Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether 'music in Ireland' can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of 'Historical Perspectives', 'Recent and Contemporary Production' and 'Cultural Explorations', its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and 'moments') of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Seamus Ennis, Kevin O'Connell, Stiff Little Fingers, Frederick May, Arnold

Learn the tools and techniques you need to start making ceramic mugs, bowls, and more! Step-by-step instructions complete with color photographs Includes a chapter on bisque firing, waxing, and glazing 4 basic pottery projects for the beginning potter The art of pottery making is described in detail for the beginning potter. Complete with a chapter on tools and materials to get started, this easy-to-use guide explains and illustrates how to wedge clay, use a pottery wheel, shape and trim pots, determine clay thickness, add handles, and a host of other pottery-making techniques. It also contains a chapter on bisque firing and glazing, the final steps in creating beautiful and functional pottery. Includes complete instructions for making a large bowl, three styles of mugs, and a sugar bowl and creamer set.

Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether 'music in Ireland' can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of 'Historical Perspectives', 'Recent and Contemporary Production' and 'Cultural Explorations', its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and 'moments') of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Seamus Ennis, Kevin O'Connell, Stiff Little Fingers, Frederick May, Arnold

Subtle, lyrical and accomplished - Mark Fitzgerald's poetry moves easily between image and insight, the formal and the concrete; always with a keen ability to render the vicissitudes and mysteries of trying to see and be alive. These poems stay with you long after you've read them, paint bold horizons of meaning and contemplate humanity's relationship to the natural world and the indomitable strides of time. A blue jay or flower is given the same magnitude as a train or saxophone. The dead are brought to life and begin to sing. A mask is unveiled and a carnival envisioned. Neither obscure nor colloquial, the poet has woven a tapestry of remarkable intimacy and wonder, celebrating the sublime half-light that waltzes between ecstasy and elegy, between dust and the rain that washes it away.

Dublin did not escape the Great Famine: many of its inhabitants experienced acute poverty and illness, while the capital witnessed an influx of the rural poor seeking refuge and relief. However, Dublin has remained largely neglected in popular and scholarly narratives of the Famine. This collection of essays breaks new ground and reconsiders the Famine and its historiography by locating Dublin city and its inhabitants at the centre of its focus. This volume, containing work by established and emerging scholars, presents some of the most recent research into life in Dublin during this period of unprecedented distress. As such, it constitutes the most detailed analysis to date of the impact of the Great Famine on Dublin and its inhabitants, and is the first monograph wholly devotedto this subject. This pioneering volume offers an interdisciplinary approach and a range of perspectives from its thirteen contributors. Featuring a foreword by Cormac O Grada and including a comprehensive overview of Famine scholarship on Dublin to date, its twelve additional essays cover such diverse topics as business life and industry in the city, the impact of the Famine on Dublin's charity and welfare landscapes, suicide and trauma at this time of acute crisis, experiences of the marginalised within prisons and hospitals, and cultural representations of Famine-era Dublin. It examines both direct and indirect impacts of the Famine on the city, noting promising future areas of research, and arguing for the reinvigoration of urban histories with Famine studies. This volume of essays will appeal to students, scholars and general enthusiasts of 19th-century Irish history, especially those interested in the history of the Great Famine and of Dublin. Generously illustrated, it illuminates an overlooked but essential dimension of Irish history.