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Encounters in Greek and Irish Literature brings together literary experts in two traditions and some contemporary novelists writing in them: this distinctive group includes Katy Hayes, Mia Gallagher, Deirdre Madden, Paraic O’Donnell, Christos Chrissopoulos, Panos Karnezis, Sophia Nikolaidou, and Ersi Sotiropoulos. Their work is presented in context, not only through excerpts from published and unpublished fiction, but also through eight self-reflective essays that enhance our understanding of these authors’ themes and modes. All these critical texts originate from a unique gathering of scholars and creative talent held at the Ionian University, Corfu, in October 2017, predominantly exploring Greek and Irish prose writing and the relationships between them. This volume paints a more complete picture through added scenes from drama, poetry and translation, and through considerations of the history and associations of two literatures at the edges of Europe. Translation is integral to the dialogues fostered; the selected works by the Irish and Greek writers can be read in both Greek and English, a manifestation of, and a further point in, the reception of these authors beyond Greece and Ireland. The book opens with a comprehensive introductory essay by Joanna Kruczkowska, and further insights into the creative mind and aspects of publishing are provided through a roundtable with the authors recorded at the time of the festival. This material further contributes to a remarkably structured look at the business of writing and the workings of two literary systems.
This collection addresses how models from ancient Greece and Rome have permeated Irish political discourse in the century since 1916. The 1916 Easter Rising, when Irish nationalists rose up against British imperial forces, became almost instantly mythologized in Irish political memory as a turning point in the nation's history that paved the way for Irish independence. Its centenary has provided a natural point for reflection on Irish politics, and this volume highlights an unexplored element in Irish political discourse, namely its frequent reliance on, reference to, and tensions with classical Greek and Roman models. Topics covered include the reception and rejection of classical culture in Ireland; the politics of Irish language engagement with Greek and Roman models; the intersection of Irish literature with scholarship in Classics and Celtic Studies; the use of classical referents to articulate political inequalities across gender, sexual, and class hierarchies; meditations on the Northern Irish conflict through classical literature; and the political implications of neoclassical material culture in Irish society. As the only country colonized by Britain with a pre-existing indigenous heritage of expertise in classical languages and literature, postcolonial Ireland represents a unique case in the field of classical reception. This book opens a window on a rich and varied dialogue between significant figures in Irish cultural history and the Greek and Roman sources that have inspired them, a dialogue that is firmly rooted in Ireland's historical past and continues to be ever-evolving.
From her seminal Eros the Bittersweet (1986) to her experimental Float (2016), Bakkhai (2017) and Norma Jeane Baker of Troy (2019), Anne Carson's engagement with antiquity has been deeply influential to generations of readers, both inside and outside of academia. One reason for her success is the versatile scope of her classically-oriented oeuvre, which she rethinks across multiple media and categories. Yet an equally significant reason is her profile as a classicist. In this role, Carson unfailingly refuses to conform to the established conventions and situated practices of her discipline, in favour of a mode of reading classical literature that allows for interpretative and creative freedom. From a multi-praxis, cross-disciplinary perspective, the volume explores the erudite indiscipline of Carson's classicism as it emerges in her poetry, translations, essays, and visual artistry. It argues that her classicism is irreducible to a single vision, and that it is best approached as integral to the protean character of her artistic thought. Anne Carson/Antiquity collects twenty essays by poets, translators, artists, practitioners and scholars. It offers the first collective study of the author's classicism, while drawing attention to one of the most avant-garde, multifaceted readings of the classical past.
Jerzy Kosinski’s viscerally haunting and politically disturbing The Painted Bird finally receives the long overdue fresh scientific perspective: a truly revealing study of linguistic and cultural controversy in translation into thirteen languages against the benchmark of the iron-clad methodology.
This book explores the perception of modern Greek landscape and poetry in the writings of Seamus Heaney and Derek Mahon. Delving into travel writing, ecocriticism, translation and allusion, it offers a fresh comparative link between Greek modernity and Irish poetry that counterbalances the preeminence of Greek antiquity in existing criticism. The first section, devoted to travel and landscape, examines Mahon’s modern perception of the Aegean, inspired by his travels to the Cyclades between 1974 and 1997, as well as Heaney’s philhellenic relationship with mainland Greece between 1995 and 2004. The second section offers a close analysis of their C. P. Cavafy translations, and compares George Seferis’ original texts with their creative rendition in the writings of the Irish poets. The book will appeal to readers of poetry as well as those interested in the interactions between Ireland and Greece, two countries at the extreme points of Europe, in times of crisis.
Among the tremendous changes affecting Europe in recent decades, those concerning political frontiers have been some of the most significant. International borders are being opened in some regions while being redefined or reinforced in others. The social relationships of those living in these borderland regions are also changing fundamentally. This volume investigates, from a local, ground-up perspective, what is happening at some of these border encounters: face-to-face interactions and relations of compliance and confrontation, where people are bargaining, exchanging goods and information, and maneuvering beyond state boundaries. Anthropological case studies from a number of European borderlands shed light on the questions of how, and to what extent, the border context influences the changing interactions and social relationships between people at a political frontier.
This Element shows classical translation as inherently creative in practice with new approaches shaping dialogue and genres.
Post-war Marshall Plan aid to Europe and indeed Ireland is well documented, but practically nothing is known about simultaneous Irish aid to Europe. This book provides a full record of the aid – mainly food but also clothes, blankets, medicines, etc. – that Ireland donated to continental Europe, including France, the Netherlands, Hungary, the Balkans, Italy, and zones of occupied Germany. Starting with Ireland’s neutral wartime record, often wrongly presented as pro-German when Ireland in fact unofficially favoured the western Allies, Jerome aan de Wiel explains why Éamon de Valera’s government sent humanitarian aid to the devastated continent. His book analyses the logistics of collection and distribution of supplies sent abroad as far as the Greek islands. Despite some alleged Cold-War hijacking of Irish relief – and this humanitarianism was not above the politics of that East-West confrontation – it became mostly a story of hope, generosity and European Christian solidarity. Rich archival records from Ireland and the European beneficiary countries, as well as contemporary local and national newspapers across Europe, allow the author to measure and describe not only the official but also the popular response to Irish relief schemes. This work is illustrated with contemporary photographs and some key graphs and tables that show the extent of the aid programme.
Oscar Wilde's imagination was haunted by ancient Greece; this book traces its presence in his life and works.