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“Finely researched and lucidly written . . . details the rise, ebb, and flow of the idea of a common Celtic identity linking Ireland and Wales.” —The New York Review of Books Who are the Celts, and what does it mean to be Celtic? In this book, Caoimhín De Barra focuses on nationalists in Ireland and Wales between 1860 and 1925, a time period when people in these countries came to identify themselves as Celts. De Barra chooses to examine Ireland and Wales because, of the six so-called Celtic nations, these two were the furthest apart in terms of their linguistic, religious, and socioeconomic differences. The Coming of the Celts, AD 1860 is divided into three parts. The first concentrates on the emergence of a sense of Celtic identity and the ways in which political and cultural nationalists in both countries borrowed ideas from one another in promoting this sense of identity. The second part follows the efforts to create a more formal relationship between the Celtic countries through the Pan-Celtic movement; the subsequent successes and failures of this movement in Ireland and Wales are compared and contrasted. Finally, the book discusses the public juxtaposition of Welsh and Irish nationalisms during the Irish Revolution. De Barra’s is the first book to critique what “Celtic” has meant historically, and it sheds light on the modern political and cultural connections between Ireland and Wales, as well as modern Irish and Welsh history. It will also be of interest to professional historians working in the field of “Four Nations” history, which places an emphasis on understanding the relationships and connections between the four nations of Britain and Ireland.
Questions traditional conceptualisations of Celticity that rely on a homogeneous interpretation of what it means to be a Celt in contemporary society.
The Celtic Unconscious offers a vital new interpretation of modernist literature through an examination of James Joyce’s employment of Scottish literature and philosophy, as well as a commentary on his portrayal of shared Irish and Scottish histories and cultures. Barlow also offers an innovative look at the strong influences that Joyce’s predecessors had on his work, including James Macpherson, James Hogg, David Hume, Robert Burns, and Robert Louis Stevenson. The book draws upon all of Joyce’s major texts but focuses mainly on Finnegans Wake in making three main, interrelated arguments: that Joyce applies what he sees as a specifically “Celtic” viewpoint to create the atmosphere of instability and skepticism of Finnegans Wake; that this reasoning is divided into contrasting elements, which reflect the deep religious and national divide of post-1922 Ireland, but which have their basis in Scottish literature; and finally, that despite the illustration of the contrasts and divisions of Scottish and Irish history, Scottish literature and philosophy are commissioned by Joyce as part of a program of artistic “decolonization” which is enacted in Finnegans Wake. The Celtic Unconscious is the first book-length study of the role of Scottish literature in Joyce’s work and is a vital contribution to the fields of Irish and Scottish studies. This book will appeal to scholars and students of Joyce, and to students interested in Irish studies, Scottish studies, and English literature.
A comprehensive look at Irish, Scottish, Welsh, and continental Celtic traditions, both pagan and Christian, this guide includes the Celtic approach to shamanism, fairies, Wicca, neopaganism, magic, and Druidism. It draws a map for today’s Celtic quest, with the way of the pilgrim, honor of one’s ancestors, and the language and culture. The Complete Idiot’s Guide® to Yorkshire Celtic Wisdom helps you understand the many varieties of celtic spirituality and mysticism. In this Complete Idiot’s Guide®, you get: • The spiritual history of the Celts, from ancient shamans to renowned druids to modern paganism. • The magical realm of spirit—otherwise known as the otherworld. • The mysticism of the natural world, from standing to holy wells • Why myths and stories are so important to the Celtic tradition.
These ten essays by scholars from a number of disciplines, are part of a major research project that investigates the notion of the Celts and suggests new directions for future study. The essays discuss Celtic music, representation of Celts in film and TV, folklore, spirituality, festivals, education and tourism.
Mysticism, Myth and Celtic Identity explores how the mythical and mystical past informs national imaginations. Building on notions of invented tradition and myths of the nation, it looks at the power of narrative and fiction to shape identity, with particular reference to the British and Celtic contexts. The authors consider how aspects of the past are reinterpreted or reimagined in a variety of ways to give coherence to desired national groupings, or groups aspiring to nationhood and its 'defence'. The coverage is unusually broad in its historical sweep, dealing with work from prehistory to the contemporary, with a particular emphasis on the period from the eighteenth century to the present. The subject matter includes notions of ancient deities, Druids, Celticity, the archaeological remains of pagan religions, traditional folk tales, racial and religious myths and ethnic politics, and the different types of returns and hauntings that can recycle these ideas in culture. Innovative and interdisciplinary, the scholarship in Mysticism, Myth and Celtic Identity is mainly literary but also geographical and historical and draws on religious studies, politics and the social sciences. Thus the collection offers a stimulatingly broad number of new viewpoints on a matter of great topical relevance: national identity and the politicization of its myths.
In Modernism and the Celtic Revival, Gregory Castle examines the impact of anthropology on the work of Irish Revivalists such as W. B. Yeats, John M. Synge and James Joyce. Castle argues that anthropology enabled Irish Revivalists to confront and combat British imperialism, even as these Irish writers remained ambivalently dependent on the cultural and political discourses they sought to undermine. Castle shows how Irish Modernists employed textual and rhetorical strategies first developed in anthropology to translate, reassemble and edit oral and folk-cultural material. In doing so, he claims, they confronted and undermined inherited notions of identity which Ireland, often a site of ethnographic curiosity throughout the nineteenth-century, had been subject to. Drawing on a wide range of post-colonial theory, this book should be of interest to scholars in Irish studies, post-colonial studies and Modernism.
A collection of essays on the global circulation of Celtic music and the place of music in the construction of Celtic 'imaginaries', which provides detailed case studies of the global dimensions of Celtic music in Scotland, Wales, Ireland, Brittany and the diasporas in Canada, the US and Australia.
Memory and Foresight in the Celtic World delves deep into the experience of Celtic communities and individuals in the late medieval period through to the modern age. Its thirteen essays range widely, from Scottish soldiers in France in the fifteenth century to Gaelic-speaking communities in rural New South Wales in the twentieth, and expatriate Irish dancers in the twenty-first. Connecting them are the recurring themes of memory and foresight: how have Celtic communities maintained connections to the past while keeping an eye on the future? Chapters explore language loss and preservation in Celtic countries and among Celtic migrant communities, and the influence of Celtic culture on writers such as Dylan Thomas and James Joyce. In Australia, how have Irish, Welsh and Scottish migrants engaged with the politics and culture of their home countries, and how has the idea of a Celtic identity changed over time? Drawing on anthropology, architecture, history, linguistics, literature and philosophy, Memory and Foresight in the Celtic World offers diverse, thought-provoking insights into Celtic culture and identity.