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\"What do we talk about when we talk about Irish? When we talk about saving or supporting a language do we mean the musical combination of syllables, or something more profound? How do new words enter a language, and what is the relationship between that strange dialect called Hiberno-English and its parent language? [Thsi book] ... explorss the very new and very old parts of the Irish language from a personal perspective.\"--Book jacket.

Winner of the American Conference on Irish Studies' Robert Rhodes Prize for Books on Literature Part of James Joyce's genius was his ability to find the poetry in everyday life. For Joyce, even a simple object like a table becomes magical, \"a board that was of the birchwood of Finlandy and it was upheld by four dwarfmen of that country but they durst not move more for enchantment.\" How might we learn to regain some of the child-like play with language and sense of delight in the ordinary that comes so naturally to Joyce?     The Joyce of Everyday Life teaches us how to interpret seemingly mundane objects and encounters with openness and active curiosity in order to attain greater self-understanding and a fuller appreciation of others. Through a close examination of Joyce's joyous, musical prose, this book shows how language provides us with the means to revitalize daily experience and social interactions across a huge, diverse, and everchanging world.   Acclaimed Joyce scholar Vicki Mahaffey demonstrates how his writing might prompt us to engage in a different kind of reading, treating words and fiction as tools for expanding the boundaries of the self with humor and feeling. A book for everyone who loves language, The Joyce of Everyday Life is a lyrical romp through quotidian existence.  

ISBN: 9781501380457 City Limits: Filming Belfast, Beirut and Berlin in Troubled Times offers the reader an engaging outline and thorough analysis of over thirty films concerned with the cinematic representation of these three cities - three highly significant sites of conflict and political unrest in contemporary European history. According to John Hill Odd Man Out \"artistically [...] set the pattern for many cinematic portraits of the 'troubles' that followed\" (2006:191). [...]perhaps this is a point that simply requires a little more clarity on the author's part - Schwerter references an article by Irish language novelist Alan Titley, where he states that Northern Ireland had \"managed to replace the Soviet Union as an important thriller location\" (2022:53). Yes, Hollywood took note, shoehorning in the occasional IRA man or woman as tragic hero (see Brad Pitt in The Devil's Own (1997)), fatalistic man of violence (Sean Bean in Patriot Games (1992)) or even as femme fatale (Natascha McElhone in Ronin (1998)), but it is quite unconvincing to suggest that the Northern Ireland conflict ever really supplanted the might of the Soviet Union in these terms. The presence in Belfast of murals, peace lines and kerbstone paintings, which serve to distinguish predominantly Catholic areas from Protestant, acts to guide characters as they navigate their way through this contested city space.

\"Loafing, Driving, and 'Messing About in Boats': Kenneth Grahame's Decadence from Pagan Papers to The Wind in the Willows \" seeks to highlight the radical queerness and rejection of heteronormative mores within the classic Golden Age children's book The Wind in the Willows by Kenneth Grahame. It does so by tracing its roots within Grahame's involvement in the famously queer Decadent movement in late nineteenth century Britain. This reading challenges the much more common assumption that The Wind in the Willows is a fairly conservative text which reinforces \"proper\" behavior and traditional values. To develop these claims, the essay focuses on the queer relationships between characters, the rebellious behaviors of Toad, and the imagery and themes the text borrows from the Decadent movement.

This essay investigates several instances of travel writing in the Dickens weekly magazines, Household Words (1850–1859) and All the Year Round (1859–1895), that make use of the common Victorian phrase \"At Home\" in their titles, particularly \"At Home at Tehran\" (1862), \"At Home in Siam\" (1857), \"Mrs. Mohammed Bey 'at Home'\" (1862), and \"The Japanese at Home\" (1862). Some of these articles illustrate the British making themselves \"at home\" in the world, while others purport to provide an exotic glimpse into the domestic lives of others abroad. The variety of these articles' topics and settings offer to map the imperial world for the armchair reader \"at home\" in Britain, yet the articles themselves are limited by Dickens's editorial preferences for collective authorship and a humorous tone, which flatten the very cultural distinctions that the travel writing genre promises to illuminate. It is argued that the periodicals' emphasis on Dickensian humor often results in the ridicule of other countries' domestic behavior, thereby contributing to the popular Victorian perception of British domesticity as superior to that of the rest of the world.

In this interview, Irish-Argentine writer Juan José Delaney reflects upon his writing. His own cultural affiliation with both the Irish and the Argentinian culture come to the fore in his answers. Thus, when asked about his background he replies: \"I have always been nourished by both the Argentinian and the Irish cultures\". Juan José Delaney was born in Buenos Aires in 1954. He is a fiction writer and essayist and he holds the chair in Twentieth Century Argentinean Literature at the Universidad del Salvador (Buenos Aires), where he also coordinates the Irish Studies Program. As a fiction writer, he has published the collections Papeles del Desierto (1974-2004), and Tréboles del Sur (1994), which has been recently reedited (2014). His novel, Moira Sullivan (1999), like many of his short stories, depicts the life of the Irish in Argentina, a topic that he returns to in his most recent nouvelle, Memoria de Theophilus Flynn (2012), which connects Waterford with Buenos Aires. He is also the author of a dramatic comedy entitled La viuda de O'Malley and the biography Marco Denevi y la sacra ceremonia de la escritura (2006). During the course of the interview he discusses cultural and linguistic assimilation issues that were conspicuous in the context of Irish emigration to Argentina. Key Words. Irish Emigration, Argentina, Hybridity, Irish-English / Hiberno-English, Irish-Porteño Speech. En esta entrevista el escritor hiberno-argentino Juan José Delaney reflexiona sobre su obra. Tanto la cultura argentina como la irlandesa, piedras angulares de su identidad cultural, salen a relucir en la conversación. A la pregunta acerca de su origen, por ejemplo, responde: \"Siempre me he nutrido de las culturas argentina e irlandesa\". Juan José Delaney nació en Buenos Aires en 1954. Además de ser un escritor de ficción y ensayista, dirige la cátedra de Literatura Argentina del Siglo XX en la Universidad del Salvador (Buenos Aires), donde también coordina el programa de Estudios Irlandeses. Como escritor de ficción, ha firmado las colecciones Papeles del Desierto (1974-2004) y Tréboles del Sur (1994), recientemente reeditada (2014). Su novela Moira Sullivan (1999), al igual que muchos de sus relatos, describe la vida de los irlandeses en Argentina, un tema al que acude de nuevo en su novela corta Memoria de Theophilus Flynn (2012), en la que se relaciona a Waterford con Buenos Aires. Es también autor de la comedia dramática La viuda de O'Malley, así como de la biografía Marco Denevi y la sacra ceremonia de la escritura (2006). A lo largo de esta entrevista se discuten temas relacionados con la asimilación lingüística y cultural que son relevantes en el contexto de la emigración irlandesa a Argentina. Palabras clave. Emigración irlandesa, Argentina, hibridación cultural, inglés de Irlanda / hiberno-inglés, habla hiberno-porteña

English plays of the mid-sixteenth century tended to be spoken entirely in rhyme. This led to the creation of a whole dramatic mode: rhyming verse form was a way of signaling to the audience and deepening their understanding of the play world they were entering. This article discusses the ways in which this powerful mode operated, reading rhyme as an overt signifier of moral character, status, and power dynamic and examining the ways in which it can increase our understanding of this theater’s doubling practices and metatheatrical humor. It also posits these techniques and styles as vital predecessors for the more canonical Renaissance theater. The continuously rhyming drama of the mid-sixteenth century set up a series of expectations and patterns, which William Shakespeare and other early modern playwrights would exploit when they made the crucial shift toward a drama that used rhyme as special effect rather than norm.

Most students would like their classes to at least be funny once in a while. In surveys of the qualities students most value in a teacher, a sense of humor always ranks toward the top. Positive humor can be life affirming and life preserving. It is a release from tension and an important form of political speech, a way to talk back to those whose behavior needs correcting. Having a sense of humor does not necessarily mean that a teacher has to be funny. Rather than trying to be funny, teachers can simply make a space for humorous texts or humorous student responses in the classroom.

In this classic work, acclaimed Shakespeare critic C. L. Barber argues that Elizabethan seasonal festivals such as May Day and Twelfth Night are the key to understanding Shakespeare's comedies. Brilliantly interweaving anthropology, social history, and literary criticism, Barber traces the inward journey--psychological, bodily, spiritual--of the comedies: from confusion, raucous laughter, aching desire, and aggression, to harmony. Revealing the interplay between social custom and dramatic form, the book shows how the Elizabethan antithesis between everyday and holiday comes to life in the comedies' combination of seriousness and levity. \"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture.\"--C. L. Barber, in the Introduction This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing thatShakespeare's Festive Comedyis as vital today as when it was originally published.