Representation Of Ireland Research Articles

Surgical instrument wrap: a pilot recycling initiative

BackgroundSeven per cent of general waste and 20% of healthcare risk waste produced in acute hospitals in Ireland comes from operating theatres. Surgical wrap comprises 11% of operating theatre waste.AimsThe primary aim of this study was to pilot the implementation of a recycling initiative for surgical instrument set wrap in an operating theatre in Ireland. Secondary aims included quantification of the surgical wrap diverted from general waste to recycling streams over a 5-week period and estimation of the annual carbon emissions associated with gynaecology surgical wrap use in Cork.MethodsThe amount of polypropylene surgical wrap generated by a single gynaecology theatre at Cork University Maternity Hospital was prospectively quantified from 24/1/22 to 1/3/22. At the end of the study period, individual sheets of polypropylene wrap were counted and dimensions were measured to calculate the total surface area of surgical wrap saved for recycling.ResultsA total of 66 surgeries were performed over the 5-week study period. Two hundred twenty-one individual sheets of surgical wrap were collected, equating to 282.1 m2 of polypropylene wrap. An estimated 11,564 m2 of surgical wrap could be recycled annually from the gynaecology theatre service in Cork with an associated annual carbon emissions equivalent of at least 2.2 tonnes of CO2.ConclusionDiversion of surgical wrap from general waste and clinical waste streams to the recycling stream is achievable in every operating theatre. Small changes to operating theatre waste disposal practices have the potential to yield significant reductions to theatre waste outputs and to hospital carbon emissions.

Greaney, John. The Distance of Irish Modernism: Memory, Narrative, Representation

Influenced by new modernist studies, John Greaney diligently interrogates the simultaneous proximity and distance that Irish modernism has to a national narrative of social and political history, particularly as enabled through form, aesthetics and questions of language and translation. The Distance of Irish Modernism adopts what Greaney calls a ‘flexible formalism’ (p. 26) in order to emphasize the importance of aesthetic features when approaching Irish modernism’s relationship to Irish history. In Chapter 1, Greaney complicates historicist readings of Beckett’s work, specifically Molloy (1951), Malone Dies (1951) and The Unnameable (1953). He convincingly illustrates the ways in which Beckett deflects ‘the capacities of even basic representation’ (p. 58), as apparent in his engagement with the Holocaust and Irish colonial history, and thereby enables his works to ‘operate at a remove from history to negotiate its trauma and ineffability’ (p. 58). Chapter 2 interrogates the questions of authorship and voice raised by the various pseudonyms of Brian O’Nolan, as well as the subsequent destabilizing forces of fragmentation and trivia located within texts such as At-Swim-Three-Birds (1939). Greaney argues that O’Nolan/O’Brien/na gCopaleen’s texts actively refute being conflated with their cultural and historical contexts. Chapter 3 perhaps best captures the spirit of Greaney’s endeavours. His metacommentary on Elizabeth Bowen’s The Last September (1929) highlights that the variability in academic definitions and readings of Bowen’s novels acts to destabilize the text’s relationship with Irish history. In his textual analysis, Greaney argues that Bowen’s representation of Ireland during the War of Independence through the perspective of female Anglo-Irish characters, whose worlds are limited by their class and gender, serves to put distance between the novel and the wider revolutionary context. In Chapter 4, Greaney argues that Kate O’Brien’s application of omniscience is a formal modernist device which functions to distance the narratives of Mary Lavelle (1936), Pray for the Wanderer (1938) and The Land of Spices (1941) from her contemporary social history. Greaney clearly demonstrates how in O’Brien’s work, the setting of postcolonial Ireland is rendered ‘spectral’ (p. 139) by her omniscient narrator, who thus serves to detach O’Brien’s texts from their historical contexts. In his final chapter, Greaney considers the work of John McGahern, a writer usually associated with naturalism and social realism (p. 141), and tests the presumed distinctions between these attributes and modernism. Focusing on a wide range of McGahern’s texts, Greaney argues that McGahern’s critique of mid-century Ireland is informed by a modernist fragmentation of various narrative operations that render reality a ‘hermeneutic enigma’ (p. 165).

Review of Navigating Ireland's Theatre Archive: Theory, Practice, Performance, by Barry Houlihan (ed.)

Review of Navigating Ireland's Theatre Archive: Theory, Practice, Performance, by Barry Houlihan (ed.) (Oxford: Peter Lang, 2019), 281 pp., eISBN: 978-1-78874-282-5 (ePDF)

‘Unfailing Unity’: Jessie Louisa Moore Rickard, Great War Ireland and the Italian Risorgimento

This article offers a development of traditional approaches to Irish Great War literature which focus on issues of national identity towards a wider transnational field. It investigates two war narratives by Dublin-born Anglo-Irish writer Jessie Louisa Moore Rickard (1876–1963): her 1915 article for New Ireland ‘The Munsters at Rue du Bois’ and her 1918 home front novel The Fire of Green Boughs, both of which contain intertextual references to the Italian Risorgimento (1815–1871), or the unification of the Italian peninsula. By framing her works within the Italian context, Rickard establishes new paradigms of interpretation for both the representations of Ireland in First World War fiction and the Italian Risorgimento in English literature. In her works, Great War Ireland is no longer perceived as an essentially domestic conflict but rather as connected to other events across time and space, inscribing First World War Ireland within a more global context. Representations of the Risorgimento are also expanded in her work. So far, Irish scholarship has established strong links between the Italian struggle for independence and Irish nationalism. Rickard’s work, however, shows that the Risorgimento can also become a model for the Union between Ireland and England.

Theatre in Ireland in the mid-nineteenth century: the troubled 1840s

The mid-nineteenth century was a challenging and turbulent time for Irish theatres, with the 1840s being particularly difficult. The period saw a growing demand for recreation which resulted in a surge of improvements in Irish theatre infrastructure and concerted efforts of theatre managers to attract the public by providing a wide range of entertainment in cities and country towns. Irish audiences had access to a broad repertoire that embraced everything from Shakespeare and high opera to rude farce and low comedy, while developments in transport ensured that internationally renowned performers were familiar to Irish theatre-goers to whom the theatre became increasingly accessible.

Navigating Ireland's Theatre Archive: Theory, Practice, Performance ed. by Barry Houlihan

Navigating Ireland's Theatre Archive: Theory, Practice, Performance ed. by Barry Houlihan

Representation of Authority Over Ireland in the John Lynch’s “Cambrensis Eversus” (1662)

The paper analyzes the forms of representation of authority over Ireland in John Lynch’s “Cambrensis Eversus” (1662). In polemic with Gerald of Wales and the English/British tradition of representation of Ireland, Lynch constructed his own view on history of Ireland and authority over this land. The first level of representation is the authority of ancient Irish kings. In this sense Lynch emphasized the contract between Irish kings and people. Moreover, Lynch modernized the image of power of ancient Irish kings, using the terms and concepts of early modern intellectual discourse. The second level is the papal authority and in this case Lynch denied any claims of Rome. The third level are the issues of legitimacy and values of authority of Anglo-Norman and Old English. In Lynch’s view, English kings before Stuarts haven’t had enough loyalty from Irish people. And the last level is Stuart’s authority over Ireland. On this level Lynch synthesized the discourse practices of other levels to construct the legitimacy of restored dynasty and to prove loyalty of whole Irish people without ethnic and confessional divisions.

Current JJ Checklist (139)

Current JJ Checklist (139) William S. Brockman Our thanks to contributors to this number of the "Current Checklist": Sabrina Alonso, Ronan Crowley, Richard Gerber, Lea Pao, Friedhelm Rathjen, and Fritz Senn. The entire retrospective James Joyce Checklist, hosted since 2008 by the Harry Ransom Center at the University of Texas at Austin, compiles citations from earlier issues of the JJQ and provides extensive coverage of editions, criticism, and research dating back to Joyce's lifetime. This resource is available at https://norman.hrc.utexas.edu/jamesjoycechecklist/. Please send contributions or suggestions to your bibliographer at w.s.brockman@gmail.com. JJ WORKS Exiles. Ed. Keri Walsh. Oxford World's Classics. Oxford: Oxford University Press, 2021. li, 127 pp. ISBN 978-0-19-880006-4. [Includes "Ibsen's New Drama" and "The Day of the Rabblement."] Finnegans Wake by a Thread. Ed. Dirce Waltrick do Amarante. São Paulo: Iluminuras, 2021. ISBN 978-6-555-19077-9. http://online.pubhtml5.com/opbz/jbxm/#p=1. [Abridgement with notes.] SECONDARY SOURCES AL-KHAYYAT, Amal, and Yousef Awad. "Alameddine's Appropriation of Joyce's A Portrait of the Artist as a Young Man." Forum for World Literature Studies 12, i (March 2020): 144-57. http://www.fwls.org/. AMARAL, Vitor Alevato do. "Abahia se revém: Considerações sobre a tradução de Finnegans Wake." Revista Da Anpoll 1, no. 50 (Sep-Dec): 152-64. HTTP://DX.DOI.ORG/10.18309/ANP.V1I50.1332. AMARAL, Vitor Alevato do. "Finnegans Wake is Now 80: Can We Finally Read it?" Ideas: Revista de la Escuela de Lenguas Modernas 6, vi (2020): 1-7. https://p3.usal.edu.ar/index.php/ideas/article/download/5265/7032. AMARAL, Vitor Alevato do, Elis Maria Cogo, and Eloisa Dall'Bello. "As nove vidas de um conto: as traduções de 'Os mortos,' de James Joyce, em português brasileiro (1942-2018)." Gragoatá 24, no. 49 (May-August 2019): 483-512. [End Page 355] AUTIERI, Arianna. "La 'verbal music' di James Joyce in traduzione." Ticontre: Teoria Testo Traduzione no. 11 (2019): 407-29. http://www.ticontre.org/ojs/index.php/t3/article/view/275/271. AYUK, Athanasius A. "Identity and Dissent in James Joyce's A Portrait of the Artist as a Young Man and D. H. Lawrence's The Rainbow." International Journal of English Literature and Social Sciences 6, i (January-February 2021): 163-76. https://dx.doi.org/10.22161/ijels.61.19. AZEREDO, Genilda, and Bernardo L. A. Soares. "Eveline e Elvira: subjetividades femininas em diálogo intertextual." Revista Ártemis 29, i (January-June 2020): 316-25. https://periodicos.ufpb.br/ojs2/index.php/artemis/article/view/52034/30926. BEARD, Lauren. The Aesthetics of Nachträglichkeit: Traumatic Temporality and the First World War in Proust, Joyce, and Mann. Ph.D. diss. University of Toronto, 2020. 237 pp. BILAL, Muhammad, Naseem Ullah Khan, and Syed Qasim Shah. "Freedom and Desire: A Quest for Spiritual Journey in James Joyce's Novel Ulysses/A Portrait of the Artist as a Young Man." Research Journal of Social Sciences & Economics Review 2, i (January-March 2021): 71-78. https://doi.org/10.36902/rjsser-vol2-iss1-2021(71-78). BIRGY, Philippe. "The Challenge of Taking Sides: Virtue as Corruption in Joyce's Ulysses." Miranda 21 (2020): 1-21. http://journals.openedition.org/miranda/28067. BONFIGLIO, Richard. "Semicolonial Masculinity and Synchronic Narration in 'Araby.'" Studies in Modern Fiction 27, i (2020): 153-77. BOYSEN, Benjamin. "A War in Words: James Joyce's Last Comedy (Finnegans Wake)." The Rhetoric of Topics and Forms. Ed. Gianna Zocco. Collected Papers of the 21st Congress of the ICLA, 4. Berlin: Walter de Gruyter, 2021. 403-13. ISBN 978-3-11-064148-6. https://doi.org/10.1515/9783110642032-032. CEPACH, Riccardo. "Every Picture Tells a Story: When Joyce and Svevo Played Bowls." TLS no. 6146 (15 January 2021): 13. [1908 photograph from Trieste. Translated by Carmine Di Biase.] CHOI, Seokmoo. "Joyce's Representation of Ireland as a Partner in the British Empire." Wenshan Review of Literature and Culture 12, ii (June 2019): 139-63. https://www.wreview.org/index.php/archive/55-vol-12-no-2.html. COELHO, Daniella Paez, and Vera Lucia Lenz Vianna. "The Condition...

Against British Influences: Home Rule and the Autonomy of Irish Popular Culture in Ireland’s Juvenile Periodicals

This paper aims to analyse a largely uncharted topic, i.e. the representation of Ireland’s struggle for political and cultural self-determination in the nationalist press for Irish youth. In particular, I will examine four papers (Our Boys, Fianna, Young Ireland, and St. Enda’s), which represented the various nuances within the ranks of Irish nationalism. Combining literary and historical interests, I will devote my attention to the editorials and literary contributions published in the 1910s and 1920s to illustrate how these juvenile periodicals engaged their readership in a discussion on the necessity of Home Rule and Ireland’s cultural independence. Textual attention to the rhetorical and literary strategies adopted by the contributors helps to expose the nuances and shifts in the Irish nationalists’ view on the issue, and how nationalist ideas were repackaged for a youthful audience. Moreover, since the four papers were meant as home-grown substitutes for the examples of British popular culture such as the Boys’ Own Paper, their analysis will cast light on the nationalists’ yearning for the development and success of truly Irish popular culture among the youngsters. The Irish periodicals waged a battle against their British counterparts — a battle which Ireland’s youth was incited to fight.

The Shadow of a Gunman by Sean O’Casey, and :Juno and the Paycock by Sean O’Casey, and:The Plough and the Stars by Sean O’Casey

Reviewed by: The Shadow of a Gunman by Sean O’Casey, and :Juno and the Paycock by Sean O’Casey, and:The Plough and the Stars by Sean O’Casey Michael C. O’neill THE SHADOW OF A GUNMAN. By Sean O’Casey. Directed by Ciarán O’Reilly. Irish Repertory Theatre, New York City. January 31, 2019. JUNO AND THE PAYCOCK. By Sean O’Casey. Directed by Neil Pepe. Irish Repertory Theatre, New York City. March 21, 2019. THE PLOUGH AND THE STARS. By Sean O’Casey. Directed by Charlotte Moore. Irish Repertory Theatre, New York City. June 20, 2019. New York City’s Irish Repertory Theatre celebrated its thirtieth anniversary by devoting the second half of its 2018–19 season to Sean O’Casey, [End Page 107] staging his so-called “Dublin Trilogy” in repertory at the Irish Rep’s intimate space on West 22nd Street. Marking the first time in the New York area that The Shadow of a Gunman (1923), Juno and the Paycock (1924), and The Plough and the Stars (1926) have been performed in repertory, the productions captured the comic energy and relentless suffering of O’Casey’s characters, connecting contemporary audiences to the domestic turmoil and political upheaval that permeates these plays first staged by Dublin’s Abbey Theatre almost a century ago. An audacious undertaking by any measure, the Irish Rep’s productions maintained O’Casey’s legacy without challenging it, and instead embraced the novice playwright’s passions and developing ideas. This method allowed audiences a sense of how O’Casey’s early work, particularly his strong portraits of selfless, sometimes heroic women helped revolutionize theatre in Ireland and beyond. Click for larger view View full resolution James Russell (Donal Davoren) and Michael Mellamphy (Seumas Shields) in The Shadow of a Gunman. (Photo: Carol Rosegg.) Set in 1920 during the Irish War for Independence, The Shadow of a Gunman, under the direction of Ciarán O’Reilly, immediately thrust the audience into a confusing Dublin tenement flat governed by the guarded behavior and puzzling innuendo of the peddler Seumas Shields and his illegal tenant, the hapless poet Donal Davoren, who, according to tenement gossip, is secretly an IRA gunman. Although the acting ensemble provided vivid portraits of the nosey tenement dwellers, O’Reilly’s direction did little to help the audience distinguish them from one another; moreover, James Russell as Davoren complained so strongly when the neighbors interrupted his writing that he may have made it difficult for the audience to understand these denizens of an unfamiliar era as more than merely part of O’Casey’s microcosm of Dublin’s impoverished working class. O’Casey pokes fun at would-be poets, including his own youthful artistic pretensions, through Davoren, but Russell seemed to equate passion with yelling and never captured the modulation in the wonderful lines O’Casey has written for Davoren. Russell’s Davoren, however, stirred briefly to life in his first act encounter with Minnie Powell, played by Meg Hennessy as a potential “new woman” deprived by her lack of education from taking her place in a culture redefining itself. She imposed upon a receptive Davoren her simple preconceptions of a heroic ethos embodied by soldiers fighting against Britain. In feigning to share her revolutionary fervor, the duplicitous Davoren by the close of The Shadow of a Gunman ironically became a foil to Minnie, whose accidental death was quickly mythologized by tenement gossip as an act of heroism; meanwhile, in one of the production’s most genuine moments, Seumas [End Page 108] and Davoren realized their debt to Minnie for saving their lives must remain a secret they keep forever. Presented at the Irish Rep in 1995 and 2014, Juno and the Paycock remains O’Casey’s most popular play, and in terms of theatrical artistry, it is far more accomplished than The Shadow of a Gunman. The Atlantic Theatre Company’s artistic director, Neil Pepe, directed the production without much evidence of his customary visceral approach, reflecting instead the Irish Rep’s steady and unobtrusive directorial aesthetic. Pepe appropriately contrasted the mundane troubles of the Boyle family in 1924, however, against the insufferable loss of children to...

The Representation of Ireland in Bertalan Szemere’s Utazás külföldön or A Journey Abroad A Study of Szemere’s Image-Forming Sources

AbstractThe present study adds to my ongoing research into Irish-Hungarian relations in the nineteenth century. As such it is concerned with Bertalan Szemere’s representation of Ireland in his travelogue Utazás külföldön [A Journey Abroad]. It approaches Szemere’s work from the perspective of the following three questions. How does Szemere’s trip to Ireland fit into the tradition of Irish-Hungarian contacts? What urged Szemere to sail over to Ireland and extend his already long and tiring tour of Europe? And finally, what factors shaped Szemere’s image of Ireland in his travel account? A preliminary study of the conditions of Szemere’s trip and his actual account of the country has led me to the hypothesis that in the process of creating his own representation of Ireland Szemere heavily relied on external sources. I seek to answer these questions by identifying the place of Szemere’s travel account in the tradition of Hungarian-Irish contacts; by relating it to other texts on Ireland by Szemere’s Hungarian contemporaries; and by comparing it to particular reports on Ireland by European travellers. My aim is to prove that Szemere’s representation of Ireland was primarily informed and moulded by German and English sources as they were transferred to Szemere by some Hungarian periodicals. My study also emphasizes the importance of further research into the interaction of Hungarian and European discourse on Ireland in the nineteenth century.

The Irish Stage: A Legal History by W. N. Osborough

Reviewed by: The Irish Stage: A Legal History by W. N. Osborough Deirdre Oleary THE IRISH STAGE: A LEGAL HISTORY. By W. N. Osborough. Dublin: Four Courts Press, 2015; pp. 352. As he opens his The Irish Stage: A Legal History, W. N. Osborough is quick to concede that the study of the history of the Irish theatre is itself a rich and varied genre, and the justification for another work on the subject might not be immediately obvious. But his ambitious and extensively detailed survey and analysis of the legal applications, patents, transfers of ownership, laws, and codicils surrounding Irish theatre from the seventeenth to the late twentieth century are distinctive in their focus. While other Irish theatre scholars, notably Christopher Morasch, John Harrington, and Eamonn Jordan, have examined Irish theatrical history primarily chronologically and through the lens of dramaturgical analysis, Osborough largely omits a consideration of dramatic literature from his study. Instead, he provides exhaustive documentation on changes in theatre patents, reviews of privy councils, newspaper accounts, political pamphlets, acts of Parliament, and so on to further contextualize the evolution of theatre in Ireland as inextricably tied to Irish law. While other Irish theatre texts may focus on the entertainments and dramatic offerings as reflecting the evolving Irish national character and cultural interests of the people, Osborough examines the legal maneuvers and political acts that exercised limitations on the types of performances allowed at various theatres, and considers how these limitations influenced the development of particular genres and entertainments. The book is largely geared to Irish theatre scholars and legal scholars and provides valuable contributions to the extensive body of Irish theatre scholarship. The Irish Stage is organized chronologically across fifteen chapters, beginning with the creation in 1638 of the office of the Master of the Revels in Ireland. The original Master of the Revels, James Ogilby, and his successors are the focus of much of chapter 1, as they individually navigate the nascent Irish theatre landscape (exclusively concentrated in Dublin) against the changing political climate of Britain. Osborough notes the changes in theatrical patents, the theatrical threat posed by an emboldened Sir William Davenant and Sir Thomas Killigrew in London in 1660, and the ever-changing occupiers and owners of Ireland's original theatre, Smock Alley. This chapter is followed by an examination of the theatrical regulation in Britain from the early eighteenth century to the middle of the nineteenth. Some theatre scholars might rightly contest the choice of relying heavily (as Osborough does) upon British theatre historical practice (which was far larger, catered to a more diverse audience, and had significant legal and organizational differences) to document the Irish theatre. To that point, Osborough argues that Ireland's patents, theatrical structure, and legal oversight are informed and shaped by British theatrical practice, and that the Irish law surrounding theatre is best understood with sufficient description of British theatrical precedent. Where there are differences—for example, the lack of a Lord Chamberlain for Ireland—they are extensively documented. The next three chapters focus on the Dublin Stage Regulation Act, first introduced in 1779 by Thomas Sheridan as a thinly veiled attempt to preserve his theatrical monopoly in Dublin, passed by Parliament in 1785, and vigorously challenged by the Dublin Corporation the same year. Osborough details the debates in the House of Commons and the petitions filed in opposition to the act, which focused on the discrepancy in fees for putting on a play in an unlicensed theatre (£300 in Ireland, compared with £100 in Britain). Chapters 6-7 consider performances in Britain that were regulated under the Act of 1737 and the often creative means by which producers and managers sought to skirt the definitions of what constituted a regulated performance, in accordance with the act. These include the various attempts by managers to have their performances categorized as other forms of entertainment, as well as oftentimes ingenious staging methods employed to escape classification as a "stage play." Osborough notes as example the court case of Day v. Simpson, about an 1865 production of Pepper's Ghost by James Day that was performed "from a chamber below the stage—a complicated pattern of lenses and mirrors being...

Staging the Women in Irish Modern Theater

This paper examines representations of woman by female playwrights such as Lady Gregory and Anne Devlin and also a male playwright such as Stewart Parker in order to consider the significance of women. In the 20th century, theatre in Ireland has been a highly exciting and questionable space of cultural enactment regarding notions of woman and gender. It is important to interrogate the representation of woman as an idealized trope of nation. This paper offers an opportunity to bring us further along the way to discover women’s voices, words, and bodies in Irish theatre.

British Solutions to Irish Problems: Representations of Ireland in the British Architectural Press, 1837–1853

Existing scholarship on representations of Ireland in the British press has overlooked a subset of nineteenth–century publications: architectural periodicals. By analysing their coverage of Irish issues over a fifteen year period, including industrial exhibitions staged in Cork and Dublin, this article challenges the notion that the immediate post–famine years were a period of diminished interest in Irish affairs. Architectural periodicals suggested that Ireland’s problems could only be solved through greater Anglicization, as shown in their depictions of romanticised Irish peasants, government–sponsored engineering projects, and the construction of Irish workhouses.

An "Unworkable Compound": Ireland and Empire in "Eveline"

James Joyce's "Eveline" poses the question of Ireland's identity within the British Empire in indirect but powerful terms. In its depiction of Eveline's paralyzing suspension between home and world, Joyce's story echoes the contemporary cultural nationalist diagnosis of modern Ireland as an "unworkable compound" of imperial and national affinities. Joyce, however, presents this unworkable compound as a constitutive condition of modern Irish life, not an inauthentic imposition. "Eveline" thus highlights what is distinctive about Joyce's representation of Ireland and empire, as Joyce dramatizes how ordinary Irish people experienced that relationship in all its varied aspects of participation and subordination.

'Justifying Imperialism: English Representations of Ireland and Cornwall before and during the Civil War'

'Justifying Imperialism: English Representations of Ireland and Cornwall before and during the Civil War'

Standing at Cultural Crossroads: Erskine Nicol’s Representations of Ireland

Cet article porte sur le travail de l’artiste Erskine Nicol (1825-1904), dont les tableaux évoquent les différentes traditions artistiques qui ont marqué l’histoire de la peinture européenne jusqu’au XIXème siècle. Ce peintre écossais fit des représentations de l’Irlande sa spécialité, si bien que son œuvre se situe à la croisée des iconographies irlandaises et écossaises. Peintre de genre, Nicol donna à une grande majorité de ses travaux une touche humoristique, que ce soit dans ses scènes représentant l’Ecosse ou l’Irlande. Un tel choix s’explique par la formation artistique de l’artiste, qui eut lieu en Écosse, où la peinture des scènes domestiques avait acquis une grande renommée grâce à David Wilkie. Néanmoins, certaines compositions de Nicol s’éloignent du style écossais pour adopter un mode plus caricatural, notamment dans les années 1850, ou encore réaliste, en particulier dans les œuvres évoquant la vie quotidienne des Irlandais. Ces déviations témoignent de nouvelles influences sur le travail du peintre, qui sont celles des traditions anglaises ou irlandaises. Cette analyse montre donc en quoi le travail du peintre se trouve au carrefour de multiples influences culturelles.

“Through the Land of Nod and Wink”: Representations of Ireland in The Twelfth of Never by Ciaran Carson

The Twelfth of Never, published in 1998 by Ciaran Carson, is composed of seventy-seven poems in the form of the French sonnet. This collection embodies the poet’s ever-recurring preoccupations with the representation of the world, both past and present, through the medium of language. This article aims at showing in what ways reality is transfigured and re-created for the reader. The poet turns to a form of writing in motion that subverts tradition and provides the means of entering another world, that of fantasy.

“Through the Land of Nod and Wink”: Representations of Ireland in The Twelfth of Never by Ciaran Carson

Alternative universes loom before us with their many shadows (Ciaran Carson, Last Night's Fun) Ciaran Carson’s career as a poet, prose-writer and translator was acknowledged in 2011 when he was conferred the honorary degree of Doctor of Literature by University College Dublin. In his address, Professor Frank McGuinness defined him as “one of the most

The Darkest Corner: documenting institutional abuse and its consequences at the Abbey Theatre

Documentary theatre, as a theatrical genre, has not maintained a continuous presence in Irish theatre. The Darkest Corner series, produced in 2010 by the Abbey Theatre, Dublin, Ireland's National Theatre is, therefore, one of the first examples of Irish theatre using the genre to address political and social issues. Presenting three plays, Gerard Mannix Flynn's James X, Richard Johnson's The Evidence I Shall Give and Mary Raftery's No Escape, the series examines the widespread abuse of children in state institutions. Before analysing the documentary play commissioned by the Abbey, Raftery's No Escape, this article will begin with an exploration of documentary theatre in Ireland. It will then examine the material used for the play, the Ryan Report, published following the Commission to Inquire into Child Abuse, something of great political and social interest to contemporary Ireland and, finally, the play itself.