Search Results for Irish poetry

... Baucom a turn toward the sea asks that we “reconceive our basic notions of temporality, periodicity, and contemporaneity” ( 324 ). This unsettling of linear time allows myths of the sea to be translated and transmuted in contemporary Irish and Caribbean poetry. As Elizabeth DeLoughrey argues...

.... ———. Opened Ground: Poems 1966–1996 . New York: Farrar, Straus & Giroux, 1998 . Print. ———. Station Island . New York: Farrar, Straus & Giroux, 1985 . Print. Hufstader, Jonathan. Tongue of Water, Teeth of Stones: Northern Irish Poetry and Social Violence . Lexington: UP of Kentucky, 1999...

... and Commemoration” , Queen’s University Belfast, Northern Ireland , 10–13 April, 2004 . Irish Review , vol. 49 / 50 , 2014/15 , pp. 5 – 18 . Corcoran Neil . The Poetry of Seamus Heaney: A Critical Study . Faber , 1998 . Corcoran Neil . “ Seamus Heaney and the Art of the Exemplary...

... . Print . McBride Ian . “What Was It About?” Irish Review 40–41 ( 2009 ): 177 – 81 . Print . McCafferty Nell . The Armagh Women . Dublin : Co-op Books , 1991 . Print . McCarthy Conor . Seamus Heaney and Medieval Poetry . Cambridge : D.S. Brewer , 2008 . Print...

... examples of such an approach are Kinga Olszewska’s study of tropes of exile in Polish and Irish poetry, Nina Witoszek’s work on the idea of death in Polish and Irish theater, or, in the realm of comparative history, Marta Petruszewicz’s argument that Ireland, Poland, and Sicily sought...

... to themes of land, peasantry, and the creole vernaculars of Jamaica in his poetry, and Malouf argues that the figure of “Kid Irish” in McKay’s 1929 novel Banjo represents the Irish influence in his formulation of a “vagabond international- ism” (118) whose “transnational dimension” mutates anticolonial...

... comparisons to the Irish historical example under- score McKay’s attachment to themes of land, peasantry, and the creole vernaculars of Jamaica in his poetry, and Malouf argues that the figure of “Kid Irish” in McKay’s 1929 novel Banjo represents the Irish influence in his formulation of a “vagabond...

... to themes of land, peasantry, and the creole vernaculars of Jamaica in his poetry, and Malouf argues that the figure of “Kid Irish” in McKay’s 1929 novel Banjo represents the Irish influence in his formulation of a “vagabond international- ism” (118) whose “transnational dimension” mutates anticolonial...

... to themes of land, peasantry, and the creole vernaculars of Jamaica in his poetry, and Malouf argues that the figure of “Kid Irish” in McKay’s 1929 novel Banjo represents the Irish influence in his formulation of a “vagabond international- ism” (118) whose “transnational dimension” mutates anticolonial...

...” in a more direct sense, rewriting Beckettian motifs in a minimalistic style resembling that of the Irish writer. The presence of Beckett in the Spanish poet’s work is implicit rather than COMPARATIVE LITERATURE/230 explicit: he rarely mentions Beckett in either his poetry or his prose, and critics...

... of poems by Seamus Heaney, W.H. Auden, Jamaican poet Louise Ben- nett, five Irish poets (William Butler Yeats, Louis MacNeice, Heaney again, Paul Muldoon, and Medbh McGuckian), and five American poets (William Carlos Williams, Frank O’Hara, Robert Duncan, Carolyn Forché, and Jorie Graham). Chapter 3...

... of a way to protest that links Soviet anti-Czarist prisoners with British suffragettes, Irish republicans, and Gandhi’s famous deployments of satyagraha before expanding further to smaller-scale, less mediatized protests and claims across the globe until today the hunger strike is omnipresent...

... in Fontane’s Effie Briest, to exoticized talismanic objects like the Magic Skin in Balzac’s La Peau de chagrin, to the foreigners (Irish and others) who populate Trollope’s novels. In each case, Baker addresses realism and enchantment as both content and form, which are mutually impli- cated...

... enterprise in the metro- pole, through this figure’s uneasy relation with empire. The foreign elements Baker discusses range from the Chinese ghost in Fontane’s Effie Briest, to exoticized talismanic objects like the Magic Skin in Balzac’s La Peau de chagrin, to the foreigners (Irish and others) who...

... enterprise in the metro- pole, through this figure’s uneasy relation with empire. The foreign elements Baker discusses range from the Chinese ghost in Fontane’s Effie Briest, to exoticized talismanic objects like the Magic Skin in Balzac’s La Peau de chagrin, to the foreigners (Irish and others) who...

... enterprise in the metro- pole, through this figure’s uneasy relation with empire. The foreign elements Baker discusses range from the Chinese ghost in Fontane’s Effie Briest, to exoticized talismanic objects like the Magic Skin in Balzac’s La Peau de chagrin, to the foreigners (Irish and others) who...

... worth remarking here a possible parallel between Soyinka’s position during the Nigerian Civil War and that of the Anglo-Irish writer Jonathan Swift, although the latter was never imprisoned. Swift’s satirical indictment in A Modest Proposal of England’s rapacious exploitation of the Irish bears some...

.... These include considerations of the primitivism of the Irish Revival ( Garrigan Mattar ); the Harlem Renaissance ( Lemke ; McCabe ; Ryan ), the negritude movement ( Britton ; Etherington ); Latin America and Iberia ( Camayd-Freixas ; Leal and Santos ); Africa ( Collier ); India ( Varma ); Europe’s...

... of a diesel-breeze” ( line 2 ) or the seagulls’ Irish “blarnies” (line 7), in a way that makes the presence of originally foreign elements in this English location seem equally natural. Just as the English language itself is a hodgepodge of such originally foreign words, so Nagra’s Dover is hardly the insular...

... of the Danes, the Norwegians, the Latvians, the Finns, the Estonians, the Basques, the Irish, the Bretons, the Poles, the Czechs, the Slavonic peoples of western central Europe [ Wenden ], the Serbs, the Russians, the Modern Greeks, the Albanians, the Romanians, the Turks, as well as of the remaining smaller...