Bibliografie tematiche / Irish melodies (Moore, Thomas)

Letteratura scientifica selezionata sul tema "Irish melodies (Moore, Thomas)"

Autore: Grafiati
Pubblicato: 26 luglio 2024
Ultima modifica: 27 luglio 2024

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Articoli di riviste sul tema "Irish melodies (Moore, Thomas)"

1

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, n. 4 (30 dicembre 2019): 89. http://dx.doi.org/10.17951/lsmll.2019.43.4.89-104.

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Abstract (sommario):
<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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Buckley, Ann, James Flannery, Janet Harbison, Aloys Fleischmann, Robert R. Grimes, Fintan Vallely, Harry White e Seamus Deane. "Dear Harp of My Country: The Irish Melodies of Thomas Moore". Yearbook for Traditional Music 31 (1999): 165. http://dx.doi.org/10.2307/768003.

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Egorov, O. A. "PHILOSOPHICAL READING OF THE IRISH MELODIES BY THOMAS MOORE AND THE REMINISCENCE OF THE MOORE’S HERITAGE IN THE POETRY OF MIKHAIL LERMONTOV". Bulletin of the Tver State Technical University. Series «Social Sciences and Humanities», n. 3 (2020): 34–40. http://dx.doi.org/10.46573/2409-1391-2020-3-34-40.

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This article examines the reflection of the positive pleasure philosophy in the opuses of «Irish Melodies» by T. Moore and the poetic tonality preservation adequacy in the work’s translation into Russian, including reminiscences of Moore's poetic heritage in some poems by Mikhail Lermontov. Comparison of translations into Russian of some of Moore's melodies revealed that the translators used the method of semantic compensation to fill in the «gaps» that include elements of the Ireland’s mythological folklore.
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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, n. 2 (28 aprile 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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Consalvo, Deborah McWilliams. "Thomas Moore and Victorian Ireland". Journal of Interdisciplinary Studies 4, n. 1 (1992): 46–62. http://dx.doi.org/10.5840/jis199241/23.

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This essay examines the political environment in Ireland during the nineteenth century and evaluates the impact of national patriotism upon the social landscape. In analyzing the changing topography of Victorian Ireland, religious ideology played a significant role in carving out the model of Irish culture at the close of the century. Thomas Moore's poetry reflects the cultural significance of both political and religious ideals by his use of imagery and language to unite these two social forces and represent them as thematic cooperatives essential to the identity and survival of Irish nationhood.
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Consalvo, Deborah McWilliams. "Thomas Moore and Victorian Ireland". Journal of Interdisciplinary Studies 4, n. 1 (1992): 46–62. http://dx.doi.org/10.5840/jis199241/23.

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Abstract (sommario):
This essay examines the political environment in Ireland during the nineteenth century and evaluates the impact of national patriotism upon the social landscape. In analyzing the changing topography of Victorian Ireland, religious ideology played a significant role in carving out the model of Irish culture at the close of the century. Thomas Moore's poetry reflects the cultural significance of both political and religious ideals by his use of imagery and language to unite these two social forces and represent them as thematic cooperatives essential to the identity and survival of Irish nationhood.
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Roberts, Daniel S. "‘The Only Irish Magazine’: Early Blackwood's and the Production of Irish ‘National Character’". Romanticism 23, n. 3 (ottobre 2017): 262–71. http://dx.doi.org/10.3366/rom.2017.0341.

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On the ‘Irish Question’ of the 1820s and 30s, Blackwood's Magazine developed a fearsome reputation for intransigence. Yet its early engagements with Ireland were far from unsympathetic, viewing its peasantry, in particular, as warm-hearted and likeable, though also overly passionate and prone to disorderly behaviour. Arguing for John Wilson's theorisation of ‘national character’ as a crucial determinant of Blackwood's representative position, this article analyses the manner in which Maga responded to Irish literature and society in a transperipheral manner, seeking to integrate Ireland more fully into the Union, and to accept its destiny as a partner in Britain's imperial enterprise. Ireland's failure, through its poets (such as Thomas Moore) and its people, to conform to this ideal, and its headstrong movement towards Catholic Emancipation under the leadership of Daniel O'Connell, would generate the choleric position that came to characterize the magazine.
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Terence Killeen. "Catholic Emancipations: Irish Fiction from Thomas Moore to James Joyce (review)". James Joyce Quarterly 46, n. 1 (2009): 160–63. http://dx.doi.org/10.1353/jjq.0.0114.

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Moore, Jane. "Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore". Irish Studies Review 21, n. 4 (novembre 2013): 387–405. http://dx.doi.org/10.1080/09670882.2013.844940.

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Utell, Janine. "Irish Rebellion: Protestant Polemic, 1798-1900. Stuart Andrews.Memoirs of Captain Rock. Thomas Moore. Edited by Emer Nolan and Seamus Deane." Wordsworth Circle 41, n. 4 (settembre 2010): 198–200. http://dx.doi.org/10.1086/twc24043641.

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Tesi sul tema "Irish melodies (Moore, Thomas)"

1

Meagher, Shelley. "'Islam' in Irish poetry : Thomas Moore and the early union years". Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432155.

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Twigger, Jillian Margaret. "'My own island harp’: Irish sentimental ballads in colonial Australia, 1854–1889". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16799.

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This thesis examines the role of Irish sentimental ballads, especially Thomas Moore’s Irish Melodies, in colonial New South Wales (NSW) and Victoria. First is a study of Irish soprano Catherine Hayes (1818–1861) and her tours to NSW and Victoria in 1854 and 1855. Hayes represented a Victorian-era feminine ideal and her concerts, which included both opera and Irish sentimental ballads, were seen to raise the musical standard in Australia. The second study examines a series of public lectures on the subject of ancient Irish music delivered by Irish lawyer John Hubert Plunkett (1802–1869), previously attorney general of NSW. The third is a study of The Australian Album for 1857. This musical album was published in Sydney and was designed to serve as a specimen of the high standard of music in Australia at the time. The album opens with a piano fantasia composed by visiting French pianist Edouard Boulanger (1829–1863) based on ‘The Last Rose of Summer,’ one of Moore’s Irish Melodies. Fourth and last is a study of the Thomas Moore statue erected in Ballarat, Victoria, in 1889. The design of the statue and its unveiling conveyed a notion of unity within the white community and feelings of Australian nationalism. Through these studies I argue that Irish ballads played an important role in creating a respectable cultural identity not just for the Irish community but for the developing Australian society as well.
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Libri sul tema "Irish melodies (Moore, Thomas)"

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Flannery, James W. Dear harp of my country: Irish melodies of Thomas Moore. Nashville, Tennessee: J.S. Sanders & Company, 1998.

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1779-1852, Moore Thomas, a cura di. Dear harp of my country: The Irish melodies of Thomas Moore. Nashville: J.S. Sanders, 1997.

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Nolan, Emer. Catholic emancipations: Irish fiction from Thomas Moore to James Joyce. Syracuse, N.Y: Syracuse University Press, 2007.

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Kelly, Ronan. Bard of Erin: The life of Thomas Moore. London: Penguin Books, 2009.

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Series, Michigan Historical Reprint. Irish melodies and sacred songs. By Thomas Moore. Scholarly Publishing Office, University of Michigan Library, 2005.

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Irish Melodies, National Airs, Sacred Songs, etc. , of Thomas Moore. Creative Media Partners, LLC, 2023.

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McMahon, Sean. The Minstrel Boy: Thomas Moore and His Melodies (Celtic Ireland). Mercier Press, 2001.

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8

Hunt, Una. Sources and Style in Moore's Irish Melodies. Taylor & Francis Group, 2019.

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Sources and Style in Moore's Irish Melodies. Taylor & Francis Group, 2017.

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Stevenson, John 1761-1833, e Thomas 1779-1852 Irish Melod Moore. Moore's Irish Melodies, with Symphonies and Accompaniments by Sir John Stevenson; and Characteristic Words by Thomas Moore. Creative Media Partners, LLC, 2021.

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Capitoli di libri sul tema "Irish melodies (Moore, Thomas)"

1

Kamm, Jürgen. "Moore, Thomas: Irish Melodies". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14360-1.

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Vail, Jeffery. "Thomas Moore: After the Battle". In A Companion to Irish Literature, 310–25. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch19.

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Roney, John B. "Negotiating the Middle Ground: Thomas Moore on Religion and Irish Nationalism". In Representing Irish Religious Histories, 151–64. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-41531-4_10.

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"Thomas Moore and music". In Sources and Style in Moore’s Irish Melodies, 35–54. Title: Sources and style in Moore’s Irish melodies / Una Hunt. Description: New York, NY; Abingdon, Oxon: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315443003-3.

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"Thomas Moore (1779-1852)". In A Century of Sonnets, a cura di Paula R. Feldman e Daniel Robinson, 182. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0059.

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Abstract Thomas Moore’s Irish Melodies (1807-1834) were hugely popular, as was his Oriental romance LAila Rookh (1817), which brought him financial success. In 1830, he published a valuable biography of his close friend Lord Byron. Earlier, with several others, he had been responsible for burning Byron’s memoirs in the drawing-room fireplace of the publisher John Murray.
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Pointner, Frank Erik, e Dennis Weißenfels. "26. Thomas Moore, Irish Melodies (1808– 1834)". In Handbook of British Romanticism, a cura di Ralf Haekel. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110376692-027.

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Burns, Joanne. "‘Our Finest and Most Popular Airs Are Modern’". In The Oxford Handbook of Irish Song, 1100–1850. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.19.

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Abstract The Irish Romantic poet and song-writer Thomas Moore is now best remembered for his successful series of published songs, the Irish Melodies (1808–1834), in which he wrote and set words to pre-existing Irish airs. Although the last twenty years have witnessed a scholarly re-evaluation of Moore, Moore’s various and extensive writings on the nature of music and adaptation, particularly in relation to the Irish Melodies, have yet to be fully investigated. This chapter examines Moore’s discussion of Irish song in one neglected but highly significant piece of writing, the simply titled ‘Prefatory Letter on Music’ (1810), which was added to the third number of the Irish Melodies series. In this preface, Moore surveys at length a number of issues pertinent to the project of arranging and writing lyrics for Irish songs. He considers the linking of music and Irish history, the antiquity of Irish music, alongside issues of melody, harmony, and arrangement. By unpacking some of Moore’s arguments in this letter, the author shows that Moore’s outlook on Irish music, much like his wider concepts and ideas regarding music and song more generally, is distinctly ‘modern’.
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O'Hanlon, Tríona. "The Cultural Response to Moore’s Irish Melodies in Nineteenth-Century Paris". In The Oxford Handbook of Irish Song, 1100–1850, C21P1—C21N73. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.21.

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Abstract This chapter considers the cultural response to Thomas Moore’s Irish Melodies in nineteenth-century Paris. In focusing on collected editions of the lyrics, French song imitations, and French song translations published between 1819 and 1880, it brings new perspectives to the debate on Moore’s work. It identifies the publishing and creative networks responsible for influencing his reception in France, and analyzes the mechanisms by which the Irish Melodies, and individual songs from the collection, were adapted, re-worked, and reimagined for European audiences. The Irish Melodies clearly resonated with Parisian-based creatives; Moore’s fusion of sentimental themes, poetry, and song aligned with the aesthetics of French Romanticism, while the political songs reflected an emerging sense of national identity post-Revolution (1789). However, translating Moore proved challenging, even for those who had a profound understanding of Irish culture and the idiom. The unauthorized publication of the lyrics in English by Galignani was a key moment, and preceded the publication of the first French translation by four years. As Paris quickly became a centre for the publication of the Melodies, and various re-workings thereof, Moore’s success, and that of the song collection, must be attributed to the activities of the publishing and cultural networks which responded by exploiting and exploring various modes for dissemination. In bringing attention to lesser known sources (musical and textual), this chapter is innovative in its approach, and demonstrates the reciprocal impacts and influences between Irish art song, its derivatives, and cultural activity in nineteenth-century Europe.
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Hunt, Una. "The Politicization of the Harp through Moore’s Irish Melodies". In The Oxford Handbook of Irish Song, 1100-1850, C20.P1—C20.N61. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.20.

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Abstract This chapter examines the richly varied representation of the harp within Thomas Moore’s drawing-room songs, the Irish Melodies, focusing, in particular, on the instrument’s increasing politicization throughout the cycle. Moore was one of the most famous Irishmen of his day and through his celebrated cycle of songs, he propagated the harp music of Ireland to a new and much larger audience and increased interest in the ancient art of harping as well as adding to the instrument’s already-established symbolic significance. By the time of Moore, the harp had become deeply politicized through the symbolism of political groups such as the Volunteers and the United Irishmen; both movements recognized music in general, and the harp in particular, as important conduits for their ideology. The impact of these groups is examined along with the contribution of figures such as the philosopher Jean-Jacques Rousseau and the writer and harpist Sydney Owenson. By elevating the harp to the status of a living entity, Moore imbued it with eloquence, potency, and magical qualities, thereby setting it apart from other cultural tropes. The harp embodies Ireland itself, acting as a touchstone for tradition at a pivotal point in history when the ancient art of harping was dying out. Moore continuously celebrates this extraordinary legacy by linking harps, harpers, and harp music in a chronicle of extinction and rebirth. Thus, his songs are multi-layered and complex in their recognition of the harp’s rich symbolism—musical, cultural, and political.
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Vail, Jeffery. "Thomas Moore". In The Cambridge Companion to Irish Poets, 61–73. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781108333313.008.

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