Dr Justin Tonra

Write My Name: Authorship in the poetry of Thomas Moore

Write My Name: Authorship in the Poetry of Thomas Moore is the first monograph devoted to Moore’s poetry. The focus of the book is on Moore’s poetry and differing formulations of authorship therein. Its scope comprises poetic publications from Moore’s early career, from his Romantic Orientalist writings, and from selected musical works, and political and satirical verse. It shares the strong historicist awareness of much previous scholarship on Moore, but combines this with a range of new and interdisciplinary contexts that are of increasing interest to scholarship in the twenty-first century, and which are rarely adopted as frameworks for viewing Moore’s work: digital humanities, book history, legal history, and textual theory. Ultimately, the book argues for the value of attending to neglected aspects of Moore’s work through analysis of his shifting modes of authorship and their various motivations.

Dr Miriam Haughton

Staging Trauma: Bodies in Shadow

This book investigates contemporary British and Irish performances that stage traumatic narratives, histories, acts and encounters. It includes a range of case studies that consider the performative, cultural and political contexts for the staging and reception of sexual violence, terminal illness, environmental damage, institutionalisation and asylum. In particular, it focuses on 'bodies in shadow' in twenty-first century performance: those who are largely written out of or marginalised in dominant twentieth-century patriarchal canons of theatre and history. This volume speaks to students, scholars and artists working within contemporary theatre and performance, Irish and British studies, memory and trauma studies, feminisms, performance studies, affect and reception studies, as well as the medical humanities.

Dr Ian R. Walsh

Cultural Convergence - The Dublin Gate Theatre, 1928 -1960
Based on extensive archival research, this open access book examines the poetics and politics of the Dublin Gate Theatre (est. 1928) over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre, Hollywood cinema, popular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of cultural convergence – the dynamics of exchange, interaction, and acculturation that reveal the workings of transnational infrastructures. This publication was co-edited with Ondrej Pilny and Ruud van den Beuken. 



Dr Charlotte McIvor

Migration and Performance in Contemporary Ireland

This book investigates Ireland’s translation of interculturalism as social policy into aesthetic practice and situates the wider implications of this ‘new interculturalism’ for theatre and performance studies at large.

Offering the first full-length, post-1990s study of the effect of large-scale immigration and interculturalism as social policy on Irish theatre and performance, McIvor argues that inward-migration changes most of what can be assumed about Irish theatre and performance and its relationship to national identity. By using case studies that include theatre, dance, photography, and activist actions, this book works through major debates over aesthetic interculturalism in theatre and performance studies post-1970s and analyses Irish social interculturalism in a contemporary European social and cultural policy context.  Drawing together the work of professional and community practitioners who frequently identify as both artists and activists, Migration and Performance in Contemporary Ireland proposes a new paradigm for the study of Irish theatre and performance while contributing to the wider investigation of migration and performance.  

Dr Elizabeth Tilley

The Periodical Press in Nineteenth Century Ireland

This book offers a new interpretation of the place of periodicals in nineteenth-century Ireland. Case studies of representative titles as well as maps and visual material (lithographs, wood engravings, title-pages) illustrate a thriving industry, encouraged, rather than defeated by the political and social upheaval of the century. 

Titles examined include: The Irish Magazine, and Monthly Asylum for Neglected Biography and The Irish Farmers’ Journal, and Weekly IntelligencerThe Dublin University Magazine; Royal Irish Academy Transactions and Proceedings and The Dublin Penny JournalThe Irish Builder (1859-1979); domestic titles from the publishing firm of James Duffy; Pat and To-Day’s Woman.

The Appendix consists of excerpts from a series entitled ‘The Rise and Progress of Printing and Publishing in Ireland’ that appeared in The Irish Builder from July of 1877 to June of 1878. Written in a highly entertaining, anecdotal style, the series provides contemporary information about the Irish publishing industry.

Prof Patrick Lonergan

Rough Magic Theatre Company: New Irish Plays and Adaptations, 2010 - 2018

Celebrating the work of one of Ireland's most daring theatre companies, this anthology gathers five plays by established and emerging playwrights. They include vibrant new adaptations of the world classics Peer Gynt and Phaedra alongside vital new dramas that explore issues of urgent contemporary concern, such as sex and sexuality, emigration and climate change. With contributions from Hilary Fannin and Ellen Cranitch, Arthur Riordan, Sonya Kelly, Morna Regan, and Shane Mac an Bhaird – as well as a foreword from Booker Prize-winning novelist Anne Enright - this book is an exciting snapshot of contemporary Irish playwriting.

The book operates as a showcase of outstanding new Irish playwriting, blending work by established and emerging playwrights, and also acts as a celebration of one of Ireland's most important theatre companies. And it includes new plays that demonstrate Rough Magic's consistent willingness to push the boundaries of Irish theatre, both formally and thematically, in plays that cover such topics as sex and sexuality, emigration and climate change.

This edition contains a foreword by Anne Enright, Booker prize winner and Laureate of Irish Fiction.

Dr Charlotte McIvor

The Methuen Drama Handbook of Interculturalism and Performance

The Methuen Drama Handbook of Interculturalism and Performance explores ground-breaking new directions and critical discourse in the field of intercultural theatre and performance while surveying key debates concerning interculturalism as an aesthetic and ethical series of encounters in theatre and performance from the 1960s onwards. The handbook's global coverage challenges understandings of intercultural theatre and performance that continue to prioritise case studies emerging primarily from the West and executed by elite artists.

By building on a growing field of scholarship on intercultural theatre and performance that examines minoritarian and grassroots work, the volume offers an alternative and multi-vocal view of what interculturalism might offer as a theoretical keyword to the future of theatre and performance studies, while also contributing an energized reassessment of the vociferous debates that have long accompanied its critical and practical usage in a performance context.
By exploring anew what happens when interculturalism and performance intersect as embodied practice, The Methuen Drama Handbook of Interculturalism and Performance offers new perspectives on a seminal theoretical concept still as useful as it is controversial.

Featuring a series of indispensable research tools, including a fully annotated bibliography, this is the essential scholarly handbook for anyone working in intercultural theatre and performance, and performance studies.

Dr Sean Crosson

Gaelic Games on Film:from silent films to Hollywood hurling,horror and the emergence of Irish cinema

Gaelic games have repeatedly provided filmmakers and producers with a resonant motif through which they have represented perceived aspects of Irish identity, perceived as this representation has been neither straightforward nor unproblematic: in international productions in particular, Gaelic games have been employed on occasion as a short hand for regressive stereotypes associated with Irish people, including their alleged propensity for violence. For indigenous producers, on the other hand, Gaelic games afforded distinctive Irish cultural practices and as such were featured to promote and affirm the Irish nation, particularly as an indigenous film culture began to emerge in the aftermath of World War II. As the twentieth century developed, a critical turn became evident within indigenous productions featuring Gaelic games though the dominant stereotypes of the past have continued to appear, particularly in international productions.

This study provides the first major monograph examination of filmic representations of Gaelic games, charting these representations from the earliest years of the twentieth century, including silent films such as Knocknagow (1918) to more recent productions Michael Collins (1996) and The Wind that Shakes the Barley (2006). Among the areas examined are newsreel depictions of Gaelic games; Hollywood’s fascination with hurling in the mid-20th century (including in the work of Oscar-winning director John Ford), which led to a range of productions featuring the sport culminating with the Oscar-nominated short Three Kisses (Paramount, 1955); the importance of the depictions of Gaelic games to the emergence of a distinctive Irish film culture post WWII; and the role of Gaelic games in contemporary cinema.

Dr Sean Crosson

Sport Film and National Culture

Sport and film have historically been key components of national cultures and societies. This is the first collection dedicated to examining the intersection of these popular cultural forces within specific national contexts.

Covering films of all types, from Hollywood blockbusters to regional documentaries and newsreels, the book considers how filmic depictions of sport have configured and informed distinctive national cultures, societies and identities. Featuring case studies from 11 national contexts across 6 continents – including North and South America, Europe, Africa, Asia and Oceania – it reveals the common and contrasting approaches that have emerged within sport cinema in differing national contexts.

This is fascinating and important reading for all students and researchers working in film, media, cultural studies or sport, and for broader enthusiasts of both sport and film.

Dr Lindsay Reid

Shakespeare's Ovid and the Spectre of the Medieval
The debt owed by Shakespeare to Ovid is a major and important topic in scholarship. This book offers a fresh approach to the subject, in aiming to account for the Middle English literary lenses through which Shakespeare and his contemporaries often approached Greco-Roman mythology. Drawing its principal examples from The Two Gentlemen of Verona, The Taming of the Shrew, Romeo and Juliet, Lucrece, and Twelfth Night, it reinvestigates a selection of moments in Shakespeare's works that have been widely identified in previous criticism as "Ovidian", scrutinising their literary alchemy with an eye to uncovering how ostensibly classical references may be haunted by the under-acknowledged, spectral presences of medieval intertexts and traditions. Its central concern is the mutual hauntings of Ovid, Geoffrey Chaucer, and John Gower in the early modern literary imagination; it demonstrates that "Ovidian" allusions to mythological figures such as Ariadne, Philomela, or Narcissus in Shakespeare's dramatic and poetic works were sometimes simultaneously mediated by the hermeneutic and affective legacies of earlier vernacular texts, including The Legend of Good Women, Troilus and Criseyde, and the Confessio Amantis.