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Ireland's Harp
The harp became the emblem on Irish coinage in the 16th century. Since then it has been symbolic of Irish culture, music, and politics - finally evolving into a significant marker of national identity in the 18th and 19th centuries. The most important period in this evolution was between 1770 and 1880, when the harp became central to many utopian visions of an autonomous Irish nation, and its metaphoric significance eclipsed its musical one. Mary Louise O'Donnell uses these fascinating years of major social, political, and cultural change as the focus of her study on the Irish harp.
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Irish Working Lives
Unique insights into - and photos of - the occupations of a broad array of Irish individuals.
Human Rights and the Care of Older People
Set against the rapid aging of the world's population, Human Rights and the Care of Older People explores the potential for the rule against torture and ill-treatment in international human rights law to better protect older people from care-related mistreatment. The book's analysis is broadly relevant but is prompted by the widespread reports of older people's suffering due to lack of access to care and coercion in respect of care needs. This includes the deprivation of liberty for 'care'. While recognizing that a new United Nations Convention on the rights of older people is on the horizon, the book argues that there is a pressing need for older people and all human rights actors to use an...
Crime, Violence, and the Irish in the Nineteenth Century
A collection of essays, based on original research delivered at one of the Society for the Study of Nineteenth-Century Ireland's recent annual conferences.--Back book cover.
Musicians and their Audiences
How do musicians play and talk to audiences? Why do audiences listen and what happens when they talk back? How do new (and old) technologies affect this interplay? This book presents a long overdue examination of the turbulent relationship between musicians and audiences. Focusing on a range of areas as diverse as Ireland, Greece, India, Malta, the US, and China, the contributors bring musicological, sociological, psychological, and anthropological approaches to the interaction between performers, fans, and the industry that mediates them. The four parts of the book each address a different stage of the relationship between musicians and audiences, showing its processual nature: from conceptualisation to performance, and through mediation to off-stage discourses. The musician/audience conceptual division is shown, throughout the book, to be as problematic as it is persistent.
Women and Music in Ireland
Explores the world of women's professional and amateur musical activity as it developed on and beyond the island of Ireland.
Irish Materialisms
Irish Materialisms: The Nonhuman and the Making of Colonial Ireland, 1690-1830, is the first book to apply recent trends in new materialist criticism to Ireland. It radically shifts familiar colonial stereotypes of the feminized, racialized cottier according to the Irish peasantry's subversive entanglement with nonhuman materiality. Each of the chapters engages a focused case study of an everyday object in colonial Ireland (coins, flax, spinning wheels, mud, and pigs) to examine how each object's unique materiality contributed to the colonial ideology of British paternalism and afforded creative Irish expression. The main argument of Irish Materialisms is its methodology: of reading literature through the agency of materiality and nonhuman narrative in order to gain a more egalitarian and varied understanding of colonial experience. Irish Materialisms proves that new materialism holds powerful postcolonial potential. Through an intimate understanding of the materiality Irish peasants handled on a daily basis, this book presents a new portrait of Irish character that reflects greater empowerment, resistance, and expression in the oppressed Irish than has been previously recognized.
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John Gunn
Examines the life and work of Scottish cellist and antiquarian John Gunn (1766-1824) through newly discovered sources.The Scottish cellist and antiquarian John Gunn (1766-1824) is unique among British writers on music in the late eighteenth and early nineteenth century. Learned and practical, at home in classical and modern languages, knowledgeable in a wide range of musical topics and with even wider-ranging interests, and committed to the ideal of progress through rational thought, he typified the Enlightenment. His published output was large and diverse: a cello treatise in two quite different editions; two books on the flute and one on the piano; a treatise on figured bass; a history of ...
