Have a look inside our forthcoming book on George Boole and his family The Booles and the Hintons: two dynasties that helped shape the modern world
Have a look inside our forthcoming book on George Boole and his family The Booles and the Hintons: two dynasties that helped shape the modern world
May 12, 2016 | Permalink
The Republic of Ireland and Northern Ireland international soccer teams are reaching the conclusion of their campaigns to reach Euro 2016 in France over the coming weeks. Had not fate intervened, two teams would have been one and an all-Ireland soccer team would be looking to secure qualification instead.
In a new book entitled The Irish Soccer Split, Cormac Moore provides the most comprehensives analysis on the reasons why we have division in soccer in Ireland today unlike in sports such as rugby and cricket. Soccer in Ireland was governed for the whole island from 1880 until 1921 under the auspices of the Irish Football Association (IFA). The Leinster Football Association seceded from the parent body in 1921 and formed the Football Association of Ireland (FAI). Although politics played its part in fomenting the rupture, a power struggle was at the heart of the split in Irish soccer. Utilising an extensive array of primary sources and contemporary newspaper reports, Moore shows that the main reason why soccer became and remained divided in Ireland was due to Leinster’s refusal to being governed from Belfast. It was felt the IFA was biased towards teams from Belfast, it rarely chose Dublin over Belfast as a venue for internationals and the IFA council and its sub-committees were dominated by representatives from the North-East. Once soccer was divided, genuine attempts were made in the 1920s and early 1930s to bring about a fair settlement. They all broke down as the IFA was unwilling to concede too much control to the nascent body and the FAI was opposed to accept anything other than total quality on everything to do with soccer on the island.
The book recounts the FAI’s attempts to gain international recognition from the British associations and FIFA in the early 1920s, attempts that were far more fruitful with the latter body than the former bodies who stood steadfastly by the IFA. The FAI was unable to secure any international fixture against England, Scotland or Wales until 1946, when an FAI-selected international team played England for the first time. The book also compares soccer to most of the other major sports who remained or became united after partition and analyses why soccer took such a different course.
No serious attempts were made from 1932 to the 1970s to bring about a settlement between the IFA and FAI. As Northern Ireland was engulfed in the Troubles, a series of conferences were held to heal the division between the two bodies, prompted by international stars such as George Best who wanted one international team for Ireland at the very least. For the first time, the story of these efforts, carried out against the backdrop of violence in Northern Ireland, is revealed.
September 2015 ISBN 9781782051527, Hardback, €25, £19.95, 234 x 156mm, 332pp,
Further details at: http://www.corkuniversitypress.com/Irish-Soccer-Split-p/9781782051527.htm
Models for Movers: Irish Women’s Emigration to America by Íde B. O'Carroll is published today. The book will be launched in Trinity College on July 15th by Professor Margaret Kelleher with opening remarks by Minister for Diaspora Affairs, Jimmy Deenihan TD.
Models for Movers: Irish Women's Emigration to America is a unique collection of Irish women's oral histories spanning three waves of twentieth-century emigration to America in the 1920s, 1950s and 1980s. By combining a critical analysis of conditions for women in Ireland with women's own accounts of life at the time, the author Íde B. O'Carroll highlights the sheer necessity of emigration. If survival in Ireland was a tough proposition, especially for women, a place where patriarchs in families, church and state controlled women's lives, where education and paid work was limited, then America provided a lifeline to a relative freedom, and crucially, an opportunity to earn an independent income. After reading Models for Movers, we begin to appreciate just how far Irish society has come.
At the heart of this book are the women's oral histories, the descriptions of ordinary/extraordinary women, an approach that brings to life the reality of women's lives in both places, in their own words. The approach was considered 'ground-breaking' at the time because of the absence of women from the story of Irish emigration. In fact, the Models for Movers tapes, photographs and papers formed the first holding on Irish women at the Schlesinger Library, Harvard University, the premier repository on the history of women in America.
The oral histories detail how each woman created an independent life for herself in America, often in the face of multiple challenges there. As active agents, often supporting one another to leave, these Irish women are role models because they inspire us all to have the courage act. Whether it's Nora Joyce talking about life on the Aran Islands in the 1920s, or Terry Ryan describing inner-city Dublin in the 1950s and her battle with TB, or Lena Deevy's tales about working in Ballymun in the 1980s, these Irish women recount stories of scarcity and scant opportunities in Ireland at the time.
In America, they carved out new lives and possibilities for themselves in a place that enabled them to thrive and enriched the quality of their lives. Nora Joyce (1920s) followed in the footsteps of countless other Irish women in America by working in domestic service until she had managed to save enough money to buy a house, marry and start her own family. Largely self-educated during spells in TB hospitals, Terry Ryan (1950s) nonetheless found work as a secretary in America. She graduated with a degree from Northeastern University shortly before her husband and the father of her two children became its president. On the pretext of 'taking a rest,' Sister Lena Deevy (1980s) applied to and later graduated from Harvard Graduate School of Education. She became one of Boston's most respected Irish leaders.
This revised twenty-fifth anniversary edition comes at a time of renewed global Irish migration. These oral histories provide a rich multigenerational tapestry of experience into which women leaving Ireland today, often for places other than America, can weave their stories.
Íde B. O'Carroll is an Irish-born social researcher and writer who lives in Amherst, Massachusetts, and summers in Lismore, Waterford. Since 2013, she has been a Visiting Scholar at Glucksman Ireland House, New York University.
Further details at: http://bit.ly/1EbthM2
Today soccer is the global game played by millions of people around the world. This was not always the case. Ireland was one of the first countries to play the game. Played in Ireland since the late nineteenth century, it was known to many as the ‘garrison game’. David Toms looks at soccer’s development in Munster, arguing that far from being the ‘garrison game’ of popular imagination, soccer was enjoyed by a whole range of people across social classes since the late nineteenth century.
June 2015 | 9781782051268 | €39 £35 | Hardback | 234 x 156mm| 288 pages
This book charts soccer’s development in Munster from its earliest days as a game played by an elite few to a game of the everyman. Along the way, it explores the ups and downs of the sport as it was played amid war, revolution and class conflict. David Toms guides us through soccer’s journey in Munster from a field in Mallow in the 1870s to the glamour and excitement of cup finals in front of crowds of thousands by the end of the 1930s. Along the way we encounter the emergence of modern sporting culture where sport is as much entertainment as exercise.
David Toms is an independent scholar based in Prague.
This book is the first study of the Irish composer James Wilson (1922–2005). A founding member of Aosdána, in the 1950s and 60s Wilson was a key figure in the Music Association of Ireland and played an important role in developing the structures that support composers and musicians in Ireland today. As teacher of composition at the Royal Irish Academy of Music and the Ennis (later AIC) Composition Summer School he had an important influence on later generations of composers, his pupils including composers such as Roger Doyle and John Buckley.
May 2015 | 9781782051367 | €39 £35 | Hardback | 234 x 156mm| 246 pages
The first part of the book is a detailed biographical study of Wilson, from his birth and education in London, through his wartime experiences in the Arctic to his decision to relocate to Ireland and become a fulltime composer. It throws light on the problems composers faced in Ireland in the period 1950–2000 caused by the lack of musical infrastructures, the difficulties in obtaining performances of pieces, the variable standards of performance and criticism and the near impossibility of getting either works published or recorded. Important collaborations in Ireland and abroad are highlighted and throughout the book individual compositions are discussed to demonstrate the development of Wilson’s style. The book also raises questions about the contribution of composers to Ireland’s cultural heritage and how we can ensure it is not forgotten in the future.
His work is situated in the wider context of contemporary developments in music in Ireland and the rest of Europe.
Mark Fitzgerald is at the DIT Conservatory of Music and Drama.
Furhter details http://bit.ly/1zXyAQB
James Barry was born just a mile away from UCC in Water Lane, Cork and from a fairly humble background he went on to become one of the world’s greatest history painters. His greatest work are the murals at the Royal Society of Arts in London which are now regarded as the British art world’s best kept secret.
“This is a great book. It does more than illuminate the past; it shines a light on our present way of thinking, and not just about culture. At the very least, anyone with an eye will want to look at it – it’s a beautiful object. The illustrations will surprise many into wondering why it is they are seeing Cork-born James Barry’s masterpieces for the first time. Part of the explanation is practical: the works are in the Great Room of the Royal Society of Arts in London and not easily accessible to the public. An increased demand for access, though it might create a problem for the RSA, would be a sign that William L Pressly’s book has had an influence beyond the academy.
It is impossible to describe in this space the complexity of the paintings. Even Pressly, with 396 pages at his disposal, leaves some doors half-opened. More remains to be said, for instance, about Barry’s portrait of his patron and fellow Corkman Edmund Burke, a relationship that became tragic as Barry moved to the radical left.—Brian Lynch, The Irish Times
Transnationalism—and the connected issues of race, migration, and diaspora—has been an area of increasing interest in Irish Studies. Where Motley Is Worn is one of the first collections to focus on transnationalism in Irish literature. Although Irish literature has shaped national consciousness, this collection illustrates how literature has constructed a transnational imaginary—not only in the contemporary moment but also during earlier periods of Irish history. The chapter-length introduction outlines the transnational turn in Irish Studies while the eleven essays that follow are split between transnational Irish literature in the nineteenth century and the twentieth and twenty-first century
From Ireland’s emergence in the global economy and accompanying inward migration to its increasing emigration and racial strife following the 2008 recession, transnationalism has been a meaningful topic in contemporary Irish culture. Most scholars view the “new” multicultural Ireland as a rupture from earlier historical periods. This collection takes a different approach. Using transnationalism as a framework, the volume investigates how the multiple connections that Ireland has fostered with diverse parts of the globe influenced its literary output and production. Where Motley is Worn opens the borders of Irish literary studies, which has traditionally been dominated by a nation-centred focus.
Cork University Press, September 2014, ISBN 978-1-78205-100-8, €39, £35, Hardback, 234 x 156 mm, 246 pages
The essays in this collection cover both a wide historical period, covering the nineteenth through the twenty-first centuries and a broad geographical range, from Asia to the Caribbean and Latin America. By examining writing that places Irish identity in dialogue with other cultural, national, or ethnic affiliations, the collection allows us to see how Irish literatures have participated in and shaped dynamic cultural flows across the globe.
Amanda Tucker is at the Department of Humanities, University of Wisconsin-Platteville and Moira Casey is in the Department of English Miami University.
Staging Intercultural Ireland: New Plays and Practitioner Perspectives is the first published collection of plays and interviews responding to the effect of increased inward-migration on Irish theatre. The 2011 census indicated that we, as a nation, are now 17 per cent non-Irish born. This represents a 240 per cent increase in foreign-born persons living in the state since 1996.
Staging Intercultural Ireland offers a snapshot of a long-term intercultural process in its early stages. The plays and interviews in this book are united in their attempt to unsettle the usual distinctions that might be made between “Irish” and “other”. They ask for a critical engagement with shared histories and institutional inequalities, and a basic recognition that “Irish” identity, like all national identities, is a process always in formation. As such, Irish identity has been fundamentally expanded by a nearly 20-year period of inward migration.
Staging Intercultural Ireland is part reflection and part intervention; it responds to Ireland as it is now, and Ireland as it will continue to evolve as seen though the work of theatre and performance artists.
Full article in the Irish Times http://tinyurl.com/ndgtu4j
James Barry's six murals at the Royal Society of Art in London, a Series of Paintings on Human Culture (1777-1784), form the most impressive series of history paintings in Great Britain, yet they remain one of the British art world’s best kept secrets.
Pressly’s book is the first to offer an in-depth analysis of these remarkable works and the first to demonstrate that the artist was pioneering a new approach to public art in terms of the novelty of the patronage and the highly personal nature of his content. The murals contain a deeper hidden meaning that has gone unperceived for 230 years, the artist having disguised his message due to its inflammatory nature. Were his meaning readily apparent, the Society would have thrown out him and his murals.
Barry's unifying vision is, at heart, a call to heal Britain's great religious schism. Running through the series is a championing of the Roman Catholic Church as the fountainhead of what should be valued most in civilisation. From his point of view, his Protestant countrymen has sold their birthright in order for Henry VIII to divorce his Spanish queen. Thus the Catholics in the British Isles were the ones who were most in tune with those eternal verities on which future progress should be based. Within the nation's boundaries, the Irish best represented the people's uncorrupted soul. As such, they were the ones best situated to lead their benighted compatriots back to their former, true selves, engaging in the healing of a national trauma.
Ultimately, as this book seeks to show, the artist intended his paintings to engage the public in a dialogue that would utterly transform British society in terms of its culture, politics, and religion.
Barry insisted on complete control over his subject matter, the first time in the history of Western art that the patron of a large, impressive interior acceded to such a demand. He required autonomy in order to present his personal vision, which encompasses a rich and complex surface narrative as well as a hidden meaning that has gone unperceived for 230 years.
Barry’s murals are an important expression of the Romantic imagination, and by establishing that he had a profound influence on shaping William Blake’s development as an artist, the book will have a great impact as well on Blake scholarship.
William L Pressly is Emeritus Professor of Eighteenth- and Nineteenth-Century European Art at the University of Maryland. He is the author of James Barry: The Life and Art of James Barry (Yale University Press, 1981) and James Barry: the Artist as Hero (Tate Gallery, 1983).
Cork University Press, December 2014, ISBN 978-1-78205-108-4,
€49 £40 Hardback 340 x 240 mm 384 pages
Published today in this powerful and authoritative study Borbála Faragó provides the fullest account yet of the work of Medbh McGuckian who is a major figure in twentieth-century Irish literature as well as in contemporary women’s writing.
The book offers a wide-ranging analysis of the entire corpus of Medbh McGuckian’s published work. Its objective is to provide both a readable synthesis of existing criticism, in a fashion which will be generally useful to academics and students, and also to offer an original contribution to the field of contemporary Irish literary studies on the basis of new research. The book investigates a variety of previously neglected themes, in particular McGuckian’s exploration of ideas of creativity and performativity in her poetry.
Over the past two decades McGuckian has been recognized by both her fellow poets and by literary critics as one of the most original, daring and important poetic voices in contemporary Ireland. Since 1982 she has published fifteen volumes of poetry, extraordinary not merely for its sustained quality and linguistic and technical virtuosity, but also for its constant evolution and reinvention. This book provides an original perspective on her work both thematically and methodologically. From a thematic perspective, the process of artistic creation is a key preoccupation of McGuckian’s poetry which recurs in every volume of her oeuvre but has previously escaped critical attention. By adapting and refining theories of singularity and creativity, the book allows for a coherent analysis of this central aspect of McGuckian’s work. Methodologically it differs from previous studies in the scope of its approach. Uniquely, it pursues its investigation across the entire breadth of the poet’s published output and emphasizes the thematic unity of individual volumes in the light of the poet’s constant change and development. Throughout the book, the reading of McGuckian’s work concentrates on poems in their entirety, an approach which has not figured to any notable degree in the existing secondary literature on the poet, not least because of the perceived difficulty of her writing. A critical investigation, however, which respects both the integrity of the individual poems and the internal coherence of her various volumes allows for a far deeper understanding both of the poet’s thematic preoccupations and of the evolution of her distinctive poetic voice.
The author: Borbála Faragó is Marie Curie Intra-European Fellow in the Department of Gender Studies at Central European University, Budapest.