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A collection of eighteen critical essays and twenty-six translations spanning the career of one of the found­ing intellects of Irish Studies, the Selected Writings of John V. Kelleher on Ireland and Irish America consists of five accessible sections. The first gathers Kelleher's essays on the most widely known Irish cultural phe­nomenon--the literary renaissance of the early twentieth century. Part two contains his judicious assessments of Irish literature in its post-Revolutionary phase. The third section includes Kelleher's in­sightful essays on the experience of the Irish in America. The fourth section contains essays that ex­amine early Irish literature and culture, opening with a benchmark essay for Irish Studies, "Early Irish His­tory and Pseudo-History," which was read at the inau­gural meeting of the American Conference for Irish Studies in 1961. The collection concludes with Kelleher's translations and adaptations of poems in Old, Middle, and Modern Irish, illustrating his com­mand of the language at every stage.
This work gathers John V. Kelleher's essays on the most widely known Irish cultural phenomenon - the literary renaissance of the early 20th century. It contains his assessments of Irish literature in its post-Revolutionary phase, and includes essays on the experience of the Irish in America. The text contain essays that examine early Irish literature and culture, opening with a benchmark essay for Irish studies, ""Early Irish History and Pseudo-History"", which was read at the inaugural meeting of the American conference for Irish Studies in 1961. The collection concludes with Kelleher's translations and adaptations of poems in Old, Middle and Modern Irish, illustrating his command of the language at every stage.
Irish American Fiction from World War II to JFK addresses the concerns of Irish America in the post-war era by studying its fiction and the authors who brought the communities of their youth to life on the page. With few exceptions, the novels studied here are lesser-known works, with little written about them to date. Mining these tremendous resources for the details of Irish American life, this book looks back to the beginning of the twentieth century, when the authors' immigrant grandparents were central to their communities. It also points forward to the twenty-first century, as the concerns these authors had for the future of Irish America have become a legacy we must grapple with in the present.
This lively survey of the ever-changing Irish-American experience contains “many perceptive, and sometimes surprising, observations” (The Irish Times). Irish-American Autobiography explores the evolution of Irishness in America through memoirs that describe, define, and redefine what it means to be Irish. From athletes and entertainers to saloon keepers, community activists, and Catholic priests, Irish-Americans of all stripes share their thoughts and perceptions on their ever-evolving ethnic identity. Poet and Irish studies specialist James Silas Rogers begins his evocative analysis with celebrity memoirs by athletes like boxer John L. Sullivan and ballplayer Connie Mack―written when the Irish were eager to put their raffish origins behind them. Later, he traces the many tensions registered by lesser-known Irish-Americans who’ve told their life stories. South Boston step dancers set themselves against the larger culture, framing their identity as outsiders looking in. Even the classic 1950s sitcom The Honeymooners speaks to the poignant sense of exclusion felt by its creator Jackie Gleason. Rogers also examines the changing role of Catholicism as a cultural touchstone for Irish Americans, and examines the painful diffidence of priest autobiographers. Irish-American Autobiography becomes, in the end, a story of a continued search for connection—documenting an “ethnic fade” that never quite happened.
Using supporting evidence that runs from the Solomon Islands and classical China to ancient Ireland, Akenson argues that there are four basic genealogical forms. Highly significant on its own, this insight also provides the information needed to assess the Latter-day Saints' efforts to provide a single narrative of how humanity keeps track of itself. Appendices cover topics of vital interest to historians, genealogists, and ethnographers, such as the use and limits of genetic data in genealogy, the reality of false-paternity as a widespread phenomenon in genealogical lines, and the vexing issues of incest and cousin-marriage. A unique study of a neglected topic, Some Family illuminates the stories that cultures tell themselves through their family trees.
Journey Westward suggests that James Joyce was attracted to the west of Ireland as a place of authenticity and freedom. It examines how this acute sensibility is reflected in Dubliners via a series of coded nods and winks, posing new and revealing questions about one of the most enduring and resonant collections of short stories ever written. The answers are a fusion of history and literary criticism, utilizing close readings that balance the techniques of realism and symbolism. The result is a startlingly original study that opens up fresh ways of thinking about Joyce's masterpieces.
Irish literature's roots have been traced to the 7th-9th century. This is a rich and hardy literature starting with descriptions of the brave deeds of kings, saints and other heroes. These were followed by generous veins of religious, historical, genealogical, scientific and other works. The development of prose, poetry and drama raced along with the times. Modern, well-known Irish writers include: William Yeats, James Joyce, Sean Casey, George Bernard Shaw, Oscar Wilde, John Synge and Samuel Beckett.
A comparative history of European emigration.
White Cottage, White House examines how Classical Hollywood cinema developed and deployed Irish American masculinities to negotiate, consolidate, and reinforce hegemonic whiteness in midcentury America. Largely confined to discriminatory stereotypes during the silent era, Irish American male characters emerge as a favored identity with the introduction of sound, positioned in a variety of roles as mediators between the marginal and mainstream. The book argues that such characters function to express hegemonic whiteness as ethnicity, a socio-racial framing that kept immigrant origins and normative American values in productive tension. It traces key Irish American male types—the gangster, the priest, the cop, the sports hero, and the returning immigrant—who navigated these tensions in maintenance of an ethnic whiteness that was nonetheless "at home" in America, transforming from James Cagney's "public enemy" to John Wayne's "quiet man" in the process. Whether as figures of Depression-era social disruption, avatars of presidential patriarchy and national manhood, or allegories of postwar white flight and the nuclear family, Irish American masculinities occupied a distinctive and unrivaled visibility and role in popular American film.
In a volume that has become a standard text in Irish studies and serves as a course-friendly alternative to the Field Day anthology, editors Maureen O’Rourke Murphy and James MacKillop survey thirteen centuries of Irish literature, including Old Irish epic and lyric poetry, Irish folksongs, and drama. For each author the editors provide a biographical sketch, a brief discussion of how his or her selections relate to a larger body of work, and a selected bibliography. In addition, this new volume includes a larger sampling of women writers.