{"title":"Irish Studies Round the World - 2017","authors":"Chris Mahony","doi":"10.24162/EI2018-8289","DOIUrl":"https://doi.org/10.24162/EI2018-8289","url":null,"abstract":"","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"37 1","pages":"199-228"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84587893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Translation of a Selection of Caitríona O’Reilly’s Poems into Spanish","authors":"Luz Mar González Arias","doi":"10.24162/ei2018-8160","DOIUrl":"https://doi.org/10.24162/ei2018-8160","url":null,"abstract":"","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"17 1","pages":"169-175"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82029651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Éilís Ní Dhuibhne is both a folklorist and a feminist, who “took an interest in rewriting or re-inventing women's history, a history which had been largely unwritten” (Ní Dhuibhne, “Negotiating” 73). Folklore stories and motifs abound in her writing. Elke D’hoker argues that Ní Dhuibhne reimagines and rewrites folktales to “reflect and interpret the social values and attitudes of a postmodern society” (D’hoker 137). The repurposing of folklore allows Ní Dhuibhne to interrogate some of the complex and controversial ways that Irish society has attempted to represent and control women, entrenching taboos about female behaviours and sexualities. Using Donna Haraway’s cyborg feminism and Karen Barad’s deployment of Haraway’s theory of diffraction, this article focuses on issues of voice and orality, and the female body in “The Mermaid Legend”, “Midwife to the Fairies”, and “Holiday in the Land of Murdered Dreams”, to argue that Ní Dhuibhne’s repurposing of folklore is a radically feminist undertaking. All three short stories, which feature female protagonists, reveal diverse, transgressive, sexual mothers and maidens whose symbolic connections with folklore allow them to challenge the restrictive constructions of women in Irish society, creating spaces to explore alternative, heterogeneous, feminist re-conceptions of identity and belonging.
Éilís Ní杜布内既是一位民俗学家，也是一位女权主义者，她“对重写或重新发明女性的历史感兴趣，这段历史在很大程度上是未被书写的”(Ní杜布内，“谈判”73)。民间传说故事和主题在她的作品中比比皆是。Elke D 'hoker认为Ní杜布内重新想象和改写了民间故事，以“反映和解释后现代社会的社会价值观和态度”(D 'hoker 137)。对民间传说的重新利用使得Ní Dhuibhne能够质疑爱尔兰社会试图代表和控制女性的一些复杂而有争议的方式，以及关于女性行为和性行为的禁忌。本文以唐娜·哈拉维的半机械人女性主义和凯伦·巴拉德对哈拉维衍射理论的运用为基础，着重探讨了《美人鱼传说》、《仙女的助产士》和《被谋杀的梦之国的假期》中的声音、口型和女性身体问题，认为Ní杜布内对民间传说的重新利用是一项激进的女性主义事业。这三篇短篇小说都以女性为主角，揭示了不同的、越界的、性的母亲和少女，她们与民间传说的象征性联系使她们能够挑战爱尔兰社会中女性的限制性结构，创造了探索另类的、异质的、女权主义的身份和归属感的重新概念的空间。
{"title":"\"The Foresight to Become a Mermaid”: Folkloric cyborg women in Éilís Ní Dhuibhne’s short stories","authors":"Rebecca Graham","doi":"10.24162/EI2017-7580","DOIUrl":"https://doi.org/10.24162/EI2017-7580","url":null,"abstract":"Éilís Ní Dhuibhne is both a folklorist and a feminist, who “took an interest in rewriting or re-inventing women's history, a history which had been largely unwritten” (Ní Dhuibhne, “Negotiating” 73). Folklore stories and motifs abound in her writing. Elke D’hoker argues that Ní Dhuibhne reimagines and rewrites folktales to “reflect and interpret the social values and attitudes of a postmodern society” (D’hoker 137). The repurposing of folklore allows Ní Dhuibhne to interrogate some of the complex and controversial ways that Irish society has attempted to represent and control women, entrenching taboos about female behaviours and sexualities. Using Donna Haraway’s cyborg feminism and Karen Barad’s deployment of Haraway’s theory of diffraction, this article focuses on issues of voice and orality, and the female body in “The Mermaid Legend”, “Midwife to the Fairies”, and “Holiday in the Land of Murdered Dreams”, to argue that Ní Dhuibhne’s repurposing of folklore is a radically feminist undertaking. All three short stories, which feature female protagonists, reveal diverse, transgressive, sexual mothers and maidens whose symbolic connections with folklore allow them to challenge the restrictive constructions of women in Irish society, creating spaces to explore alternative, heterogeneous, feminist re-conceptions of identity and belonging.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"67 1","pages":"62-72"},"PeriodicalIF":0.0,"publicationDate":"2017-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84163262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses representations of women in diaries written by Seán Ó hEochaidh as part of his work as a field collector for the Irish Folklore Commission (19351971). Focusing on a number of well-described events and characters, the article reveals the collector's attitude to women as they emerge from his writing. It also shows how women could help or hinder his collecting work. The disparities of the lives of a number of working women from Donegal during the period are also highlighted.
本文讨论了Seán Ó hEochaidh写的日记中女性的表现，这是他作为爱尔兰民间传说委员会(19351971)的田野收藏家工作的一部分。这篇文章聚焦于一些描述得很好的事件和人物，揭示了这位收藏家对女性的态度，因为她们出现在他的作品中。它还展示了女性如何帮助或阻碍他的收藏工作。报告还强调了在此期间多尼戈尔一些职业妇女的生活差异。
{"title":"“Tá cuid de na mná blasta/Some Women Are Sweet Talkers”: Representations of Women in Seán Ó hEochaidh’s Field Diaries for the Irish Folklore Commission","authors":"Lillis Ó Laoire","doi":"10.24162/EI2017-7617","DOIUrl":"https://doi.org/10.24162/EI2017-7617","url":null,"abstract":"This article discusses representations of women in diaries written by Seán Ó hEochaidh as part of his work as a field collector for the Irish Folklore Commission (19351971). Focusing on a number of well-described events and characters, the article reveals the collector's attitude to women as they emerge from his writing. It also shows how women could help or hinder his collecting work. The disparities of the lives of a number of working women from Donegal during the period are also highlighted.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"5 1","pages":"122-138"},"PeriodicalIF":0.0,"publicationDate":"2017-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85704402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Irish folk medicine is perceived to be dying, if not dead already. It lies as a parallel system to modern biomedicine and is known only through word of mouth. However, no matter what modality is practised, be it bone-setting, plant medicine, charms or rituals, there are traditional characteristics common to all as a whole. An examination of these traditional elements allows us to see how Irish folk medicine is currently practised and to ascertain whether it has reached the second life that Lauri Honko suggested. If this were the case, “the recycling of material in an environment that differs from its original context” (Honko, “The Folklore” 42) should be evident.
{"title":"Folk medicine and its second life","authors":"Rosari Kingston","doi":"10.24162/EI2017-7597","DOIUrl":"https://doi.org/10.24162/EI2017-7597","url":null,"abstract":"Irish folk medicine is perceived to be dying, if not dead already. It lies as a parallel system to modern biomedicine and is known only through word of mouth. However, no matter what modality is practised, be it bone-setting, plant medicine, charms or rituals, there are traditional characteristics common to all as a whole. An examination of these traditional elements allows us to see how Irish folk medicine is currently practised and to ascertain whether it has reached the second life that Lauri Honko suggested. If this were the case, “the recycling of material in an environment that differs from its original context” (Honko, “The Folklore” 42) should be evident.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"11 1","pages":"91-106"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80850428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to folk beliefs, people say that the fairies are out on the night of Samhain: “Deireann na daoine go mbíonn sidheogaí amuigh oidhche Shamhna”, in the words of an informant for the Schools' Collection (NFCS 249). And so is this special issue of Estudios Irlandeses entitled “New Perspectives on Irish Folklore”! Far less risky than venturing out on the festival night, but equally audacious, this volume explores the rich traditions of Irish folklore and the various ways it is being/has been reused, repurposed and reinvented. The contributions to this issue explore multiple aspects of folklore today: from the tribulations of the folklore collectors to the reimagining of folklore for the stage, and its reuse in literature and musical compositions. Marina Warner asserts that “Every telling of a myth is a part of that myth: there is no Ur-version, no authentic prototype, no true account” (8). The same could be said of folklore, which is intertwined with mythology on many levels, for that matter. There are multiple variants of a tale type, many interpretations of a folk tune, and numerous versions of a rhyme, which all depend on the circumstances of the transmission, the informant, their locations, and so on. Folklore is a living, multi-faceted process that has as many shapes and forms as there are individuals who engage with it. It has therefore proved quite challenging to define. The Irish word for it, béaloideas, which literally means “oral instruction” (see Ó hÓgáin), embodies the orality which appears to be a common feature of the many attempted definitions. Seán Ó Súilleabháin explains it thus:
根据民间信仰，人们说仙女们会在夏末节的晚上出来:“Deireann na daoine go mbíonn sidheogaí amuigh oidhche Shamhna”，这是《学校合集》(NFCS 249)的一位线人的话。《爱尔兰人工作室》的这期特刊题为《爱尔兰民间传说的新视角》也是如此!比起在节日之夜外出冒险，风险要小得多，但同样大胆，这本书探索了爱尔兰民间传说的丰富传统，以及它被再利用、重新利用和重新发明的各种方式。本期的文章探讨了当今民俗学的多个方面:从民俗学收藏家的苦难到民俗学在舞台上的重新构想，以及它在文学和音乐作品中的再利用。玛丽娜·华纳断言，“每一个神话的讲述都是神话的一部分:没有原始版本，没有真实的原型，没有真实的描述”(8)。民间传说也是如此，在许多层面上，它与神话交织在一起。故事类型有多种变体，民间曲调有多种解释，押韵有多种版本，这些都取决于传播的环境、信息者、地点等等。民间传说是一个活生生的、多方面的过程，它有许多形状和形式，因为有许多人参与其中。因此，事实证明，给它下定义相当具有挑战性。它在爱尔兰语中的意思是“口头指导”(见Ó hÓgáin)，它体现了口头性，这似乎是许多尝试的定义的共同特征。Seán Ó Súilleabháin是这样解释的:
{"title":"Introduction: New Perspectives on Irish Folklore","authors":"Audrey Robitaillié, M. Shokouhi","doi":"10.24162/EI2017-7497","DOIUrl":"https://doi.org/10.24162/EI2017-7497","url":null,"abstract":"According to folk beliefs, people say that the fairies are out on the night of Samhain: “Deireann na daoine go mbíonn sidheogaí amuigh oidhche Shamhna”, in the words of an informant for the Schools' Collection (NFCS 249). And so is this special issue of Estudios Irlandeses entitled “New Perspectives on Irish Folklore”! Far less risky than venturing out on the festival night, but equally audacious, this volume explores the rich traditions of Irish folklore and the various ways it is being/has been reused, repurposed and reinvented. The contributions to this issue explore multiple aspects of folklore today: from the tribulations of the folklore collectors to the reimagining of folklore for the stage, and its reuse in literature and musical compositions. Marina Warner asserts that “Every telling of a myth is a part of that myth: there is no Ur-version, no authentic prototype, no true account” (8). The same could be said of folklore, which is intertwined with mythology on many levels, for that matter. There are multiple variants of a tale type, many interpretations of a folk tune, and numerous versions of a rhyme, which all depend on the circumstances of the transmission, the informant, their locations, and so on. Folklore is a living, multi-faceted process that has as many shapes and forms as there are individuals who engage with it. It has therefore proved quite challenging to define. The Irish word for it, béaloideas, which literally means “oral instruction” (see Ó hÓgáin), embodies the orality which appears to be a common feature of the many attempted definitions. Seán Ó Súilleabháin explains it thus:","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"40 1","pages":"1-7"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73322149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Blasket Islands are located off the south-west coast of Ireland. No longer inhabited, the Great Blasket Island and its distinctive culture have been documented by a variety of writers and are celebrated today in an interpretative centre on the mainland and in performances by Siamsa Tire, The National Folk Theatre of Ireland. "Siamsa" developed from local initiatives in North Kerry during the early 1960s and is located today in Tralee, Co. Kerry. It aims to present Irish folklore and folk culture through the medium of theatre involving music, song, dance and mime but invariably no dialogue. In this paper, I focus on the production Oilean, based loosely on the stories of the Blasket Islanders, which was initially devised as part of the fiftieth anniversary commemoration of the departure of the last inhabitants of the islands in 2003.
{"title":"Reliving Island Life: Staging Stories of the Blasket Islands","authors":"Daithí Kearney","doi":"10.24162/EI2017-7587","DOIUrl":"https://doi.org/10.24162/EI2017-7587","url":null,"abstract":"The Blasket Islands are located off the south-west coast of Ireland. No longer inhabited, the Great Blasket Island and its distinctive culture have been documented by a variety of writers and are celebrated today in an interpretative centre on the mainland and in performances by Siamsa Tire, The National Folk Theatre of Ireland. \"Siamsa\" developed from local initiatives in North Kerry during the early 1960s and is located today in Tralee, Co. Kerry. It aims to present Irish folklore and folk culture through the medium of theatre involving music, song, dance and mime but invariably no dialogue. In this paper, I focus on the production Oilean, based loosely on the stories of the Blasket Islanders, which was initially devised as part of the fiftieth anniversary commemoration of the departure of the last inhabitants of the islands in 2003.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"12 1","pages":"73-90"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83306334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates the intersection of human rights discourse, Irish folklore and contemporary Irish-language poetry. The author contends that contemporary Irishlanguage poets Louis de Paor and Nuala Ní Dhomhnaill exploit the multi-faceted nature of international folklore motifs, along with their local variants, to represent human rights violations in their poetry. Focusing specifically on the motif of the changeling in De Paor’s poetry and on the motif of the mermaid in Ní Dhomhnaill’s, the author traces how folklore material is reimagined in ways that eschew uncomplicated transnational solidarity but which engender empathetic settlement.
本文探讨人权话语、爱尔兰民间传说和当代爱尔兰语诗歌的交集。作者认为，当代爱尔兰语诗人Louis de Paor和Nuala Ní Dhomhnaill利用国际民间传说主题的多面性及其在当地的变体，在其诗歌中表现侵犯人权的行为。作者特别关注德·帕尔诗歌中的换人主题和Ní多姆纳尔诗歌中的美人鱼主题，追溯了民间传说材料是如何以避免简单的跨国团结的方式重新想象的，但却产生了同理心的解决方案。
{"title":"Of Mermaids and Changelings: Human Rights, Folklore and Contemporary Irish Language Poetry","authors":"Rióna Ní Fhrighil","doi":"10.24162/EI2017-7605","DOIUrl":"https://doi.org/10.24162/EI2017-7605","url":null,"abstract":"This article investigates the intersection of human rights discourse, Irish folklore and contemporary Irish-language poetry. The author contends that contemporary Irishlanguage poets Louis de Paor and Nuala Ní Dhomhnaill exploit the multi-faceted nature of international folklore motifs, along with their local variants, to represent human rights violations in their poetry. Focusing specifically on the motif of the changeling in De Paor’s poetry and on the motif of the mermaid in Ní Dhomhnaill’s, the author traces how folklore material is reimagined in ways that eschew uncomplicated transnational solidarity but which engender empathetic settlement.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"20 1","pages":"107-121"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90745812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For more than three hundred years, Irish composers have engaged with tales from early Irish saga-literature which comprises four main series: Mythological, Ulster and Fenian cycles as well as the Cycle of Kings. This literary corpus dates from 600–1200 CE and is amongst the oldest in Europe. The fragmented history of the literature reveals a continuity of tradition in that the ancient sagas evolved from the oral Irish tradition, were gradually recorded in Irish, and kept alive in modern times through translation into the English language. The timelessness and social impact of these sagas, centuries after they were documented, resonate with Irish composers through the identification of local features and/or universal themes of redemption, triumph or tragedy depicted in the literature. The focus here is on sagas from the Ulster Cycle as they have been most celebrated by Irish composers; the majority of which have been composed since Thomas Kinsella’s successful translation of the Táin Bó Cuailnge in 1969. How the composers chose to embrace the Irish past lies in each composer’s execution of the peculiar local and universal themes exhibited in the sagas. The aim of this article is to initiate an interdisciplinary discussion of the cultural significance of this literary corpus for Irish composers by exploring an area of Irish musicological discourse that has not been hitherto documented. A brief literary background to the Ulster Cycle leads to a discussion of what prompted the composers to engage with Ulster Cycle themes at a particular time in their respective careers. An exploration of the various stylistic features employed in selected works sheds light on the cultural ideologies that prevailed in Ireland at the time of their respective composition.
{"title":"The Ulster Cycle: Cultural Significance for Irish Composers","authors":"A. Goff","doi":"10.24162/EI2017-7568","DOIUrl":"https://doi.org/10.24162/EI2017-7568","url":null,"abstract":"For more than three hundred years, Irish composers have engaged with tales from early Irish saga-literature which comprises four main series: Mythological, Ulster and Fenian cycles as well as the Cycle of Kings. This literary corpus dates from 600–1200 CE and is amongst the oldest in Europe. The fragmented history of the literature reveals a continuity of tradition in that the ancient sagas evolved from the oral Irish tradition, were gradually recorded in Irish, and kept alive in modern times through translation into the English language. The timelessness and social impact of these sagas, centuries after they were documented, resonate with Irish composers through the identification of local features and/or universal themes of redemption, triumph or tragedy depicted in the literature. The focus here is on sagas from the Ulster Cycle as they have been most celebrated by Irish composers; the majority of which have been composed since Thomas Kinsella’s successful translation of the Táin Bó Cuailnge in 1969. How the composers chose to embrace the Irish past lies in each composer’s execution of the peculiar local and universal themes exhibited in the sagas. The aim of this article is to initiate an interdisciplinary discussion of the cultural significance of this literary corpus for Irish composers by exploring an area of Irish musicological discourse that has not been hitherto documented. A brief literary background to the Ulster Cycle leads to a discussion of what prompted the composers to engage with Ulster Cycle themes at a particular time in their respective careers. An exploration of the various stylistic features employed in selected works sheds light on the cultural ideologies that prevailed in Ireland at the time of their respective composition.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"3 1","pages":"47-61"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76642009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Besides being one of Ireland’s best-known and eminent writers, Éilís Ní Dhuibhne is also a professional and recognised folklorist and researcher, whose work covers a diversity of topics and subjects, mostly in the area of the tradition of oral storytelling and urban folklore. Her background in folklore has a relevant impact on her fiction, which is marked by reinvention of folklore patterns and juxtaposition of ancient stories and their contemporary counterpart. The purpose of his essay is to shed light on the impact of folklore and folklore projects on the fiction of Éilís Ní Dhuibhne in terms of in allusions, contents, discourse organization and narrative strategies. The tight link between folklore and storytelling in her writing is analysed taking into account her short stories vis-à-vis her academic work in folklore, focussing on Ní Dhuibhne’s awareness of the continuity of traditional narrative in time.
{"title":"“Stories Like the Light of Stars”: Folklore and Narrative Strategies in the Fiction of Éilís Ní Dhuibhne","authors":"G. Tallone","doi":"10.24162/EI2017-7635","DOIUrl":"https://doi.org/10.24162/EI2017-7635","url":null,"abstract":"Besides being one of Ireland’s best-known and eminent writers, Éilís Ní Dhuibhne is also a professional and recognised folklorist and researcher, whose work covers a diversity of topics and subjects, mostly in the area of the tradition of oral storytelling and urban folklore. Her background in folklore has a relevant impact on her fiction, which is marked by reinvention of folklore patterns and juxtaposition of ancient stories and their contemporary counterpart. The purpose of his essay is to shed light on the impact of folklore and folklore projects on the fiction of Éilís Ní Dhuibhne in terms of in allusions, contents, discourse organization and narrative strategies. The tight link between folklore and storytelling in her writing is analysed taking into account her short stories vis-à-vis her academic work in folklore, focussing on Ní Dhuibhne’s awareness of the continuity of traditional narrative in time.","PeriodicalId":29863,"journal":{"name":"EIGSE-A JOURNAL OF IRISH STUDIES","volume":"72 1","pages":"154-166"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73890365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：