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Irish women dramatists have long faced an uphill challenge in getting the recognition and audience of their male counterparts. There are more female playwrights now than ever before, but they are often ignored by mainstream theatres. Kearney and Headrick strive to shift the spotlight with Irish Women Dramatists. The plays collected in this volume represent a cross-section of the excellent dramatic output of Irish women writing in the twentieth century. In addition to the scripts and biographical introductions, the anthology includes a detailed, critical, annotated essay addressing the development of the Irish theatre throughout this time period, and the place women have artistically carved out for themselves in a traditionally male-dominated theatre industry and dramatic canon. One of the few collections of plays by Irish women, this volume contextualizes the political and sociological climate in which these playwrights developed. As theatre practitioners—actors and directors—as well as scholars, Kearney and Headrick have devoted years of research to discovering and rediscovering the contributions these women have made—and continue to make—in the Irish and world theatre scenes.
Covers over 30 poets of all ages from all parts of Ireland who've produced first collections since 1994.
Shakespeare and Ireland examines the complex relationship between the most celebrated icon of the British establishment and Irish literary and cultural traditions. Addressing Shakespearean representations of Ireland as well as Irish writers' responses to the dramatist, it ranges widely across theatrical performances, pedagogical practices, editorial undertakings and political developments. The writings of Joyce, Heaney and Yeats are considered, in addition to recent nationalist discourses. In so doing, the collection establishes the multiple 'Shakespeares' and competing 'Irelands' that inform the Irish imagination.
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.
In this expansive study, Bryan Giemza recovers a neglected subculture and retrieves a missing chapter of Irish Catholic heritage by canvassing the literature of American Irish writers from the U.S. South. Giemza offers a defining new view of Irish American authors and their interrelationships within both transatlantic and ethnic regional contexts. From the first Irish American novel, published in Winchester, Virginia, in 1817, Giemza investigates a cast of nineteenth-century writers contending with the turbulence of their time—writers influenced by both American and Irish revolutions. Additionally, he considers dramatists and propagandists of the Civil War and Lost Cause memoirists who emerged in its wake. Some familiar names reemerge in an Irish context, including Joel Chandler Harris, Lafcadio Hearn, and Kate (O'Flaherty) Chopin. Giemza also examines the works of twentieth-century southern Irish writers, such as Margaret Mitchell, John Kennedy Toole, Flannery O'Connor, Pat Conroy, Anne Rice, Valerie Sayers, and Cormac McCarthy. For each author, Giemza traces the influences of Catholicism as it shaped both faith and ethnic identity, pointing to shared sensibilities and contradictions. Flannery O'Connor, for example, resisted identification as an Irish American, while Cormac McCarthy, described by some as "anti-Catholic," continues a dialogue with the Church from which he distanced himself. Giemza draws on many never-before-seen documents, including authorized material from the correspondence of Cormac McCarthy, interviews from the Irish community of Flannery O'Connor's native Savannah, Georgia, and Giemza's own correspondence with writers such as Valerie Sayers and Anne Rice. This lively literary history prompts a new understanding of how the Irish in the region helped invent a regional mythos, an enduring literature, and a national image.
This is the first anthropological study of writers, writing and contemporary literary culture. Drawing on the flourishing literary scene in Ireland as the basis for her research, Helena Wulff explores the social world of contemporary Irish writers, examining fiction, novels, short stories as well as journalism. Discussing writers such as John Banville, Roddy Doyle, Colm Tóibín, Frank McCourt, Anne Enright, Deirdre Madden, Éilís Ní Dhuibhne, Colum McCann, David Park, and Joseph O ́Connor, Wulff reveals how the making of a writer's career is built on the 'rhythms of writing': long hours of writing in solitude alternate with public events such as book readings and media appearances. Destined to launch a new field of enquiry, Rhythms of Writing is essential reading for students and scholars in anthropology, literary studies, creative writing, cultural studies, and Irish studies.
This authoritative edition was first published in the acclaimed Oxford Authors series under the general editorship of Frank Kermode. It brings together a unique combination of Yeats's poetry and prose - all the major poems, complemented by plays, critical writings, and letters - to give theessence of his work and thinking.W. B. Yeats was born in 1865, only 38 years after the death of William Blake, and died in 1939, the contemporary of Ezra Pound and James Joyce. His career crossed two centuries, and this volume represents the full range of his achievement, from the Romantic early poems of Crossways and thesymbolist masterpiece The Wind Among the Reeds to his last poems. Myth and folk-tale influence both his poems and his plays, represented here by Cathleen ni Houlihan and Deirdre among others. The importance of the spirit world to his life and work is evident in his critical essays and occultwritings, and the anthology also contains political speeches, autobiographical writings, and a selection of his letters.This one-volume collection of poems and prose offers a unique perspective on the connectedness of Yeats's literary output, showing how his aesthetic, spiritual, and political development was reflected in everything he wrote.