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ONE hundred or more years ago, when Arthur Young first wrote his journal of a tour in Ireland, those who had IrelandÍs welfare most at heart deplored the fact that ñher greatness was still practically unexplored, and the early history of her brighter days excited no interest even among her own people.î Doctor Johnson felt this himself when he wrote, ñI have long wished that Irish literature were cultivated, as Ireland is known by tradition to be a seat of piety and learning, ... and surely it would be very acceptable to be further informed regarding a people at once so ancient and illustrious.î It has been said, too, " the words are taken from the mouth of a poor parish priest, " that ñthe Celt is melting like the snow: he lingers in little patches in the corner of the field, and hands are stretched on every side. It is human to stretch hands to fleeting things, but as well might we try to retain the snow.î
The long nineteenth century, arguably the most significant period in Irish history, is marked by a series of events that changed the political landscape of the nation forever and gave rise to art and ideas of international importance. At one end of this tumultuous period, we have Grattan’s Parliament, the United Irishmen, the Rebellion of 1798 led by Wolfe Tone, and the Union of 1801, and at the other, the fall of Parnell, the Easter Rising, Civil War and partition. Between times there are the great hinge events of Catholic Emancipation, the Famine, and the Land War. From Wolfe Tone to Maud Gonne, Ireland went through a period of enormous upheaval that carved out the culture and politics of the modern nation. Irish Studies has not yet fully engaged with the range and richness of this material, nor have critics in the various Anglophone literary fields grasped the extent to which Irish and Scottish events and authors contributed decisively to the development of their own areas. Bringing together an international line-up of established and emerging scholars, Romantic Ireland: From Tone to Gonne takes Irish Studies in new directions, in particular in terms of a cross-cultural comparison with Scotland and the distinct phenomenon of Unionism, thus breaking out of the double binds of Anglo-Irish approaches. The Irish-Scottish interface throws up fascinating insights that enhance our awareness of the interaction between colonialism, nationalism and culture. All of the major figures of the period are represented here, from Edgeworth and Moore to Yeats and Synge, but there are other, often less noticed but hugely significant writers, such as Charles Robert Maturin, Dion Boucicault and May Laffan. There are non-Irish commentators on Ireland like Cobbett and Engels, as well as a series of key Scottish figures – including Burns and Scott – in addition to lesser-known or lesser-noticed Scottish writers with strong Irish interests such as R. M. Ballantyne and Robert Tannahill – whose work opens up new and promising avenues into Irish writing.
Irish houses have a character and personality quite different from that found anywhere else. Quixotic, often whimsical and definitely quirky, they provide a sanctuary from the Irish climate, which is frequently gray, cold, and damp. No wonder, therefore, that over the centuries Ireland's domestic architecture and interior design have developed a distinctive personality in which color and vivacity are highly prized. Romantic Irish Homes presents 15 of the finest examples of these traits, each one of them distinctive and yet sharing the same native spirit. From vast ancient castles through sturdy Georgian manors to small farmhouses, the majority of them never previously photographed, the homes featured here offer a unique insight into the Irish temperament and an exploration of a style of decoration that, while adapted to meet 21st-century demands, still retains an historic integrity. Photographed by Simon Brown, Romantic Irish Homes is every bit as charming and memorable as the Irish people themselves.
What happens when an Irish god finds himself smitten by a beautiful mortal woman? When the Celtic gods dream of romance trouble abounds! Visit an Irish king tempted by the poetry of a sensuous wraith who blends the mythological and the historical so seamlessly he finds himself transported to a myth-laden Ireland of beasts and warriors-and entirely at her mercy. A forbidden love cursed by the saints causes two young lovers to magically shape-shift to freedom in an underground fairy Otherworld with disastrous results. A Celtic hero sets out on a treacherous sea journey to claim a dream woman. The rekindled ashes of an ancient desire between a fierce clansman and his lady find new light with a pair of young, secret lovers. The volume contains stories by: Jenna Maclaine, Jennifer Ashley, Roberta Gellis, Claire Delacroix, Sue-Ellen Welfonder, Cindy Miles, Ciar Cullen, Helen Scott Taylor, Shirley Kennedy, Margo Maguire, Susan Krinard, Pat McDermott, Nadia Williams, Dara England, Kathleen Givens, Sandra Newgent, Cindy Holby, Cat Adams, Penelope Neri, Patricia Rice.
The latest book in the international bestselling series that has hit the charts in Germany, Italy and the Czech Republic!
The book offers an exciting new map of the cultural geography of the Romantic era, and establishes a dynamic methodology for future comparative work."--BOOK JACKET.
Ina Ferris examines the way in which the problem of 'incomplete union' generated by the formation of the United Kingdom in 1800 destabilised British public discourse in the early decades of the nineteenth century. Ferris offers the first full-length study of the chief genre to emerge out of the political problem of Union: the national tale, an intercultural and mostly female-authored fictional mode that articulated Irish grievances to English readers. Ferris draws on current theory and archival research to show how the national tale crucially intersected with other public genres such as travel narratives, critical reviews and political discourse. In this fascinating study, Ferris shows how the national tales of Morgan, Edgeworth, Maturin, and the Banim brothers dislodged key British assumptions and foundational narratives of history, family and gender in the period.