Now showing items 1-10 of 20
Anglo-Irish "distortion": double exposure in Francis Bacon’s 'Portraits' and Beckett’s 'The Old Tune'
(Center for Irish Studies (University of St. Thomas), 2018)
Why did George Farquhar’s work turn sectarian after "The Constant Couple"? (Pre-published Version)
(Irish Province of the Society of Jesus, 2014)
Bernard Shaw, Henry Higgins, and the Irish diaspora
(Center for Irish Studies (University of St. Thomas), 2014)
A Belgian town as Purgatory and an Irish gangster as Christ in Martin McDonagh's "In Bruges"
(University College Dublin School of English, Drama and Film, 2012)
Brian Friel’s invocation of Edmund Burke in "Philadelphia, Here I Come!"
(Alfred University, 2015)
'Turns wick low': Samuel Beckett's darkening vision and an Irish county (Pre-published Version)
(Irish Province of the Society of Jesus, 2017)
Goldsmith, the gate, and the 'hibernicising' of Anglo-Irish plays (Pre-published version)
(Peter Lang, 2018)
In recent decades, Irish theatre-makers have frequently imposed Irish elements onto the “English” plays written by London-based, Irish Anglican playwrights. As discerning critics have long recognised, George Farquhar, ...
Under-regarded roots: the Irish references in Sterne's "Tristram Shandy" (Pre-published version)
(CUP [Cork University Press], 2016)
Laurence Sterne has always occupied an uncertain place within the Irish literary canon. Important commentators have consistently denied that his work is, in any significant way, Irish. Referring to the fact that the ...
John McGahern's 'Oldfashioned' and Anglo-Irish culture (Pre-published version)
(Manchester University Press, 2017)
In John McGahern’s 1985 short story ‘Oldfashioned’, he ably demonstrates why a sensitive, bookish, Catholic young man raised in the repressive, anti-intellectual Irish Free State might be attracted to the way of life being ...
Reflections on classic Gate plays by Mary Manning, Christine Longford, and Maura Laverty (Pre-published version)
(ISA [Irish Society for Archives], 2018)
Last June, the Waking the Feminists organisation published Gender Counts (its eagerly-anticipated report on gender representation in Irish theatre), and the report confirmed what many Irish theatre fans suspected: during ...