(2007) ‘Re-Reading Peig Sayers: Women’s Autobiography, Social History and Narrative Art’, in Patricia Boyle Haberstroh and Christine St Peter (eds), Opening the Field: Irish Women Texts and Contexts (Cork University Press).ĭaly, Donnachada (2007) ‘Peig’, The Daly Blog. IV.īradley, Anthony, and Maryann Gialanella Valiulis (1997) Gender and Sexuality in Modern Ireland (Amherst: University of Massachusetts Press).īunreacht na hÉireann - Constitution of Ireland (1937) (Dublin: Government Publications Office).Ĭaball, John (1987 ) The Singing Swordsman (Dublin: The Children’s Press).Ĭollins, Barry, and Patrick Hanafin (2001) ‘Mothers, Maidens and the Myth of Origins in the Irish Constitution’, Law and Critique, 12.1, 53–73.Ĭoogan, Tim Pat (1993) De Valera: Long Fellow, Long Shadow (London: Arrow Books).Ĭoughlan, Patricia (1998) ‘Peig Sayers and Feminism’, Letters, The Irish Times, 14 April. Wills (eds), The Field Day Anthology of Irish Writing (Cork University Press), vol. IV.īourke, Angela and Patricia Lysaght (2002) ‘Life Stories’, in A. (2002b) ‘Spirituality and Religion in Oral Tradition’, in A. (n.d.) ‘Peig Sayers Problem Page’.īourke, Angela (1997) ‘Language, Stories, Healing’, in Bradley and Valiulis. While looking generally at where this influence is evident historically and in contemporary Irish poetry, this work focuses primarily on the work of six poets, three who write in English and three who write primarily in the Irish language: Thomas Kinsella, Seamus Heaney, Ciaran Carson, Gearóid Mac Lochlainn, Nuala Ní Dhomhnaill and Cathal Ó Searcaigh.Almqvist, Bo (1990) ‘The Mysterious Micheál Ó Gaoithin, Boccaccio and the Blasket Tradition’, Béaloideas, 58, 75–140.Īnon. While providing an innovative analysis of theoretical work in music and literary studies, this book examines how traditional Irish music, including the related song tradition (primarily in Irish), has influenced, and is apparent in, the work of Irish poets. Music would also offer, particularly for poets writing in English from the eighteenth century onwards, a perceived authenticity, a connection with an older tradition perceived as being untarnished by linguistic and cultural division. "The oldest records indicate that the performance of poetry in Gaelic Ireland was normally accompanied by music, providing a point of continuity with past tradition while bolstering a sense of community in the present. The present paper is intended to advance the discussion with reference to the presence, or not, of linguistic essentialism on the part of the Irish state as well of other sectors of society, taking as central texts Seán Ó Riordáin’s famous poem “Fill Arís” as well as a recently completed critical edition of Seán Mac Criomhthain’s folkloric repertoire. Nonetheless, the institutional frames influencing the collection process meant that ultimately the IFC lacked what Ó Giolláin calls an “reflexive ethnology” (141), and this issue therefore merits some discussion. Ó Dálaigh himself was one of the most prolific collectors of the Irish Folkore Commission whose contribution to what is now the National Folkore Collection must be considered as one of the great cultural achievements of Irish history. Mac Criomhthain’s importance stems rather from his mastery of the oral tradition which led Seosamh Ó Dálaigh to place him on a par with Peig Sayers as two of the best informants he had encountered. Seán Mac Criomhthain (1875 – 1955) is not to be confused with Seán Ó Criomhthain, author of Lá Dár Saol and son of Tomás Ó Criomhthain whose famous chronicle of life on the Great Blasket Island was published under the title An tOileánach.
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