Ordinary Lives, Death, and Social Class focuses on the evolution of the Dublin City Coroner's Court and on Dr Louis A. Bryne's first two years in office. Wrapping itself around the 1901 census, the study uses gender, power, and blame as analytical frameworks to examine what inquests can tell us about the impact of urban living from lifecycle and class perspectives. Coroners' inquests are a combination of eyewitness testimony, expert medico-legal language, detailed minutiae of people, places, and occupational identities pinned to a moment in time. Thus they have a simultaneous capacity to reveal histories from both above and below. Rich in geographical, socio-economic, cultural, class, and medical detail, these records collated in a liminal setting about the hour of death bear incredible witness to what has often been termed 'ordinary lives'. The subjects of Dr Byrne's court were among the poorest in Ireland and, apart from common medical causes problems linked to lower socio-economic groups, this volume covers preventable cases of workplace accidents, neglect, domestic abuse, and homicide.

Modernism in Irish Women's Contemporary Writing examines the tangled relationship between contemporary Irish women writers and literary modernism. In the early decades of the twenty-first century, Irish women's fiction has drawn widespread critical acclaim and commercial success, with a surprising number of these works being commended for their innovative redeployment of literary tactics drawn from early twentieth-century literary modernism. But this strategy is not a new one. Across more than a century, writers from Kate O'Brien to Sally Rooney have manipulated and remade modernism to draw attention to the vexed nature of female privacy, exploring what unfolds when the amorphous nature of private consciousness bumps up against external ordering structures in the public world. Living amid the tenaciously conservative imperatives of church and state in Ireland, their female characters are seen to embrace, reject, and rework the ritual of prayer, the fixity of material objects, the networks of the digital world, and the ordered narrative of the book. Such structures provide a stability that is valuable and even necessary for such characters to flourish, as well as an instrument of containment or repression that threatens to, and in some cases does, destroy them. The writers studied here, among them Elizabeth Bowen, Edna O'Brien, Anne Enright, Anna Burns, Claire-Louise Bennett, and Eimear McBride, employ the modernist mode in part to urge readers to recognize that female interiority, the prompt for many of the movement's illustrious formal experiments, continues to provide a crucial but often overlooked mechanism to imagine ways around and through seemingly intransigent social problems, such as class inequity, political violence, and sexual abuse.

Charting the period that extends from the 1860s to the 1940s, this volume offers fresh perspectives on Aestheticism and Modernism. By acknowledging that both movements had a passion for the ‘new’, it goes beyond the alleged divide between Modernism and its predecessors. Rather than reading the modernist credo, ‘Make it New!’, as a desire to break away from the past, the authors of this book suggest reading it as a continuation and a reappropriation of the spirit of the ‘New’ that characterizes Aestheticism. Basing their arguments on recent reassessments of Aestheticism and Modernism and their articulation, contributors take up the challenge of interrogating the connections, continuities, and intersections between the two movements, thus revealing the working processes of cultural and aesthetic change so as to reassess the value of the new for each. Attending to well-known writers such as Waugh, Woolf, Richardson, Eliot, Pound, Ford, Symons, Wilde, and Hopkins, as well as to hitherto neglected figures such as Lucas Malet, L.S. Gibbon, Leonard Woolf, or George Egerton, they revise assumptions about Aestheticism and Modernism and their very definitions. This collection brings together international scholars specializing in Aestheticism or Modernism who push their analyses beyond their strict period of expertise and take both movements into account through exciting approaches that borrow from aesthetics, philosophy, or economics. The volume proposes a corrective to the traditional narratives of the history of Aestheticism and Modernism, revitalizing definitions of these movements and revealing new directions in aestheticist and modernist studies.

Investigates how the cinematic tendency of Joyce's writing developed from media predating filmFirst comprehensive consideration of Joyce in the context of pre-filmic 'cinematicity'.Research and analysis based on recent 'media archaeology'.Examines the shaping of Joyce's fiction by late-Victorian visual culture and science.Shows that key aspects of his literary experimentation derive from 'forgotten' popular cultural practices and 'vernacular modernism'.Shows Joyce's interaction with and critique of Modernity's developing 'media cultural imaginary'.In this book, Keith Williams explores Victorian culture's emergent 'cinematicity' as a key creative driver of Joyce's experimental fiction, showing how Joyce's style and themes share the cinematograph's roots in Victorian optical entertainment and science. The book reveals Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows. Close analyses of his works show how his techniques elaborated and critiqued their effects on modernity's 'media-cultural imaginary'.

Irish Studies essays from the best academics in the field

This final volume in the Cambridge History of Ireland covers the period from the 1880s to the present. Based on the most recent and innovative scholarship and research, the many contributions from experts in their field offer detailed and fresh perspectives on key areas of Irish social, economic, religious, political, demographic, institutional and cultural history. By situating the Irish story, or stories - as for much of these decades two Irelands are in play - in a variety of contexts, Irish and Anglo-Irish, but also European, Atlantic and, latterly, global. The result is an insightful interpretation on the emergence and development of Ireland during these often turbulent decades. Copiously illustrated, with special features on images of the 'Troubles' and on Irish art and sculpture in the twentieth century, this volume will undoubtedly be hailed as a landmark publication by the most recent generation of historians of Ireland.

Though best known as the author of Dracula (1897) Bram Stoker had a successful career in the theatre. This collection brings together all Stoker's theatrical reviews from Dublin's Evening Mail, his published essays and interviews on the theatre, selections from Reminiscences of Henry Irving (1906) and a fictional work on the theatre.

Looking past the apparent lack of a sustainable Irish display culture, this book demonstrates that there is a very full story to tell of the way Ireland displayed its art from the late eighteenth to the early twentieth century. Ireland on Show analyzes the impact of the display of art as a significant political and cultural feature in the make-up of nineteenth-century Ireland - and in how Ireland was viewed beyond its own shores, in particular in Great Britain and the United States. Fintan Cullen directs much-needed critical attention and analysis to a subject that has been largely overlooked from an Irish perspective. This study moves beyond museums, to address the range of art institutions in Irish cities that displayed art, from the Royal Hibernian Academy, founded in the 1820s, to Hugh Lane's Municipal Art Gallery, opened in Dublin in 1908. Throughout, the book explores the battle between the display of a unionist ethos and a nationalist point of view, a constant that resurfaces over the period. By highlighting the tension between unionist and nationalist viewpoints, Cullen uses the display of art to investigate the complexities of Irish cultural life before the founding of the Free State.

This volume explores the multiple forms and functions of reading and writing in nineteenth-century Ireland. It traces how understandings of literacy and language shaped national and transnational discourses of cultural identity, and the different reading communities produced by questions of language, religion, status, education and audience.

This scholarly anthology presents a new framework for understanding early cinema through its usage outside the realm of entertainment. From its earliest origins until the beginning of the twentieth century, cinema provided widespread access to remote parts of the globe and immediate reports on important events. Reaching beyond the nickelodeon theatres, cinema became part of numerous institutions, from churches and schools to department stores and charitable organizations. Then, in 1915, the Supreme Court declared moviemaking a “busines, pure and simple,” entrenching the film industry’s role as a producer of “harmless entertainment.” In Beyond the Screen, contributors shed light on how pre-1915 cinema defined itself through institutional interconnections and publics interested in science, education, religious uplift, labor organizing, and more.