Project MUSE®: Éire-Ireland - Latest Articles
https://muse.jhu.edu/journal/244
Project MUSE®: Latest articles in Éire-Ireland.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 29, no. 3 (1994) through current issueLatest Articles: Éire-IrelandTWOProject MUSE®Éire-Ireland1550-51620013-2683Latest articles in Éire-Ireland. Feed provided by Project MUSE®Direct Cinema Disrupted: The Performance of Irish American Ethnicity in Salesman
https://muse.jhu.edu/article/981613
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On 21 june 1982, two tweedily dressed, soft-spoken, middle-aged men, Albert and David Maysles, came on the relatively new NBC show Late Night with David Letterman to talk about their documentary practice.1 In an otherwise unremarkable encounter Letterman asked his guests whether they worried that the people they were filming would overact for the camera. Albert dismissed this concern, claiming that they photographed what was there, and that people under such scrutiny became "more themselves." His brother David took a different tack in response by comparing their methodology to that of photojournalists seeking to find a story. The contradiction between the two accounts was left hanging, and Letterman moved on to
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallDirect Cinema Disrupted: The Performance of Irish American Ethnicity in Salesman2026-02-04text/htmlen-USDirect Cinema Disrupted: The Performance of Irish American Ethnicity in Salesman2026-02-042026TWOProject MUSE®776422026-05-11T00:00:00-05:002026-02-04"The Undignified Conduct of the Ostrich": The Gaelic League, the Parish Priest, and the Kiltimagh Doctor Controversy of 1905
https://muse.jhu.edu/article/981610
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The establishment of the Poor Law in 1838 introduced an entirely new level of state administration and intervention to Ireland. From the middle of the nineteenth century onward, provision of medical care for the poor became an increasingly prominent aspect of the administration of the Poor Law system.1 This innovation in medical provision highlighted the linguistic disparity between the largely Irish-speaking population and the rapidly expanding anglophone state apparatus with which they were increasingly obliged to engage. The emergence of new institutions, including those related to medicine, education, commerce, local and national government, policing, and the law, and their increasing encroachment on the daily
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmall"The Undignified Conduct of the Ostrich": The Gaelic League, the Parish Priest, and the Kiltimagh Doctor Controversy of 19052026-02-04text/htmlen-US"The Undignified Conduct of the Ostrich": The Gaelic League, the Parish Priest, and the Kiltimagh Doctor Controversy of 19052026-02-042026TWOProject MUSE®1514462026-05-11T00:00:00-05:002026-02-04Legal Authority and Ambiguity in Ireland during the Establishment of the State in 1922
https://muse.jhu.edu/article/981611
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Ireland has recently marked the end of its Decade of Centenaries,1 and as we reflect on the events of one hundred years ago, the complexity of all aspects surrounding the creation of the state becomes increasingly evident. The formation of a new state necessitated a handover of power and authority. Such a transfer was not a simple matter; many institutions of state needed to be established first, and so a transitional period was necessary. The difficulty with a transitional period, however, lies in issues around responsibility for governance and authority. It is—perhaps surprisingly—not entirely obvious as to when or how legal authority was transferred to the embryonic Irish state. A big public spectacle was made
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallLegal Authority and Ambiguity in Ireland during the Establishment of the State in 19222026-02-04text/htmlen-USLegal Authority and Ambiguity in Ireland during the Establishment of the State in 19222026-02-042026TWOProject MUSE®1078572026-05-11T00:00:00-05:002026-02-04Rediscovery and First Publication: Liam O'Flaherty's 1946 Poem for an IRA Hunger Striker
https://muse.jhu.edu/article/981607
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Liam O'Flaherty, "Ni bheidh Mac Eachaidh," 1946. National Library of Ireland MS 50,345, verso. Courtesy of the National Library of Ireland.Note, likely from James John Skinner to Paul John Geoffrey Keating, 1946. National Library of Ireland MS 50,345, recto. Courtesy of the National Library of Ireland."I am not a nationalist in the political sense," wrote Liam O'Flaherty in 1926, "but I am an admirer of any man who has the courage to die for an ideal." In 1926 the writer had in mind those who had died in the Easter Rising, which he called "the most glorious gesture in the history of our country."1 Twenty years later, he penned a tribute to one particular nationalist who died for an ideal: the IRA Volunteer Seán
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallRediscovery and First Publication: Liam O'Flaherty's 1946 Poem for an IRA Hunger Striker2026-02-04text/htmlen-USRediscovery and First Publication: Liam O'Flaherty's 1946 Poem for an IRA Hunger Striker2026-02-042026TWOProject MUSE®1143282026-05-11T00:00:00-05:002026-02-04The Gallagher Family Commonplace Book: An Account of a Transatlantic Donegal Manuscript
https://muse.jhu.edu/article/981608
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The Gallagher manuscript, to be discussed here, was commenced in County Donegal in the second half of the eighteenth century and brought to New York City sometime in the late eighteenth or early nineteenth century. It represents a rare and remarkable survival of the Irish-language literary tradition in North America, illuminating not only transatlantic Irish migration but also the complex dynamics of cultural preservation, language loss, and literary continuity among the Irish diaspora. The last verifiable date associated with it takes us forward a few generations into the twentieth century. Affixed inside its cover is a typed copy of the poem above, entitled "Disinherited," first published in 1939. The poem's
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallThe Gallagher Family Commonplace Book: An Account of a Transatlantic Donegal Manuscript2026-02-04text/htmlen-USThe Gallagher Family Commonplace Book: An Account of a Transatlantic Donegal Manuscript2026-02-042026TWOProject MUSE®678232026-05-11T00:00:00-05:002026-02-04Banshee Legend and Embattled Masculinity in Martin McDonagh's The Banshees of Inisherin
https://muse.jhu.edu/article/981606
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Popular depictions of the banshee (Irish bean sí, "fairy woman") in films such as Darby O'Gill and the Little People (1959) and Cry of the Banshee (1970) have typically featured the static image of a spectral wailing woman; yet when folk tradition is considered, the banshee embodies the more dynamic figure of a community unifier.1 Martin McDonagh's The Banshees of Inisherin (2022) takes its name from a song that musician Colm Doherty (played by Brendan Gleeson) composes during the film after he dumps his friend Pádraic Súilleabháin (Colin Farrell) for being "dull" and distracting him from making music. Although Pádraic insists that "there are no banshees on Inisherin" (74), the island appears to be haunted by a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallBanshee Legend and Embattled Masculinity in Martin McDonagh's The Banshees of Inisherin2026-02-04text/htmlen-USBanshee Legend and Embattled Masculinity in Martin McDonagh's The Banshees of Inisherin2026-02-042026TWOProject MUSE®678502026-05-11T00:00:00-05:002026-02-04Connemara Rambo: Genre Film and the Reconstitutive Vengeance Fantasy in Black '47
https://muse.jhu.edu/article/981614
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A bedraggled soldier returns home after fighting a war in a faraway land. He encounters a country that he hardly recognizes, in which he can find no sanctuary. Following violent altercation with local authorities, he flees into the wilderness and is hunted by armed forces, including a former comrade. A trained weapon of war, he turns his skills back upon those who had trained him. The result is a purgative confrontation with the legacy of violence for both the soldier and the very idea of his country. This is the plot of First Blood (dir. Ted Kotcheff, 1982, U.S.), an adaptation of the 1972 novel by David Morell. The name of its protagonist, Rambo, entered the lexicon as a synonym for fanatical militarism and
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallConnemara Rambo: Genre Film and the Reconstitutive Vengeance Fantasy in Black '472026-02-04text/htmlen-USConnemara Rambo: Genre Film and the Reconstitutive Vengeance Fantasy in Black '472026-02-042026TWOProject MUSE®1388112026-05-11T00:00:00-05:002026-02-04Who Is a Foreigner? Antigone and Ireland's European Stage
https://muse.jhu.edu/article/981612
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"Who is a foreigner? The one who does not belong to the group, who is not 'one of them,' the other. … If one goes back through time and social structures, the foreigner is the other of the family, the clan, the tribe."Who is Antigone, a character brought to the Irish National Theatre in April 2004 as drama from former Eastern Bloc countries was also being performed at the Abbey? Seamus Heaney's The Burial at Thebes exposes the dislocations between women's roles and emerging statehood. Are women eternally on the outside of human freedom? Are their identities made especially vulnerable when "the national" takes center stage? In this article I suggest that the context of the Abbey's first production of The Burial at
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallWho Is a Foreigner? Antigone and Ireland's European Stage2026-02-04text/htmlen-USWho Is a Foreigner? Antigone and Ireland's European Stage2026-02-042026TWOProject MUSE®639912026-05-11T00:00:00-05:002026-02-04Parnell's Failure? The Transatlantic Reception of Parnell's Speech to Congress
https://muse.jhu.edu/article/981609
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In ireland the late 1870s were characterized by fear of famine, starvation, and eviction. The rural economy struggled because of a combination of adverse weather conditions that precipitated partial crop failures and global economic competition that caused a drop in prices for agricultural produce. This gave rise to a land agitation in the west of Ireland directed by the agrarian radical Michael Davitt.1 In June 1879 Charles Stewart Parnell added his voice to the agitation. Parnell, a Protestant landlord and Home Rule MP, had made his name as a leading member of the "active" section at Westminster, where he participated in the obstruction of parliamentary business and sparked controversy by insisting that the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallParnell's Failure? The Transatlantic Reception of Parnell's Speech to Congress2026-02-04text/htmlen-USParnell's Failure? The Transatlantic Reception of Parnell's Speech to Congress2026-02-042026TWOProject MUSE®1731172026-05-11T00:00:00-05:002026-02-04Rita Duffy: Prelude to a Retrospective?
https://muse.jhu.edu/article/981605
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In the summer of 2025 the Irish artist Rita Duffy went digital. Her move did not release the same maelstrom of confusion and disorientation that Bob Dylan unleashed when he went electric in 1965. But this perhaps momentary departure from the analog drawing, painting, sculpture, and public installations that have characterized Duffy's practice since the 1980s was nonetheless a significant turn. As she moved in new directions with the advent of digital tools and expression in Split, a series of six stop animations exhibited at the 2025 Border Biennale in Cavan, Ireland, Duffy opened yet another chapter in her artistic practice. Hers is a vibrant legacy in the last four decades that has kept pace with rapid changes in
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/244/image/coversmallRita Duffy: Prelude to a Retrospective?2026-02-04text/htmlen-USRita Duffy: Prelude to a Retrospective?2026-02-042026TWOProject MUSE®537422026-05-11T00:00:00-05:002026-02-04