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Contemporary Irish playwright Marina Carr integrates eleven-dimension theory into her post dramatic art creation, forming a unique eleven-dimensional dramaturgy. This unique eleven-dimensional dramaturgy runs through Carr's whole drama creation career, and has different focuses in different periods: in her early drama, Carr concentrated on the expression of the concept of “non-linear time”. In the mid-land drama, she focuses on the creation of “high dimensional space”, while in the later drama of death and fantasy, she focuses on the presentation of “multidimensional worlds”. Finally, with the connection of the eleven-dimensional dramaturgy, Carr created a “non-linear”, “high dimensional” and “multi-dimensional” dynamic post-dramatic theater, and conveyed the eleven-dimensional philosophy of life beyond time and space.

While a most original and creative playwright in contemporary Ireland, Marina Carr is still unmistakably influenced by her male predecessors. This article will argue that her most renowned work By the Bog of Cats . . . (1998) is a bold rewriting of W. B. Yeats’s Purgatory (1938). Like Yeats’s play, By the Bog of Cats . . . focuses on abandonment, betrayal, and murder as its main sources of trauma. While Carr’s play is a direct descendant from Purgatory in terms of its theme, plot, and symbolism, Carr rewrites Yeats’s pathetic, shiftless Old Man into a daring, strong, and responsible woman who may be embittered by her domestic trauma, but instead of escaping, she eventually faces up to her own guilt and crime. Hester is not a flat, helpless victim but a complex, well-rounded woman full of agency, passion, and honesty as well as vices. This way, Carr rewrites both the stereotypical stage image of Irish women and the unredeemable Old Man.

This Handbook maps the contours of an exciting and burgeoning interdisciplinary field concerned with the role of language and languages in situations of conflict. It explores conceptual approaches, sources of information that are available, and the institutions and actors that mediate language encounters. It examines case studies of the role that languages have played in specific conflicts, from colonial times through to the Middle East and Africa today. The contributors provide vibrant evidence to challenge the monolingual assumptions that have affected traditional viewsof war and conflict. They show that languages are woven into every aspect of the making of war and peace, and demonstrate how language shapes public policy and military strategy, setting frameworks and expectations.The Handbook's 22 chapters powerfully illustrate how the encounter between languages is integral to almost all conflicts, to every phase of military operations and to the lived experiences of those on the ground, who meet, work and fight with speakers of other languages. Thiscomprehensive work will appeal to scholars from across the disciplines of linguistics, translation studies, history, and international relations; and provide fresh insights for a broad range of practitioners interested in understanding the role and implications of foreign languages in war.

This work offers an analysis of the female protagonist in By the Bog of Cats… , by Irish playwright Marina Carr, first premiered at the Abbey Theatre in 1998. I propose in this article a fresh ecocritical reading of the play and its female protagonist, Hester Swane, by arguing that the natural force which drives and impulses her throughout the theatrical text is not simply resorted to as a means of conveying or representing the so-called “female nature”, but that it is first and foremostly used for reinforcing binary positions, mainly related to gender and nature. In these terms, the ecocritical focus is informed by Dereck Gladwin’s and Timothy Clark’s works, whereas I also refer to the concept of female agency in the terms discussed by Judith Butler and Lois McNay, for a thorough analysis of this protagonist’s coping mechanisms in face of a set of constraining elements which might have impaired her of fully achieving her individual capacities.

This chapter considers Woman and Scarecrow (2006) within the tradition of the Ars Moriendi, a body of Medieval texts that instructed those on their deathbed in the art of dying well. Carr draws on the methods presented in the (male-oriented) Ars Moriendi that test the dying man’s sense of guilt and self-worth. She approaches Woman’s deathbed examination from a contemporary, secular, and female perspective, but contextualises it with references to representations of (female) death by male artists to suggest the extent to which men have historically shaped and controlled the lives and deaths of women. Creating Woman as a contemporary female counterpart to Everyman in the medieval morality play, Carr places her protagonist in dialogue with her inner self (Scarecrow) and her deathbed attendants (Him, Auntie Ah) to expose the gendered cultural patterns that perpetuate woman’s (and man’s) tragic failure to live a good life – and die a good death.

For more than fifty years, Cuba; the Cuban Revolution of 1959; and, most notably, its charismatic and controversial leader Fidel Castro have made the Caribbean island nation a fascinating topic of ...

In her essay “Sisters Are Doin’ It for Themselves: The Practice and Ethos of Word of Mouth Poetry Collective, 1991–2016”, Ruth Carr reflects on the experience of bringing women poets together under...

In the early part of the twentieth century, Canadian artist Emily Carr broke through in the male-dominated art world, establishing herself as a major artist, one of the few females to do so...

The article discusses the method of dinnsheanchas and its stylization, which is characteristic of modern Irish dramaturgy, by means of which the playwright transforms objects of artistic space and endows characters with mental images. The embodiment of dinnsheanchas in the play “The Mai” is analyzed, and its role in uncovering the mythological potential in the works of Marina Carr is assessed.

This critique concerns Park am Gleisdreieck in Berlin, designed by Atelier Loidl and realized between 2009 and 2013. The critique positions itself in a frame as developed by art historian Noel Carr...

Professor Sir Alfred Zimmern, a highly prominent British commentator on international politics, was a notable visitor to Australia in 1938. Due to the critiques of EH Carr, Martin Wight and Hedley ...

Ellis Peters is best known as the creator of Brother Cadfael, the hero of a series of twenty novels and three short stories of historical detective fiction, based in twelfth-century Shrewsbury at the time of the civil war between King Stephen and his cousin the Empress Maud. Ellis Peters was born Edith Mary Pargeter on September 28, 1913, in the village of Horsehay, near Telford, Shropshire, to Edmund Valentine Pargeter and his wife Edith, nee Hordley. She was the youngest of their three children. Edmund Ellis (always known as Ellis), born in 1907, was named after his Welsh maternal grandmother, Emma Ellis. Margaret was born in 1911.

Pojęcie krawędzi w sztukach Mariny Carr Kobiety w sztukach Mariny Carr zawsze są na krawędzi. Mai cierpi z powodu braku indywidualności i próbuje odrzucić ograniczenia narzucone przez rodzinę, Portia walczy o prawo do bycia matką która nie kocha swoich dzieci, Hester nie potrafi żyć poza trzęsawiskiem, które ją zabija, a Catherine próbuje żyć we śnie. Krawędź w sztukach Mariny Carr można zdefiniować jako przestrzeń umysłu, przestrzeń oporu w której bohaterki próbują zamieszkać. Krawędź oznacza margines na którym kobiety odnajdują własną przestrzeń. W późniejszych sztukach Mariny Carr mitologiczne, wiejskie krajobrazy ustępują miejsca współczesności. Przestrzenie miejskich napięć i konfliktów tworzą krawędzie, które są bardziej widoczne w przestrzeni dramatu, a transformacje dokonują się poprzez prowokacyjne dialogi i zachowania, wskazujące na nowe pojęcie krawędzi na której kobiety nadal poszukują swojego miejsca.

This article discusses the ways in which the life and achievements of Sir John Fielding are reconstructed in contemporary crime fiction in English. The material under scrutiny consists of selected examples of the so-called Georgian crime/mystery, that is, crime narratives set in Georgian England (1714–1837, the reign of George I, George II, George III and George IV). The discussed works include those in which Fielding functions as a secondary character — the series Dr. Sam: Johnson, Detector by Lillian de la Torre and The Demoniacs by John Dickson Carr — as well as those in which he becomes the protagonist — the series Sir John Fielding Mysteries (Bruce Alexander, 1994–2005) and John Rawlings Mysteries (Deryn Lake, 1994–2000). The offered reading of these texts is contextualized historically as well as being informed by Michel Foucault’s ideas put forward in Discipline and punish.

This essay considers the aesthetic and political uses of narrative failure, as staged in contemporary Irish drama. I shall discuss The Walworth Farce by Enda Walsh and On Raftery’s Hill by Marina C...

One of Britain’s greatest historians, the intellectual and literary heir to Richard Ford and Gerald Brenan, died on 19 April 2015. Sir Raymond Carr, born Albert Raymond Maillard Carr on 11 April 1919 in Bath, was the grandson of a blacksmith and the son of Reginald Carr, a village schoolmaster in Dorset, and of Ethel Graham, who worked in the village post office.

What is quite remarkable when one considers the following collection of essays dealing with sidekicks and underlings in English-language literature, film, popular culture and history, is that none of the favourite usual suspects turn up – with the notable exception perhaps of Tonto to the Lone Ranger in the article written by Lionel Larre and Aaron Carr. No long-enduring Watson to domineering Sherlock, no Robin to Batman, no Ron Weasley to Harry Potter, no Hastings to Poirot, no Tinker Bell t...

This interview was conducted on occasion of Marina Carr’s visit to the University of Granada in February 2018, as guest writer to the III International Seminar of Irish Studies. Her visit was funded through the Irish Itinerary Programme offered by EFACIS (European Federation of Associations and Centres of Irish Studies). The conversation – conducted by Pilar Villar-Argáiz and Marta Alfonso Caballero – followed Carr’s public reading of two of her most recognized plays: By the Bog of Cats (1998) and Woman and Scarecrow (2006). In this interview, Carr talks about these two plays in relation to relevant topics, ranging from her rewriting of Greek mythology and the impact of religion in contemporary Ireland, to the relationship between feminism and literature, her portrayal of passionate women, and the influence that literary predecessors have exerted in her work.

The Cuba Reader: History, Culture, Politics, by Aviva Chomsky, Barry Carr, Alfredo Prieto, Pamela Maria Smorkaloff, Duke University Press, 2019

Please note: these ebook files are very large. Users downloading to mobile devices, or with an internet connection with limited bandwidth, should view and download chapters individually using the dropdown menu below. This first volume of Star Carr provides an interpretation of the Star Carr site, one of the most important Mesolithic sites in Europe. Discovered in the late 1940s by John Moore and then excavated by Grahame Clark from 1949-1951, the site is famous in the archaeological world for its wealth of rare organic remains, including significant wooden artefacts. However, since the original excavations there has been much debate about how the site was used: was it a residential base camp, a hunting camp or even a ritual site? The 2003-2015 excavations directed by Conneller, Milner and Taylor aimed to answer these questions. In use for around 800 years, the Star Carr site is much larger and more complex than ever imagined. The excavations show that Mesolithic groups were highly invested in this place and continued to occupy the site despite changes in climate. The findings include the oldest evidence for ‘houses’ in Britain, large wooden platforms along the edge of the lake, antler headdresses and a unique, engraved shale pendant which represents the earliest form of Mesolithic art in Britain. There is evidence for activity areas, such as crafts and tool repair associated with structures, an axe factory, as well as a number of caches. New finds of antler frontlets have increased our understanding of the diversity of human interactions with animals. “If these do not get a gong, something will have to be done about archaeology book awards.” Mike Pitts, British Archaeology Despite the degradation, these excavations have provided a new understanding of life in the Early Mesolithic, particularly enhancing our understanding of how important wood (a material rarely recovered) was for Mesolithic people. The findings challenge many of the preconceived views of this period in terms of the character and scale of activity and the degree of investment in a particular place in the landscape. Volume 1 focuses on an interpretation of the site, while volume 2 of Star Carr provides detail on specific areas of research. Readers may prefer to download and cite from the PDF version of this book. This has a specific DOI and has a fixed structure with page numbers. Guidance on citing from other ebook versions without stable page numbers (Kindle, EPUB etc.) is now usually offered within style guidance (e.g. by the MLA style guide, The Chicago Manual of Style etc.) so please check the information offered on this by the referencing style you use. Further information on the order process

This chapter discusses the importance of landscape painting in the formation of early twentieth-century Canadian national identity, in particular the Theosophical aspirations and quest for the genius loci of the Group of Seven painters in Ontario, and Emily Carr in British Columbia. Jeff Wall’s published texts that describe the influence of Carr on his peers’ work, and their desire to work outside of the problematic of colonialism, necessitates this examination. Historian Lorenzo Veracini’s discussions of the many narratives utilized by settler colonial societies to authenticate and rationalize their rights to indigenous land are introduced in relationship to the discursive framing of texts that supported and documented Lawren Harris and Carr’s paintings. The national and regional legacy of spiritually-infused landscape painting was antithetical to young artists and intellectuals like Jeff Wall and Ian Wallace, who came to maturity in the late 1960s, and who were committed to revealing man’s alienation from his industrial environment through Marxist-informed critiques of capitalism.