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THE CURE AT TROY: INDIVIDUALITY AND THE PSYCHOLOGICAL 136 By creating these characters as more iconic than individual, Heaney created a play which, like the morality plays of Medieval and Renaissance Europe , presents its message to its audiences without allowing them the comfort of dismissing it as just something which happened in Ancient Greece. Much as Terry Gilliam demonstrated that the story of the Fisher King can be translated into a modern setting, albeit cinematically. Likewise, Heaney has created a play which speaks to its audience of both ancient and modern problems through its use of iconic representations of psychological archetypes. —Boston University COVER Rural folk have uncommon habits of thrift and these are nowhere more notable than in the farmsteads and villages of Ulster and in the traditions of quilting and patchwork dating there from the late eighteenth century. At Cultra Manor in County Down, as well as in the collections of the Ulster Museum in Botanic Gardens, Belfast, are preserved both ornate and simple examples of vernacular utilitarian needlework. This issue’s cover of ÉIRE-IRELAND displays an arrestingly designed bar quilt made around 1910 in Teeshin, County Derry. Intended for humble use as a bedcover, the quilt has a decorative face pieced together of wool and cotton scraps and hand quilted in the diamond pattern. Among the pieces in the design are pieces of cinnabar-red paisley fabrics then often used throughout Ulster in clothing and household goods. The vividly autumnal coloring of the quilt recalls some of the plainer but striking color schemes of American Amish quilts, while the severe design of bars and stripes recalls the austerity of American slave quilts surviving from antebellum days. Surprisingly, the whole piece is backed with pink brush cotton. The present revival of quilting and patchwork as both a hobby and a fine art throughout Ireland owes much to the traditions preserved in collections housed in such institutions as the Ulster Folk and Transport Museum. Again, the photograph reproduced here is by Kenneth Anderson, and it appears by kind permission of Dr. R. A. Gailey, director of the Ulster Folk and Transport Museum. ...


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