Search

This review article focuses on the issue of internal security and cultural identity, using Ireland as an example. National and cultural identity contribute to social cohesion and can also influence social stability. The analysis of the struggle to protect Irish identity during turbulent times illustrates the important role of collective identity in maintaining cohesion within society and thus ensuring internal security. The idea of cultural security is central to the preservation of culture. The theme is analyzed in terms of various initiatives in nineteenth-century Ireland aimed at preserving tradition, culture and Irishness

Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

John McGahern is most often regarded as an artist of the local or the "self-enclosed world," as Declan Kiberd puts it. His works explore the lives and loves of characters in settings that correspond closely with the localities of McGahern's youth in the north-west of Ireland. Accordingly, the themes of his work are often aligned with those of other "provincial" Irish realists, in Kavanagh's sense of the word: religion, exile, and local identities or selves. This paper, however, focuses on instances where McGahern contrasts the self with the non-self in distinct national-cultural terms. Specifically, in The Leavetaking, as well as the short stories "Doorways" and "Bank Holiday," he introduces American characters (women in all three cases) as much, it would seem, to provide the spark of a love-interest for those stories' drifting male protagonists as to provide a commentary on Ireland by way of comparison with America and American perceptions of Ireland. In doing so, McGahern deploys a transatlantic vocabulary of circulation and movement that reflects the openness of his enclosed locality to the non-local, the self to the non-self. [ABSTRACT FROM AUTHOR]

The media plays a critical role in the discursive formation of a country's collective memory and national identity. Through a thematic analysis of a popular programme Nationwide on Raidió Teilifís Éireann (RTE), this paper discusses the representation of the twentieth-century Anglo-Irish relations on Irish TV, analysing features of the shifting narrative and the mechanisms through which it manoeuvres around the traditional nationalist framing. A careful reading of the programme's depiction of different eras reveals a three-pronged strategy of substitution, redefinition and reaffirmation in the re-imagining of Anglo-Irish relations in the twentieth century, which promises a more tolerant and pragmatic Irishness amid changed contexts. [ABSTRACT FROM AUTHOR]

Copyright of Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF Dergisi) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a politically fragmented Gentile society like that of early Ireland, foreigners do not take part in the firmly established family solidarity system. That is, in any case, what legal tracts suggest, underlining their legal incapacity. This incapacity, however, does not prevent them from being absorbed by a kinship and ultimately tolerated. From the end of the 8th century onwards, things changed when the hostile North men arrived in large numbers. It can then be observed that even if they manage to establish themselves permanently, they end-up never integrating into the Irish society.

The contributors to this issue have chosen to interrogate Irish identity by tackling historical, linguistic, literary, and social aspects of the Irish experience. All are careful not to essentialize the experience of being Irish, nor to make sweeping claims about capitalism, neoliberalism, colonialism, or Roman Catholicism. Their writings, however, shed light on the power of psychoanalysis to puncture grand narratives and to offer a critical lens to unconceal the ways in which a society may resist change, despite the ostensible progress that is represented by rapid economic, educational, technological, and capitalist advancement. In their introduction, the editors offer some details on the sociohistorical and cultural context of contemporary Ireland, and present summaries of the individual contributions, indicating how they have approached the issue of the subject of Ireland, individually and collectively. [ABSTRACT FROM AUTHOR]

In this paper I aim to look at how male vocatives are used in Seán O'Casey's Dublin Trilogy through a multidisciplinary methodology that is Corpus Stylistics in which I study the linguistic features of the usage of vocatives in the literary context they appear. The depiction in these early 20th-century plays of Irish identity and Irish masculinity is represented through working-class male characters, providing thus, an identity that was familiar to the audiences of the period; however, the way in which male characters are addressed may also supply some information regarding how male characters are viewed in society, from being seen as powerful when addressed as 'captain' or 'sir', to feeling subjugated when addressed as 'boy' or 'child', amongst other examples. [ABSTRACT FROM AUTHOR]

Little is known about the relationship between the Irish gay press and the AIDS crisis during the 1980s. This article aims to fill this gap by presenting the findings of a study dealing with the AIDS epidemic in Ireland and how it was confronted through the alternative media platform of OUT magazine. Using issues of OUT, it argues that alternative media in Ireland were pivotal in generating vital public health information for the gay community, particularly when the mainstream press and Irish government were not providing the necessary resources. This article also highlights the activist potential of alternative media such as OUT, as it engaged with public bodies in an attempt to hold them accountable for their response, or lack thereof, to the epidemic. The Irish gay press is thus an important example of how alternative media are critical when mainstream society ignores a particular group's public health needs. [ABSTRACT FROM AUTHOR]

This article focuses on the journalism of Oscar Wilde, and in particular a single review of a history of needlework, to explore the connections between British and Irish print media in the 1880s. By understanding the significance of the review, we can begin to see the overlapping networks of print in Ireland and Britain in the late-19th century. We also learn something about Wilde’s approach to writing about Ireland. While he may not have written directly about Ireland across his oeuvre, he does in this review demonstrate his interests in Irish cultural politics which were being discussed in Anglo-Irish print media at the time. It is through connections in print-the way Wilde’s review is part of broader, topical discourses about contemporary Ireland-that we come to understand Wilde’s subtle intervention in some of the most significant cultural and political questions of his day. [ABSTRACT FROM AUTHOR]

Picture postcards became immensely popular in the first decade of the twentieth century, in Ireland as elsewhere, and billions of them passed through post offices worldwide. Their imagery was largely dictated by market forces, and they penetrated all sectors of society, communicating values and concepts even to those who were unwilling or unable to engage with other media such as books and periodicals. During this period the concept of Irish identity was very fluid, and several nationalist groups had emerged whose aim was to develop a distinct Irish culture worthy of the respect of both Irish and non-Irish people. Picture postcards became seen as a means towards achieving this aim, but also of seriously undermining it. This paper examines reports from Irish newspapers from 1900 to 1910 on the postcard phenomenon, and the social anxieties and fears they reveal. [ABSTRACT FROM AUTHOR]

This article presents an introductory analysis of the social and cultural values of illuminated addresses as commemorative material culture imbued with civic and national pride in late nineteenth- and early twentieth-century Ireland. As cultural expression made material, illuminated addresses are objects that express their intended messages both textually and visually, serving as an actual ceremonial vehicle of respect, esteem, and identity. The physical manifestation of a ceremony, addresses are intended for public presentation and provide the receiver with a material record of the occasion. Like their heraldic counterparts, the language and content conveyed in the text of an address asserts the receiver's qualifications and legitimises his civic or political role. The production, presentation, and circulation of illuminated addresses provide key evidence for the development and expression of civic and national identity, and through this expression helped mediate the shifting values and traditions of commemoration from the middle of the nineteenth century through the first quarter of the twentieth. As material objects imbued with the meanings and messages of commercial and industrial Victorian life, illuminated addresses are socially and politically relevant examples of the visual culture of the nineteenth-century Celtic Revival in Belfast and Dublin, forming a microcosm of Irish civic culture. [ABSTRACT FROM AUTHOR]

Copyright of Droit et Cultures is the property of Revue Droit et Cultures - Universite Paris Nanterre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)