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This was the first comprehensive study of film production in
Ireland from the silent period to the present day, and of
representations of Ireland and 'Irishness' in native, British, and
American films. It remains an authority on the topic. The book
focuses on Irish history and politics to examine the context and
significance of such films as Irish Destiny, The Quiet Man, Ryan's
Daughter, Man of Aran, Cal, The Courier, and The Dead.
A provocative history of Ulysses and the Easter Rising as
harbingers of decolonization. When revolutionaries seized Dublin
during the 1916 Easter Rising, they looked back to unrequited pasts
to point the way toward radical futures-transforming the Celtic
Twilight into the electric light of modern Dublin in James Joyce's
Ulysses. For Luke Gibbons, the short-lived rebellion converted the
Irish renaissance into the beginning of a global decolonial
movement. James Joyce and the Irish Revolution maps connections
between modernists and radicals, tracing not only Joyce's
projection of Ireland onto the world stage, but also how
revolutionary leaders like Ernie O'Malley turned to Ulysses to make
sense of their shattered worlds. Coinciding with the centenary of
both Ulysses and Irish independence, this book challenges received
narratives about the rebellion and the novel that left Ireland
changed, changed utterly.
Over the last decade the Irish economy has experienced a period of
unprecedented growth which has earned it the title Celtic Tiger.
This success has been interpreted by academic commentators as
marking a social and cultural transformation, what some have called
the reinvention of Ireland. The essays in this book challenge the
largely positive interpretation of Ireland's changing social order.
The authors identify the ways in which culture and society have
been made subservient to the needs of the market in this new
neo-liberal Ireland. They draw on subversive strands in Irish
history and offer a broader and more robust understanding of
culture as a site of resistance to the dominant social order and as
a political means to fashion an alternative future.
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The Uninvited (Paperback)
Dorothy Macardle; Introduction by Luke Gibbons
1
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R386
R319
Discovery Miles 3 190
Save R67 (17%)
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Ships in 12 - 17 working days
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A gothic, bone-chilling Irish ghost story first published in 1941
and now brought back into print. The title benefits from an
introduction by well-known academic Professor Luke Gibbons and
Martin Scorsese and various critics, including William K. Everson
and Leonard Maltin, regard The Uninvited as one of the best ghost
stories ever filmed.
This was the first comprehensive study of film production in
Ireland from the silent period to the present day, and of
representations of Ireland and 'Irishness' in native, British, and
American films. It remains an authority on the topic. The book
focuses on Irish history and politics to examine the context and
significance of such films as Irish Destiny, The Quiet Man, Ryan's
Daughter, Man of Aran, Cal, The Courier, and The Dead.
For decades, James Joyce's modernism has overshadowed his
Irishness, as his self-imposed exile and association with the high
modernism of Europe's urban centers has led critics to see him
almost exclusively as a cosmopolitan figure. In Joyce's Ghosts,
Luke Gibbons mounts a powerful argument that this view is mistaken:
Joyce's Irishness is intrinsic to his modernism, informing his most
distinctive literary experiments. Ireland, Gibbons shows, is not
just a source of subject matter or content for Joyce, but of form
itself. Joyce's stylistic innovations can be traced at least as
much to the tragedies of Irish history as to the shock of European
modernity, as he explores the incomplete project of inner life
under colonialism. Joyce's language, Gibbons reveals, is haunted by
ghosts, less concerned with the stream of consciousness than with a
vernacular interior dialogue, the "shout in the street," that gives
room to outside voices and shadowy presences, the disruptions of a
late colonial culture in crisis. Showing us how memory under
modernism breaks free of the nightmare of history, and how in doing
so it gives birth to new forms, Gibbons forces us to think anew
about Joyce's achievement and its foundations.
Since W. B. Yeats wrote in 1890 that "the man of science is too
often a person who has exchanged his soul for a formula," the
anti-scientific bent of Irish literature has often been taken as a
given. Science, Technology, and Irish Modernism brings together
leading and emerging scholars of Irish modernism to challenge the
stereotype that Irish literature has been unconcerned with
scientific and technological change. The collection spotlights
authors ranging from James Joyce, Elizabeth Bowen, Flann O'Brien,
and Samuel Beckett to less-studied writers like Emily Lawless, John
Eglinton, Denis Johnston, and Lennox Robinson. With chapters on
naturalism, futurism, dynamite, gramophones, uncertainty,
astronomy, automobiles, and more, this book showcases the
far-reaching scope and complexity of Irish writers' engagement with
innovations in science and technology. Taken together, the fifteen
original essays in Science, Technology, and Irish Modernism map a
new literary landscape of Ireland in the twentieth century. By
focusing on writers' often-ignored interest in science and
technology, this book uncovers shared concerns between revivalists,
modernists, and late modernists that challenge us to rethink how we
categorize and periodize Irish literature.
A provocative history of Ulysses and the Easter Rising as
harbingers of decolonization. When revolutionaries seized Dublin
during the 1916 Easter Rising, they looked back to unrequited pasts
to point the way toward radical futures-transforming the Celtic
Twilight into the electric light of modern Dublin in James Joyce's
Ulysses. For Luke Gibbons, the short-lived rebellion converted the
Irish renaissance into the beginning of a global decolonial
movement. James Joyce and the Irish Revolution maps connections
between modernists and radicals, tracing not only Joyce's
projection of Ireland onto the world stage, but also how
revolutionary leaders like Ernie O'Malley turned to Ulysses to make
sense of their shattered worlds. Coinciding with the centenary of
both Ulysses and Irish independence, this book challenges received
narratives about the rebellion and the novel that left Ireland
changed, changed utterly.
`Nobody's Business': The Aran Diaries of Ernie O'Malley presents
new insights into the contradictions and complexities of the mind
of Ernie O'Malley, one of mid-twentieth century Ireland's foremost
cultural critics. In 1941, 1955 and 1956, the former revolutionary
leader and author of the acclaimed memoir of the War of
Independence, On Another Man's Wound, visited the Aran Islands.
While on the islands, O'Malley kept diaries recounting his daily
conversations and interactions with other visitors and islanders
including Elizabeth Rivers, with whom he stayed on one occasion,
Charles Lamb and Sean Keating. The diaries, devoid of sentiment and
often highly critical, reveal his views on art, literature, history
and contemporary Irish life and international affairs as well as
his thoughts on the economic, religious and daily life of the Aran
islanders. His unvarnished observations on the inconsistencies and
hypocrisies of life in post-Independence Ireland make his diaries
absorbing and provocative. Edited with introductory essays by
Cormac O'Malley and Roisin Kennedy and an afterword by Luke
Gibbons, `Nobody's Business': The Aran Diaries of Ernie O'Malley
offers fascinating insights into the mind and opinions of a key
figure in Irish cultural nationalism.
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The Unforeseen (Paperback)
Dorothy Macardle; Introduction by Luke Gibbons
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R381
R312
Discovery Miles 3 120
Save R69 (18%)
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Ships in 9 - 15 working days
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When Virgilia Wilde begins to suffer from strange visions she
visits her local doctor, reporting somberly that her imagination
has been playing tricks. What transpires is far more alarming;
Virgilia seems to have developed the power of precognition, and
with this terrible ability comes fears for the safety of her
beloved daughter... The follow-up to the critically acclaimed
haunted-house novel The Uninvited is one of the most sharply
observed accounts we have of middle-class post-war Dublin.
Burke's influential early writings on aesthetic are intimately connected to his political concerns according to this study of his engagement with Irish politics and culture. The heart of his aesthetic addressed itself to the experience of terror, a spectre that haunts Burke's political imagination throughout his career. Burke's preoccupation with violence, sympathy and pain actually allowed him to explore the dark side of the Enlightenment. This major reassessment of a key political and cultural figure appeals to Irish studies specialists, political theorists and Romanticists.
For decades, James Joyce's modernism has overshadowed his
Irishness, as his self-imposed exile and association with the high
modernism of Europe's urban centers has led critics to see him
almost exclusively as a cosmopolitan figure. In Joyce's Ghosts,
Luke Gibbons mounts a powerful argument that this view is mistaken:
Joyce's Irishness is intrinsic to his modernism, informing his most
distinctive literary experiments. Ireland, Gibbons shows, is not
just a source of subject matter or content for Joyce, but of form
itself. Joyce's stylistic innovations can be traced at least as
much to the tragedies of Irish history as to the shock of European
modernity, as he explores the incomplete project of the inner life
under colonialism. Joyce's language, Gibbons reveals, is haunted by
ghosts, less concerned with the stream of consciousness than with a
vernacular interior dialogue, the "shout in the street," that gives
room to outside voices and shadowy presences, the disruptions of a
late colonial culture in crisis. Showing us how memory under
modernism breaks free of the nightmare of history, and how in doing
so it gives birth to new forms, Gibbons forces us to think anew
about Joyce's achievement and its foundations.
Ireland's Great Hunger Museum at Quinnipiac University publishes
Famine Folios, a unique resource for students, scholars and
researchers, as well as general readers, covering many aspects of
the Famine in Ireland from 1845 - 1852 - the worst demographic
catastrophe of nineteenth-century Europe. The essays are
interdisciplinary in nature, and make available new research in
Famine studies by internationally established scholars in history,
art history, cultural theory, philosophy, media history, political
economy, literature and music. This publications initiative is
devised to augment the Museum experience, and is part of the
Museum's commitment to making its collection accessible to
audiences of all ages and levels of educational interest. The
booklets are produced to the highest level, beautifully illustrated
with works from the Museum and related collections. It ensures that
audiences have access to the latest scholarship as it pertains to
both the historical and contemporary dimensions of the
collection.The absence of photographs of the Irish Famine has been
attributed to the shortcomings of a medium then it its infancy, but
it may also be due to certain limitations in the visible itself.
Susan Sontag argued that images can evoke sentimental responses but
cannot address wider political questions of obligation and justice.
Luke Gibbons revisits representations of the Famine, particularly
those in Ireland's Great Hunger Museum to argue that images can not
only give visual pleasure but demand ethical interventions on the
part of spectators. This fusing of sympathy and affective response
with the right of redress is conveyed by a 'judicious obscurity,' a
determination not to show all, which places an obligation on the
spectator to complete what is beyond representation, or what is
left to the imagination.
This pioneering study of Burke's engagement with Irish politics and
culture argues that Burke's influential early writings on
aesthetics are intimately connected to his lifelong political
concerns. The concept of the sublime, which lay at the heart of his
aesthetics, addressed itself primarily to the experience of terror,
and it is this spectre that haunts Burke's political imagination
throughout his career. Luke Gibbons argues that this found
expression in his preoccupation with political terror, whether in
colonial Ireland and India, or revolutionary America and France.
Burke's preoccupation with violence, sympathy and pain allowed him
to explore the dark side of the Enlightenment, but from a position
no less committed to the plight of the oppressed, and to political
emancipation. This major reassessment of a key political and
cultural figure will appeal to Irish studies and Post-Colonial
specialists, political theorists and Romanticists.
Since W. B. Yeats wrote in 1890 that ""the man of science is too
often a person who has exchanged his soul for a formula,"" the
anti-scientific bent of Irish literature has often been taken as a
given. Science, Technology, and Irish Modernism brings together
leading and emerging scholars of Irish modernism to challenge the
stereotype that Irish literature has been unconcerned with
scientific and technological change. The collection spotlights
authors ranging from James Joyce, Elizabeth Bowen, Flann O'Brien,
and Samuel Beckett to less-studied writers like Emily Lawless, John
Eglinton, Denis Johnston, and Lennox Robinson. With chapters on
naturalism, futurism, dynamite, gramophones, uncertainty,
astronomy, automobiles, and more, this book showcases the
far-reaching scope and complexity of Irish writers' engagement with
innovations in science and technology. Taken together, the fifteen
original essays in Science, Technology, and Irish Modernism map a
new literary landscape of Ireland in the twentieth century. By
focusing on writers' often-ignored interest in science and
technology, this book uncovers shared concerns between revivalists,
modernists, and late modernists that challenge us to rethink how we
categorize and periodize Irish literature.
John Ford's "The Quiet Man" (1952) is the most popular cinematic
representation of Ireland, and one of Hollywood's classic romantic
comedies. For some viewers and critics the film is a powerful
evocation of romantic Ireland and the search for home; for others,
it is a showcase for the worst stereotypes of stage-Irishry. Much
of Irish cinema since the development of an indigenous film
industry in the 1980s has set its face firmly against these mythic
images of Ireland, but no film has yet attained the enduring appeal
of "The Quiet Man." In this radical reappraisal of Ford's
Oscar-winning film, Luke Gibbons traces its development from
Maurice Walsh's original story (1933) and argues that its romantic
excesses are a symptom of much darker undercurrents in the literary
text, and the displacement of trauma that often underlies
nostalgia. Moreover, Gibbons ably demonstrates how the film, rather
than indulging in escapism, actually questions its own romantic
illusions and the dream of returning to an Irish paradise lost.
"Charles OConor of Ballinagare (171091) was one of 18th-century
Irelands greatest scholars, who wrote in both Irish and English.
His work was clearly influenced by the Enlightenment and he
regularly corresponded with the important intellectual and cultural
figures of his day. OConor is regarded as having played a key role
in founding the modern study of Irelands language, culture and
history. He was author of the highly influential Dissertations on
the ancient history of Ireland, along with many other works. OConor
tried to advance the civil rights of Roman Catholics, then
marginalized by the Penal Laws, and in 1756 he was one of the
founder members of the Catholic Association. This volume consists
of a series of essays on the life and work of this great Irishman.
Contributors include Hilary Larkin, Joep Leersen, Mchel Mac Craith,
Lesa N Mhungaile, Diarmaid Cathin, Maura OGara-ORiordan, Clare
OHalloran, Nollaig Murale, Olga Tsapina, Jeremy Williams, Fr John
Wrynn, wit
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