doi.org/10.55544/ijrah.3.2.7.
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John Millington Synge (1871-1909) is one of the most outstanding Irish playwrights. He is known for his realistic vision and authentic contributions to Irish drama. He was one of the earliest realistic writers to represent Irish society brilliantly in his plays. One of his greatest contributions has been his association with the Irish Literacy Revival. The Irish Literary Revival also called the Irish Literary Renaissance or Celtic Twilight began around 1885 and ended during the early twentieth century. Though the primary aim of this movement was to gain home rule and independence from England, it also resulted in vigorous literary productions. Writers and scholars struggled to create works that were authentically and originally Irish. Here Synge played an active and key role in writing plays in stylized peasant dialect. He was a prominent figure in the Abbey Theatre of Ireland, founded in 1903 by William Butler Yeats and Lady Augusta Gregory, which opened its doors in 1904. Thus, he contributed immensely to the development of modern Irish drama and left an indelible impression on Irish literature. This paper aims to analyze Synge’s role in the Irish Literary Renaissance and the formation of Irish cultural identity vis-a-vis his play Riders to the Sea. Riders to the Sea (1904) is a one-act tragic play that contains both modern and classical elements of tragedy. This play deals with the sorrows and predicaments of human beings on Aran Island. The paper will further explore the representation of Irish peasant society which is based upon his keen observation of the sufferings, perils, and traditions of Irish people during his staying in Aran Island.
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Hargaden, Kevin. « Locating the ‘Lordless Powers’ in Ireland : Karl Barth, Novels, and Theological Ethics in the Aftermath of the Celtic Tiger ». Irish Theological Quarterly 84, no 3 (21 mai 2019) : 243–58. http://dx.doi.org/10.1177/0021140019849389.
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Theological reflection on economic ethics often follows the tradition of the social sciences in describing economic reality in econometric terms. The numerical imagination of the social sciences is not always an elegant dialogue partner for theological ethical reflection. This can be seen to be the case when we draw upon Karl Barth’s discussion of ‘lordless powers’ to describe the dramatic economic reversal endured in Ireland over the last decade. In this article, I propose that literature represents an important additional dialogue partner for theological reflection. Four Irish novels are proposed as potential grounds for considering the relevance of the lordless power discussion in an Irish context.
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Smyth, Gerry. « ‘Gardens All Wet With Rain’ : Pastoralism in the Music of Van Morrison ». Irish University Review 49, no 1 (mai 2019) : 171–87. http://dx.doi.org/10.3366/iur.2019.0387.
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‘Ecomusicology’ is a developing field that looks to explore the interface between modern eco-theory and a range of historical and contemporary musical phenomena. Generated as it is by a country in which ideas of space/place and ideas of music feature particularly strongly, it is likely that Irish cultural history will resonate powerfully in relation to an ecomusicological perspective. The early work of Van Morrison is rooted in the hippie counter-culture of the 1960s, one principal strand of which concerned environmental despoliation and the need for some form of re-enchantment with nature. By contrast, the ‘Celtic Music’ phenomenon of the 1990s was brought to its artistic (and financial) apogee by the Donegal singer Enya. Drawing on techniques initially developed by family members in Clannad, Enya evinced a form of mystical Celticism which, even as it harked back to earlier versions, sang to a quasi-environmentalist discourse embedded within the contemporary style known as ‘New Age’. The essay will conclude with a brief description of the other areas of Irish music that would be amenable to an ecomusicological audit.
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O'Donnell, Kathleen Ann. « English Brutal Colonisation of the Seven Islands : The Poems of Ossian by James Macpherson ». Athens Journal of Mediterranean Studies 9, no 2 (28 avril 2023) : 97–122. http://dx.doi.org/10.30958/ajms.9-2-2.
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After the failure of the first strike of the 1821 Greek Revolution against the Ottoman Empire, which began in Moldovia in February, it continued in the Peloponnese one month later. The uprising resulted in victory with the formation of the Modern Greek state; its President was Jiannis Capodistria, a Corfiot. Greece was a state born mutilated in 1828 as it excluded: Epiros, Thessalia, Chios Mytilene, Samos, Crete and the Dodecanese Islands under Ottoman rule. The Ionian Islands were under English control, ostensibly known as the ‘British Protectorate’. The second expansion of the Greek state in the nineteenth century was engendered by Radical Ionian Greeks who rebelled against the English who had tyrannised the Seven Islands for almost fifty years until 1864 when they united with Greece. The influence of Celtic literature through the works of The Poems of Ossianby the Scottish antiquarian James Macpherson and Irish Melodies and ‘Imitation of Ossian’ by the Irish scholar Thomas Moore inspired the works of Seven Islands radical intellectuals, which provide a hidden code that coincided with political events at the time to unite the oppressed. The main translator of The Poems of Ossian was Panayiotis Panas, a Kephalonian scholar. He was the successor to Rhigas Velestinlis, the protomartyr of the Greek Revolution and follower of the national poet, the Zakynthian Dionysius Solomos. Panas aimed to unite and spiritually uplift the people by conveying the hope of living under freedom, equality, and fraternity; to live under democracy, without a monarchy. Neglected by the Greek Academy in the twentieth century do these translations of this Celtic literature and its influence remain in obscurity in this century? To what extent did the English have the right legally to gift the Seven Islands to Modern Greece in 1864? Has the sacrifice and patriotism of those who fought for the union of the Seven Islands with Greece been included in the school curriculum. Keywords: Irish melodies, translation, nineteenth century, history, The Mediterranean, The Poems of Ossian and British Colonialism
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Darling, Orlaith. « Eóin Flannery, Form, Affect and Debt in Post-Celtic Tiger Irish Fiction ». Irish University Review 53, no 1 (mai 2023) : 199–202. http://dx.doi.org/10.3366/iur.2023.0602.
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Shkapa, Maria. « Cleft as a Marker of a Thetic Sentence : Evidence from Irish and Russian ». Studia Celto-Slavica 6 (2012) : 51–63. http://dx.doi.org/10.54586/ghnr6563.
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P. Mac Cana in his paper on Celtic word order notes that modern Celtic languages preserving VSO have a special construction where “the emphasis expressed by the abnormal word-order applies to the whole verbal statement and not merely, or especially, to the subject or object which takes the initial position” (Mac Cana 1973: 102). He gives examples from Welsh and Irish: ‘Faoi Dhia, goidé tháinig ort?’ ars an t-athair. by God what.it happened to.you said the father “In God's name, what happened to you?” asked the father. ‘Micheál Rua a bhuail mé,’ ars an mac. Micheál Rua rel hit me said the son “Micheál Rua gave me a beating,” said the son. In recent literature sentences of this kind acquired the name thetic. Thetic (Sentence Focus) construction is a “sentence construction formally marked as expressing a pragmatically structured proposition in which both the subject and the predicate are in focus; the focus domain is the sentence, minus any topical non-subject arguments” (Lambrecht 1997: 190). Cleft construction “designed” for focussing one XP of a clause is used in the sentence above to mark the whole clause as focussed. The effect is achieved by extracting the usual topic of a sentence – its subject – from its normal position and thus ascribing to it and to the whole clause a new pragmatic function. Such usage of cleft is by no means universal (e.g. it is not possible in English) but meets a parallel in Russian eto-cleft which has the same two meanings – focussing an XP and forming a thetic sentence. These two usages are generally regarded as two different constructions having different syntactic structures (see [Kimmelmann 2007] and literature cited there). However, existence of a typological parallel enables us to view it as a case of pragmatic homonymy.
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Zinnatullina, Z., et L. Khabibullina. « Representation strategies of the “internal” Other image in the early 21<sup>st</sup> ; century British literature ». Philology and Culture, no 2 (24 juin 2024) : 122–27. http://dx.doi.org/10.26907/2782-4756-2024-76-2-122-127.
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The article examines historical novels by the early 21 st century British writers where the authors turn to images of “internal” Others: Welsh, Irish and Scots. For each of these regions, we can identify topics that are associated specifically with them. Thus, the Welsh component is connected, first of all, with Celtic culture and social issues. Ireland is associated with religious theme, and Scotland is associated with a historical component. Edward Rutherfurd’s dilogy on Ireland “Dublin: Foundation” (2004) and “Ireland Awakening” (2006), presents the history of the Christianity development in Ireland. The writer emphasizes the continuity of paganism and Christianity. The following series of works analyzed in this article is dedicated to one of the most significant historical figures in Scotland, Robert the Bruce. The novels “Insurrection” (2010), “Renegade” (2012) and “Kingdom” (2014) examine the period of Scottish identity formation exemplified by King Robert and his opposition to the English monarchy. In Ken Follett’s trilogy “Century”, which includes “Fall of Giants” (2010), “Winter of the World” (2012) and “Edge of Eternity” (2014), we can note the socio-political issues associated, first of all, with the Welsh characters. At the same time, the idea common to all these works is the Celtic peoples’ community and their opposition to the English.
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Patten, Eve. « Trinity Professors versus Men of Letters : Ferguson, Dowden and De Vere ». Irish University Review 52, no 1 (mai 2022) : 133–48. http://dx.doi.org/10.3366/iur.2022.0547.
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This essay considers the relationships between Samuel Ferguson, Edward Dowden, and Aubrey de Vere in the late nineteenth century. In evaluating Ferguson’s career shortly after the poet’s death in 1886, W. B. Yeats considered him as being ill-served by the ‘English notions’ of Irish criticism, a slight which was particularly directed at Edward Dowden, then Professor of English at Trinity College Dublin. Rather than viewing this schism solely as a difference of opinion on Gaelic antiquarianism and Celtic Revivalism, this essay considers the divergence between these men as an effect of their respective positioning inside and outside the institutions of academia. It also interprets their relationship against the backdrop of public debates in the period about the nature of literary criticism as well as the role and function of the critic. Drawing on the correspondence between Ferguson, Dowden, and their mutual friend and frequent intermediary Aubrey de Vere, this essay examines how their friendship was affected by a growing distinction between the ‘man of letters’ and the professional academic in the later Victorian period. In particular, it offers an alternative view of Dowden, whose public commitment to the development of English Literature as an academic subject was sometimes belied by his private warmth towards Ferguson and his project of Celtic Revivalism.
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Koch, John T. « The Neo-Celtic Verbal Complex and Earlier Accentual Patterns ». Studia Celtica 56, no 1 (1 décembre 2022) : 29–62. http://dx.doi.org/10.16922/sc.56.2.
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Celtic inherited from Indo-European a system in which the first word of the sentence was invariably accented and was often followed by an unaccented word. In the evolution towards Gaelic and Brythonic, it became most common for that first word to be either a verb or a preverb. The beginning of the sentence thus became even more clearly defined because, also as an inheritance from Indo-European, verbs and preverbs were unaccented in other positions. Between Proto-Indo-European and the earliest attested Gaelic and Brythonic, the accent moved. As a result, the phonetic effects of the earlier accent became morphophonemic: phonologically stronger forms of verbs and preverbs occur in sentence-initial position in Old Irish and early Brythonic. Information about the shape and function of the clause, formerly conveyed by the accent, came to be conveyed by these morphophonemic contrasts. If the inherited primary/secondary system marking tense still survived then, this new absolute/conjunct opposition clashed with it and displaced it.