Ireland possesses an early and exceptionally rich medieval vernacular tradition in which memory plays a key role. What attitudes to remembering and forgetting are expressed in secular early Irish texts? How do the texts conceptualise the past and what does this conceptualisation tell us about the present and future? Who mediates and validates different versions of the past and how is future remembrance guaranteed? This study approaches such questions through close readings of individual texts. It centres on three major aspects of medieval Irish memory culture: places and landscapes, the provision of information about the past by miraculously old eye-witnesses, and the personal, social and cultural impact of forgetting. The discussions shed light on the relationship between memory and forgetting and explore the connections between the past, present and future. This shows the fascinating spatio-temporal identity constructions in medieval Ireland and links the Irish texts to the broader European world. The monograph makes this rich literary sources available to an interdisciplinary audience and is of interest to both a general medievalist audience and those working in Cultural Memory Studies.
Despite the ease with which scholars have used the term "memory" in recent decades, its definition remains enigmatic. Does cultural memory rely on the memories of individuals, or does it take shape beyond the borders of the individual mind? Cultural memory has garnered particular attention within Irish studies. With its trauma-filled history and sizable global diaspora, Ireland presents an ideal subject for work in this vein. What do stereotypes of Irish memory—as extensive, unforgiving, begrudging, but also blank on particular, usually traumatic, subjects—reveal about the ways in which cultural remembrance works in contemporary Irish culture and in Irish diasporic culture? How do icons of Irishness—from the harp to the cottage, from the Celtic cross to a figure like James Joyce—function in cultural memory? This collection seeks to address these questions as it maps a landscape of cultural memory in Ireland through theoretical, historical, literary, and cultural explorations by top scholars in the field of Irish studies. In a series that will ultimately include four volumes, the sixteen essays in this first volume explore remembrance and forgetting throughout history, from early modern Ireland to contemporary multicultural Ireland. Among the many subjects address, Guy Beiner disentangles "collective" from "folk" memory in "Remembering and Forgetting the Irish Rebellion of 1798," and Anne Dolan looks at local memory of the Civil war in "Embodying the Memory of War and Civil War." The volume concludes with Alan Titley’s "The Great Forgetting," a compelling argument for viewing modern Irish culture as an artifact of the Europeanization of Ireland and for bringing into focus the urgent need for further, wide-ranging Irish-language scholarship.
Remembering the Year of the French is a model of historical achievement, moving deftly between the study of historical events—the failed French invasion of the West of Ireland in 1798—and folkloric representationsof those events. Delving into the folk history found in Ireland’s rich oral traditions, Guy Beiner reveals alternate visions of the Irish past and brings into focus the vernacular histories, folk commemorative practices, and negotiations of memory that have gone largely unnoticed by historians. Beiner analyzes hundreds of hitherto unstudied historical, literary, and ethnographic sources. Though his focus is on 1798, his work is also a comprehensive study of Irish folk history and grass-roots social memory in Ireland. Investigating how communities in the West of Ireland remembered, well into the mid-twentieth century, an episode in the late eighteenth century, this is a “history from below” that gives serious attention to the perspectives of those who have been previously ignored or discounted. Beiner brilliantly captures the stories, ceremonies, and other popular traditions through which local communities narrated, remembered, and commemorated the past. Demonstrating the unique value of folklore as a historical source, Remembering the Year of the French offers a fresh perspective on collective memory and modern Irish history. Winner, Wayland Hand Competition for outstanding publication in folklore and history, American Folklore Society Finalist, award for the best book published about or growing out of public history, National Council on Public History Winner, Michaelis-Jena Ratcliff Prize for the best study of folklore or folk life in Great Britain and Ireland “An important and beautifully produced work. Guy Beiner here shows himself to be a historian of unusual talent.”—Marianne Elliott, Times Literary Supplement “Thoroughly researched and scholarly. . . . Beiner’s work is full of empathy and sympathy for the human remains, memorials, and commemorations of past lives and the multiple ways in which they actually continue to live.”—Stiofán Ó Cadhla, Journal of British Studies “A major contribution to Irish historiography.”—Maureen Murphy, Irish Literary Supplement "A remarkable piece of scholarship . . . . Accessible, full of intriguing detail, and eminently teachable.”?—Ray Casman, New Hibernia Review “The most important monograph on Irish history of the nineteenth and twentieth centuries to be published in recent years.”—Matthew Kelly, English Historical Review “A strikingly ambitious work . . . . Elegantly constructed, lucidly written and inspired, and displaying an inexhaustible capacity for research”—Ciarán Brady, History IRELAND “A closely argued, meticulously detailed and rich analysis . . . . providing such innovative treatment of a wide array of sources, his work will resonate with the concerns of many cultural and historical geographers working on social memory in quite different geographical settings and historical contexts.”—Yvonne Whelan, Journal of Historical Geography
This original and innovative book proposes ‘dismemory’ as a new form of intertextual engagement with Shakespeare by modern and contemporary Irish writers. Through reflection on these canonical writers and ranging across thirteen Shakespeare plays, Taylor-Collins demonstrates how Irish writers who helped to fashion and critique the Irish nation state carry an indelible, if often subdued, mark of Shakespeare’s early modern English influence. The volume overall renews and revitalises the Shakespeare–modern Ireland connection: Taylor-Collins reveals Hamlet’s hauntological legacy in Playboy of the Western World, Ulysses, and Ghosts; how the corporal economies that exert pressure from Coriolanus and Ben Jonson flicker through to the antiheroes in Beckett’s Three Novels; and how the landed legacies of territorial contests in Shakespeare are engaged with in Yeats’s poetry, and similarly how the diseased muddiness in Hamlet is addressed by Heaney.
Ireland possesses an early and exceptionally rich medieval vernacular tradition in which memory plays a key role. What attitudes to remembering and forgetting are expressed in secular early Irish texts? How do the texts conceptualise the past and what does this conceptualisation tell us about the present and future? Who mediates and validates different versions of the past and how is future remembrance guaranteed? This study approaches such questions through close readings of individual texts. It centres on three major aspects of medieval Irish memory culture: places and landscapes, the provision of information about the past by miraculously old eye-witnesses, and the personal, social and cultural impact of forgetting. The discussions shed light on the relationship between memory and forgetting and explore the connections between the past, present and future. This shows the fascinating spatio-temporal identity constructions in medieval Ireland and links the Irish texts to the broader European world. The monograph makes this rich literary sources available to an interdisciplinary audience and is of interest to both a general medievalist audience and those working in Cultural Memory Studies.
This book elucidates the ways the pained and suffering body has been registered and mobilized in specifically Irish contexts across more than four hundred years of literature and culture. There is no singular approach to what pain means: the material addressed in this collection covers diverse cultural forms, from reports of battles and executions to stage and screen representations of sexual violence, produced in response to different historical circumstances in terms that confirm our understanding of how pain – whether endured or inflicted, witnessed or remediated – is culturally coded. Pain is as open to ongoing redefinition as the Ireland that features in all of the essays gathered here. This collection offers new paradigms for understanding Ireland’s literary and cultural history.
A heart-warming and hilarious family memoir of growing up as one of eleven siblings raised by a single dad in Northern Ireland at the end of the Troubles. Séamas O’Reilly’s mother died when he was five, leaving him, his ten (!) brothers and sisters, and their beloved father in their sprawling bungalow in rural Derry. It was the 1990s; the Troubles were a background rumble, but Séamas was more preoccupied with dinosaurs, Star Wars, and the actual location of heaven than the political climate. An instant bestseller in Ireland, Did Ye Hear Mammy Died? is a book about a family of loud, argumentative, musical, sarcastic, grief-stricken siblings, shepherded into adulthood by a man whose foibles and reticence were matched only by his love for his children and his determination that they would flourish. “In this joyous, wildly unconventional memoir, Séamas O'Reilly tells the story of losing his mother as a child and growing up with ten siblings in Northern Ireland during the final years of the Troubles as a raucous comedy, a grand caper that is absolutely bursting with life.”―Patrick Radden Keefe, NYT bestselling author of Say Nothing and Empire of Pain One of NPR’s Best Books of the Year
Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see ‘classical memories’ as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural ‘exports’ in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like ‘adaptation’ and ‘reception’ could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.
