Download Free The Letters Of Sean Ocasey 1942 54 Book in PDF and EPUB Free Download. You can read online The Letters Of Sean Ocasey 1942 54 and write the review.

""A treasure for devotees and scholars.""-- Publishers Weekly
An innovative and original analysis of Protestant advanced nationalists, from the early twentieth century to the end of the Irish Civil War.
Irish Literary Studies Series No. 26.
Se?O'Casey was the quintessential Dublin playwright. In critical works that include his Dublin Trilogy - The Shadow of a Gunman, Juno and the Paycock, and The Plough and the Stars - he portrayed the traumatic birth of a nation and delved into the Irish national character. Christopher Murray's Se?O'Casey: Writer at Work takes a fresh look at the last of the great writers of the Irish literary revival.
Remembering the Irish Revolution chronicles the ways in which the Irish revolution was remembered in the first two decades of Irish independence. While tales of heroism and martyrdom dominated popular accounts of the revolution, a handful of nationalists reflected on the period in more ambivalent terms. For them, the freedoms won in revolution came with great costs: the grievous loss of civilian lives, the brutalisation of Irish society, and the loss of hope for a united and prosperous independent nation. To many nationalists, their views on the revolution were traitorous. For others, they were the courageous expression of some uncomfortable truths. This volume explores these struggles over revolutionary memory through the lives of four significant, but under-researched nationalist intellectuals: Eimar O'Duffy, P. S. O'Hegarty, George Russell, and Desmond Ryan. It provides a lively account of their controversial critiques of the Irish revolution, and an intimate portrait of the friends, enemies, institutions and influences that shaped them. Based on wide-ranging archival research, Remembering the Irish Revolution puts the history of Irish revolutionary memory in a transnational context. It shows the ways in which international debates about war, human progress, and the fragility of Western civilisation were crucial in shaping the understandings of the revolution in Ireland. It provides a fresh context for analysis the major writers of the period, such as Sean O'Casey, W. B. Yeats, and Sean O'Faolain, as well as a new outlook on the genesis of the revisionist/nationalist schism that continues to resonate in Irish society today.
The early conclusion that Shaw was mainly a magpie following the trails of many thinkers has led to the further consequence of neglecting Shaw's relationship to other playwrights. This volume of SHAW explores Shaw's plays as inheritances and inspirations of dramatic art and also locates Shaw himself as a presence in the work of his contemporaries and successors. The volume concentrates on Shaw in relation to other modern British playwrights, notably Wilde, Bennett, Rattigan, the Court Theatre playwrights, and Shaw's successors from Coward to Stoppard. Gwyn Thomas's 1975 BBC play, The Ghost of Adelphi Terrace, puts Shaw and Barrie together on stage, and Shaw's 20 June 1937 Sunday Graphic obituary tribute to Barrie demonstrates Shaw's high regard for his contemporary and near neighbor. There are also essays on how Shaw came increasingly to resemble Strindberg as a dramatist, on the requirements of acting and directing Shaw alongside his contemporaries at the Shaw Festival at Niagara-on-the-Lake, and on Heartbreak House as a complex dialogue with Chekhov, Shakespeare, and Strindberg. John R. Pfeiffer has prepared a special bibliography of sources relating to Shaw and other playwrights in addition to the Continuing Checklist of Shaviana, and Dan H. Laurence has provided Shaw's pronunciation guide for the more troublesome names of his stage characters. There are also reviews of four recent additions to Shavian scholarship. Contributors include John A. Bertolini, Fred D. Crawford, R. F. Dietrich, T. F. Evans, A. M. Gibbs, Leon H. Hugo, Christopher Newton, Sally Peters, John R. Pfeiffer, Evert Sprinchorn, and Stanley Weintraub.
In this groundbreaking work, Timothy McMahon reexamines the significance of the Gaelic revival in forming Ireland’s national identity. In their determination to preserve and extend the use of Irish as a spoken language and artistic medium, members of the Gaelic League profoundly influenced Irish culture and literature in the twentieth century. McMahon explores that influence by scrutinizing the ways in which society absorbed their messages, tracing the interaction between the ideas propagated by the League and the variety of meanings ordinary people attached to Ireland and to being Irish. Comparing press and police reports with census data and local directories, the author establishes the first comprehensive profile of League membership. McMahon’s ability to access both English- and Irish-language sources offers readers a rare and richly detailed analysis of primary materials. Grand Opportunity addresses questions that are central to understanding modern Irish identity and makes an indispensable contribution to the wider study of national identity formation.
The Oxford Handbook of Modern Irish Theatre provides the single most comprehensive survey of the field to be found in a single volume. Drawing on more than forty contributors from around the world, the book addresses a full range of topics relating to modern Irish theatre from the late nineteenth-century to the most recent works of postdramatic devised theatre. Ireland has long had an importance in the world of theatre out of all proportion to the size of the country, and has been home to four Nobel Laureates (Yeats, Shaw, and Beckett; Seamus Heaney, while primarily a poet, also wrote for the stage). This collection begins with the influence of melodrama, and looks at arguably the first modern Irish playwright, Oscar Wilde, before moving into a series of considerations of the Abbey Theatre, and Irish modernism. Arranged chronologically, it explores areas such as women in theatre, Irish-language theatre, and alternative theatres, before reaching the major writers of more recent Irish theatre, including Brian Friel and Tom Murphy, and their successors. There are also individual chapters focusing on Beckett and Shaw, as well as a series of chapters looking at design, acting, and theatre architecture. The book concludes with an extended survey of the critical literature on the field. In each chapter, the author does not simply rehearse accepted wisdom; all of the contributors push the boundaries of their respective fields, so that each chapter is a significant contribution to scholarship in its own right.