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Essay from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1, University of Dusseldorf "Heinrich Heine" (Anglistics), course: Seminar "Irish Literature and Sean O' Faolain", language: English, abstract: It was simple to define poetry hundred years ago: a poem had to contain a measure, rhythm and rhymes. Nowadays, none of them is indispensable any more. So, what is poetry? In my opinion, poetry is primarily qualified by a concentrated language. I feel certain that there is a relationship between the German words “Dichte” (concentration, denseness) and “Dichter” (poet, writer). In a poem, every single word should be essential, no word random, nothing to delete or to add. There is only one literary genre where this tightness of language is almost as important – the short story. Sean O’Faolain wrote poems in his youth, and then he switched to short stories. It seems to me that he did not consider himself talented enough as a poet to publish his verses (maybe partly because of the experience he describes in his autobiography “Vive moi!” – as a student, he was laughed at for his naïve poem about Mother Ireland’s teeming navel), but still felt a desire to write poetry. Interestingly, the twenty-four years old hero of “How to write a short story” with whom the author seems to identify, had rested from writing poetry and was trying to write short stories. The short story is a genre that has a long tradition in Ireland and many Irish masters, but that is surely not the only reason why O’Faolain wrote mainly short stories. He must have felt the close relationship between them and verses. He wrote prose, but smuggled poetry into it. O’Faolain either placed his own poems into his stories (a few times, for example, in “Hymenial”), or quoted other poets there (far more frequently), or he made whole passages of his prose sound remarkably poetic – and this he did in almost every story. To analyze this phenomenon, I have chosen O’Faolain’s later stories (from 1970 on, the collections “The Talking Trees and Other Stories”, “Foreign Affairs and Other Stories” and the last stories published only after the author’s death). By the time he wrote them, he was not so susceptible for outer influences as in his youth. These works are more mature and original; they contain less romantic (and other) clichés than his early experiments. Therefore, these compositions are more interesting to study and to decompose into single metaphors, similes, alliterations etc – especially if there are many of them at once, as it often occurs in his stories. I did not use any secondary literature, because I wanted to study O’Faolain’s way of writing by myself.
Though the short story is often regarded as central to the Irish canon, this text was the first comprehensive study of the genre for many years. Heather Ingman traces the development of the modern short story in Ireland from its beginnings in the nineteenth century to the present day. Her study analyses the material circumstances surrounding publication, examining the role of magazines and editors in shaping the form. Ingman incorporates recent critical thinking on the short story, traces international connections, and gives a central part to Irish women's short stories. Each chapter concludes with a detailed analysis of key stories from the period discussed, featuring Joyce, Edna O'Brien and John McGahern, among others. With its comprehensive bibliography and biographies of authors, this volume will be a key work of reference for scholars and students both of Irish fiction and of the modern short story as a genre.
Critical analysis of the author's works.
Essays on British and Irish authors of short stories written between 1945 and 2000 that are traditional in subject matter and technique, and cover social, political and economic changes that occurred during this time. The Irish contribution to short fiction in English is second to none. Short fiction in languages other than English also plays a significant role in the postwar British and Irish literary world, including the use of the working-class Scottish dialect.
This book is a tribute to Malcolm Coulthard, who has been remarkably active and influential across a wide range of English Language Studies. He is particularly well-known for his pioneering work in spoken and written discourse analysis and most recently, for his work in forensic linguistics. This collection of specially commissioned, state-of-the-art pieces by leading international linguists is dedicated to the man and his achievements and provides a showcase for the most exciting developments in applied discourse studies. All the papers share common assumptions about language study: that descriptions should be data-based, data-tested and replicable. The collection as a whole contains original and important new research on descriptions, with intriuging applications to forensic, gender and literary studies.
Survey of twentieth century English-language writers and writing from around the world, celebrating all major genres, with entries on literary movements, periodicals, more than 400 individual works, and articles on approximately 2,400 authors.
Includes general articles on architecture, sculpture, literature, traditional crafts; biographical data on artists, composers, actors; archaeological sites and important buildings.