The representation of violence in Northern Irish art
Shane Alcobia-Murphy

” provides an affinity with “the murderers” and presents the viewer with a view of the Troubles as “monstrous” ’.25 That which is ‘monstrous’ is beyond comprehension: it is alien, barbaric and cannot be expressed in language. As such, McIlroy’s conclusion typifies the reaction to a Northern Irish atrocity and highlights the inability of language to either faithfully re-present the killing or encapsulate the resulting grief. In a paper entitled ‘The Spectacle of Terrorism in Northern Irish Culture’, Richard Kirkland argues that ‘it has been the traditional role of language

in Irish literature since 1990
Open Access (free)
Irish drama since 1990
Clare Wallace
Ondrej Pilný

Pedigrees of the Celtic Tiger’, in Peadar Kirby, Luke Gibbons and Michael Cronin (eds), Reinventing Ireland: Culture, Society and the Global Economy (London: Pluto, 2002), p. 35. In Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: University of Minnesota Press, 1996) anthropologist Arjun Appadurai discusses at length the roles of the media and migration in the redefinition and reimagining of culture in a globalised world. Joyce McMillan, ‘Ireland’s Winning Hand’, Irish Theatre Magazine 3: 15 (2003), pp. 16, 18. Zygmunt Bauman, Globalization: The

in Irish literature since 1990
Paul Collinson

(Dublin: An Taisce). Mercator Market Research n.d. Attitudes to Tidy Towns. Published at en/Environment/TidyTowns/PublicationsDocuments/FileDownLoad,2390,en.doc. Accessed 3 April 2010. Motherway, Brian, Mary Kelly, Pauline Faughnan, and Hilary Tovey 2003 Trends in Irish Environmental Attitudes between 1993 and 2002. First Report of National Survey Data (Dublin: Environmental Protection Agency). Peillon, Michel 2002 ‘Culture and the state in Ireland’s new economy’, in P. Kearby, L. Gibbons, and M. Cronin (eds) Reinventing Ireland: Culture, Society and the

in Alternative countrysides
Patrick Doyle

Under Plunkett's stewardship, the co-operative movement galvanised enough support to drive the expansion of this project until it wove various social, economic and political threads together to create a distinct Irish culture. Stephen Gwynn later reflected upon the centrality of the economic aspect to the Revival, which proved decisive in the creation of Ireland's ‘strong culture’. A former Nationalist MP, Gwynn identified many contributors to this cultural milieu which included the Gaelic League, the literary movement and Sinn Féin ‘in its earlier more purely

in Civilising rural Ireland
Open Access (free)
Sarah Roddy

Most agree that a fundamental lack of economic opportunity at home was the key determinant of outward migration, and that the loss of population had discernible consequences for the development, or more often, lack of development of the Irish economy.22 Fewer studies have assessed how other elements of Irish culture and society affected or were affected by the mass population movement. Arnold Schrier’s pioneering Ireland and the American Emigration was a worthy attempt to do just that, but it was, as the author himself later noted, a preliminary treatment, leaving

in Population, providence and empire
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr
Mária Kurdi

. Arguably, this may have been connected to the focus on colonial/postcolonial identity in a considerable bulk of earlier drama, a perspective the authors tended to revisit and often treat as a complex given rather than a field of contestation. In contemporary Irish culture – inviting the post-postcolonial description under the ramifying effects of globalisation, Celtic Tiger economy and the reverse migration the 9780719075636_4_004.qxd 62 16/2/09 9:24 AM Page 62 Drama country has been facing – the concept of identity is becoming, necessarily, more flexible

in Irish literature since 1990
Crossing the (English) language barrier
Willy Maley

Heaney, Deane and Paulin no longer live in Northern Ireland, it may be inevitable that they should fall into the tropes of stylised retrospect’ (1991: 652). But ‘the tropes of stylised retrospect’ are far from being confined to exiles. They pervade Irish culture. Paulin fails to mention among his ‘three languages’ the one that arguably exerts most pressure on Irish poets, namely ‘English English’, or just plain English. Longley considers Paulin’s version of Ulster Scots to be impoverished and she contrasts Seamus Heaney’s use of phrases like ‘the body o’ the kirk

in Across the margins
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Speaking of Ireland
Colin Graham

receptor of all statements about itself. This would undoubtedly be a result of the context of European nationalism and British colonialism in which the structural functions of Irish nationality are again and again thrust into teleologies of progress and change, so that future transcendence is the refuge for ‘Ireland’, clearing the way for political Irelands to manifest themselves. (The work of Joep Leerssen (1996a, 1996b) represents a remarkable contribution towards such a project.) More clearly evident is that any post-colonial critique of Irish culture, for all its

in Across the margins
Journeys through postmodern Dublin
David Slattery

of Folklore at Heidelberg University. He left the Institute suddenly some six years ago and no one has had the nerve to enquire why. I believe he has spent some time in an asylum near Cologne and now writes a weekly column for a local newspaper. He was concerned with anonymity, arguing that not just uninformed informers should have their identities preserved, so I agreed to call him Hans. Hans had been in Ireland in the 1970s, touring the west with a German céilí band, and considered himself to be well informed on traditional Irish culture. I had met Hans at a

in The end of Irish history?
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

represented by Strongbow himself may well result from the workings of Irish individuals. Yet, as with Longsword , the novel's conclusion leaves all such optimism in doubt, casting the rehabilitation of both Irish culture and the British nation itself in terms of potentiality. Indicatively, the novel's twice removed narration of Strongbow's tale – told first to a seventeenth-century prisoner kept in Chepstow Castle and then read, in manuscript form, by an eighteenth-century tourist – implies that the cause of Strongbow's continued haunting of his former home remains

in The gothic novel in Ireland, c. 1760–1829