This book examines periodical production in the context of post-revolutionary Ireland, employing the unique lens of genre theory in detailed comparisons between Irish, English, Welsh, and Scottish magazines.

The comparative study of the literatures of Ireland and Scotland has emerged as a distinct and buoyant field in recent years. This collection of new essays offers the first sustained comparison of modern Irish and Scottish poetry, featuring close readings of texts within broad historical and political contextualisation. Playing on influences, crossovers, connections, disconnections and differences, the 'affinities' and 'opposites' traced in this book cross both Irish and Scottish poetry in many directions. Contributors include major scholars of the new 'archipelagic' approach, as well as leading Irish and Scottish poets providing important insights into current creative practice. Poets discussed include W. B. Yeats, Hugh MacDiarmid, Sorley MacLean, Louis MacNeice, Edwin Morgan, Douglas Dunn, Seamus Heaney, Ian Hamilton Finlay, Michael Longley, Medbh McGuckian, Nuala ni Dhomhnaill, Don Paterson and Kathleen Jamie. This book is a major contribution to our understanding of poetry from these islands in the twentieth and twenty-first centuries.

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 Intelligencer; The Dublin University Magazine; Royal Irish Academy Transactions and Proceedings and The Dublin Penny Journal; The 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.

This volume explores the ways in which the complicated revolution in British newspapers, the New Journalism, influenced Irish politics, culture, and newspaper practices. The essays here further illuminate the central role of the press in the evolution of Irish nationalism and modernism in the late nineteenth and early twentieth centuries.

This two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two essays written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short essays provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance. Volume One covers plays by Irish women playwrights written between 1716 to 1992, and seeks to address and redress the historic absence of Irish female playwrights in theatre histories. Highlighting the work of nine women playwrights from the eighteenth and nineteenth centuries, as well as thirteen of the twentieth century’s key writers, the chapters in this volume explore such varied themes as the impact of space and place on identity, women’s strategic use of genre, and theatrical responses to shifts in Irish politics and culture. CONTRIBUTORS: Conrad Brunström, David Clare, Thomas Conway, Marguérite Corporaal, Mark Fitzgerald, Shirley-Anne Godfrey, Úna Kealy, Sonja Lawrenson, Cathy Leeney, Marc Mac Lochlainn, Kate McCarthy, Fiona McDonagh, Deirdre McFeely, Megan W. Minogue, Ciara Moloney, Justine Nakase, Patricia O'Beirne, Kevin O'Connor, Ciara O'Dowd, Clíona Ó Gallchoir, Anna Pilz, Emilie Pine, Ruud van den Beuken, Feargal Whelan

Reading Ulysses with an eye to the cultural references embedded within it, Kershner interrogates modernism's relationship to contemporary popular culture and literature. Examples underscore Kershner's corrective to formal approaches to genre as he broadens the methodologies that are used to study it to include social and political approaches.

Through close readings of texts by playwright Anne Devlin, poet Medbh McGuckian, and novelist Anna Burns, this book examines the ways Irish cultural production has been disturbed by partition. Ruprecht Fadem argues that literary texts address this tension through spectral, bordered metaphors and juxtapositions of the ancient and the contemporary.

This study focuses on Louis MacNeice's creative and critical engagement with other Irish poets during his lifetime. It draws on extensive archival research to uncover the previously unrecognised extent of the poet's contact with Irish literary mores and networks. Poetic dialogues with contemporaries including F.R. Higgins, John Hewitt, W.R. Rodgers, Austin Clarke, Patrick Kavanagh, John Montague, and Richard Murphy are traced against the persistent rhetoric of cultural and geographical attachment at large in Irish poetry and criticism during the period. These comparative readings are framed by accounts of MacNeice's complex relationship with the oeuvre of W.B. Yeats, which forms a meta-narrative to MacNeice's broader engagement with Irish poetry. Yeats is shown to have been MacNeice's contemporary in the 1930s, reading and reacting to the younger poet's work, just as MacNeice read and reacted to the older poet's work. But the ongoing challenge of the intellectual and formal complexity of Yeats's poetry also provided a means through which MacNeice, across his whole career, dialectically developed various modes through which to confront modernity's cultural, political and philosophical challenges. This book offers new and revisionary perspectives on MacNeice's work and its relationship to Ireland's literary traditions, as well as making an innovative contribution to the history of Irish literature and anglophone poetry in the twentieth century.

Volume IV: The Irish Book in English 1800-1891 details the story of the book in Ireland during the nineteenth century, when Ireland was integrated into the United Kingdom. The chapters in this volume explore book production and distribution and the differing of ways in which publishing existed in Dublin, Belfast, and the provinces.