Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: The National Dance Archive of Ireland
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Thread-Topic: [IR-D] Irish Diaspora Museums
From: "Catherine.E.Foley"

Hello All.

I would like to remind people that The National Dance Archive of Ireland
has been established at the University of Limerick. The archive is
inclusive of all dance and is in the process of collecting materials. if
you know of anybody who wishes to find a home for their archival dance
material - audio-visual, books, articles, journals, dance programmes,
photographs, etc. please ask them to consider donating it to the
National Dance Archive of Ireland.=20

Best wishes,=20

Catherine

Dr Catherine Foley=20
Course Director MA Ethnochoreology=20
Course Director MA Irish Traditional Dance Performance=20
Chair Emerita, Dance Research Forum Ireland=20
The Irish World Academy of Music and Dance=20
University of Limerick=20
Limerick=20
Ireland=20
Tel: +353 61 202922=20
Fax: +353 61 202589=20
Email: catherine.e.foley[at]ul.ie =20
www.irishworldacademy.ie =20
www.danceresearchforumireland.org

-----Original Message-----
From: The Irish Diaspora Studies List [mailto:IR-D[at]JISCMAIL.AC.UK] On
Behalf Of Patrick O'Sullivan
Sent: 03 November 2010 10:42
To: IR-D[at]JISCMAIL.AC.UK
Subject: Re: [IR-D] Irish Diaspora Museums

I have been asked to comment on a number of such projects over the
years...

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Irish Diaspora Museums
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From: "Murray, Edmundo"
To: The Irish Diaspora Studies List
Date: Thu, 4 Nov 2010 11:14:04 +0100
Subject: Re: [IR-D] Irish Diaspora Museums
Thread-Topic: [IR-D] Irish Diaspora Museums

Thanks to all for the feedback. My interest on Irish Diaspora museums is tw=
o-fold. A group of members of an Irish-Argentine association are working to=
renovate the old Irish "monastery" in Capit=E1n Sarmiento, near Buenos Air=
es. It is an imposing building with a beautiful park in the middle of the p=
ampas (some photos are available at www.comunidad-irlandesa.com.ar/Monaste2=
90308_27.htm). The Passionist Fathers sold it to local real estate business=
people and this group convinced them to renovate the place with a view to d=
evelop an Irish centre in the region, hopefully including a museum of the I=
rish in Latin America. Nothing has been done yet, although funding is being=
secured and the group is working on the project.

On the other hand, on the outskirts of Geneva there is a Ch=E2teau des Pent=
hes, which houses the "Mus=E9e des Suisses dans le Monde" (http://www.chate=
au-de-penthes.ch/3.php?p=3Dfr/). Yes, the Swiss already have the museum whi=
ch is still a dream for the Irish diaspora... It is not a temporary project=
- there are the museum's collections and temporary exhibitions, a library =
and archives. But... there is a certain scent of hero discourse here (indee=
d, quite different from the Irish victim narratives to which we are so accu=
stomed). While the great majority of Swiss emigrants have been peasants and=
artisans, most of the collections in the Museum are about soldiers and off=
icers abroad (i.e., mercenaries like the Papal Swiss Guard in the Vatican) =
and sometimes physicians, architects and others. Little or no attention is =
given to the thousands of agricultural workers who left famine and unemploy=
ment in the Alps to improve their lot in France, Germany and other European=
countries, the Americas, Africa, Asia. Now... the late news is that Irish-=
born Colum de Sales Murphy has been planning a take over of the Ch=E2teau d=
es Penthes to build the campus of his Geneva School of Diplomacy, a private=
undertaking aiming at the children of ambassadors and civil servants - who=
have expensive tuitions paid by governments and organizations (there is a =
significant education business here out of your taxes...). Whether Swiss or=
Irish, Murphy's interest on diasporas is nominal. The public debate is rai=
sing awareness to both the Museum and the Geneva international.

Edmundo Murray



On 11/3/10 11:41 AM, "Patrick O'Sullivan" wrot=
e:

I have been asked to comment on a number of such projects over the years...

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Irish Geography, Volume 43 Issue 1 2010
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Irish Geography, Volume 43 Issue 1 2010

Articles
Examining the factors associated with depression at the small area
level in Ireland using spatial microsimulation techniques
Karyn Morrissey; Stephen Hynes; Graham Clarke; Cathal O'Donoghue
Pages 1 - 22

Re-knotting Ireland in late Celtic Tiger times - the enhanced
terrestrial nodality of Dublin airport
Arnold Horner
Pages 23 - 34

The scale and scope of process R&D in the Irish pharmaceutical
industry
Chris van Egeraat
Pages 35 - 58

Sustainable consumption and governance: reflecting on a research
agenda for Ireland
Anna Davies; Frances Fahy; Henrike Rau; Jessica Pape
Pages 59 - 79

Book Reviews
Book reviews
W. Forsythe; Yvonne Whelan; William J. Smyth; Thomas McErlean; Charles
Travis
Pages 81 - 91

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Irish Geography, Volume 43 Issue 2 2010,
Re-imagining the Irish foodscape
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Irish Geography, Volume 43 Issue 2 2010
Re-imagining the Irish foodscape

Re-imagining the Irish foodscape=20
Colin Sage=20
Pages 93 =96 104

Exploring the significance of Polish shops within the Irish
foodscape=20
Linda Coakley=20
Pages 105 =96 117

The potato in Ireland's evolving agrarian landscape and agri-food
system=20
Alice D'Arcy=20
Pages 119 =96 134

Local food activity in the Republic of Ireland and Great Britain=20
Jane Ricketts Hein; David Watts=20
Pages 135 =96 147

A quiet revolution? Beneath the surface of Ireland's alternative
food initiatives=20
Aisling Murtagh=20
Pages 149 =96 159

An inventory of trees in Dublin city centre=20
Tine Ningal; Gerald Mills; Pamela Smithwick=20
Pages 161 =96 176

A transnational migrant circuit: Remittances from Ireland to Brazil=20
Garret Maher=20
Pages 177 =96 199

Reflections on the science and art of using a GIS to locate a new
national children's hospital in Ireland: Comments on Houghton=20
Enda Murphy; James E. Killen=20
Pages 201 =96 204

Book reviews=20
Book reviews=20
Fiona Cawkwell; Susan Hegarty; =C1ine Ryan=20
Pages 205 =96 209

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Nations and Regions day conference November 27th Leeds Met
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Forwarded on behalf of
From: Pettitt, Lance [mailto:L.Pettitt[at]leedsmet.ac.uk]=20
Subject: Nations and Regions day conference November 27th Leeds Met

Nations and Regions: Literature, Film, History=20
A One-Day Interdisciplinary Conference=20
Saturday 27th November 2010
Old Broadcasting House, Woodhouse Lane, Leeds (City Centre) Campus.
From 09.30. Day ends approx. 5pm
=A320 fee (=A310 students/unwaged) includes coffees/sandwich lunch.

How do =91nation=92 and =91region=92 figure in the writing and screen =
media of the
contemporary past? When researching culture what critical approaches can =
be
adopted to explore these concepts? These questions are addressed in this
one-day conference.

Aimed at an academic and broader public audience, the conference =
features
keynote speakers Professor John McLeod (University of Leeds) on =
=91Projecting
the North in Recent Writing=92 and Professor Martin McLoone (University =
of
Ulster) on 'Living with Hollywood: The Future for Small National =
Cinemas',
as well Tony Parker (BBC) on BBC4=92s =91Planet North=92 and Joolz Denby =
(Writer
and performance poet).=20
=A0=A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0=A0=A0 =
=A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0=A0 =A0=A0=A0=A0=A0=A0=A0=20
Bookings online using:=20
https://onlinestore.leedsmet.ac.uk/browse/extra_info.asp?modid=3D1&prodid=
=3D415&
deptid=3D4&catid=3D8=20

Conference Organiser: Lance Pettitt=A0 L.Pettitt[at]leedsmet.ac.uk=20
Lance Pettitt=A0 BA (Cantuar) MA, PhD (NUI, Dublin)
Reader in Media and Popular Culture
Office A214, School of Cultural Studies, Leeds Metropolitan University,
Humanities Building, Broadcasting Place, Woodhouse Lane, Leeds LS2 9EN, =
UK=A0
Tel: +44 (0)113-812-5934=A0 L.Pettitt[at]leedsmet.ac.uk=20

Sender: The Irish Diaspora Studies List
From: Sean Williams
Subject: Re: The Irish short story
In-Reply-To:
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While I would not presume to disagree with Enright's interpretation of =20=

the short story, I'd like to offer an insight from ethnomusicology =20
that has shaped the way I understand the (Irish) short story vs. the =20
(Irish) novel.

In music, the beauty of the melody tends to take precedence when =20
emotion is conveyed. When narrative is important, the melody tends to =20=

narrow in range until it falls within an octave or a fifth (or narrows =20=

all the way down to "heightened speech," as in hip-hop). In opera, the =20=

recitative format moves the story forward very quickly with syllabic =20
phrases (one note per syllable), while aria stops the forward motion, =20=

focuses on engaging the emotions, uses a broad melodic range with =20
soaring melody lines, and (often) moves into the present tense. Aria =20
( =3D "air" =3D "song") uses many notes within the context of a single =20=

syllable.

Compare, now, the lyric/emotive content of many Irish-language sean-=20
n=F3s songs with the rapid-fire intensity of many English-language =20
ballads in Ireland (or emotive pop music vs. narrative hip-hop). Irish =20=

song reflects that same continuum of emotion/melody and narrative/=20
speech. And yes, I DO know that it's not that simple, and that there's =20=

plenty of crossing over, but I'm trying to make a point.

Now let's take that into the short story and novel form, with the =20
recognition that it may not transfer exactly. I have always seen the =20
Irish short story as an emotive form and the novel as a narrative form =20=

with emotive "songs" distributed throughout. Like opera, like an o=EDche =
=20
airne=E1il, forward movement through the novel is brought about by the =20=

balance of narrative and lyric (recitative and aria, ballad/joke/story =20=

and love song) content in the experience. What may be relevant to =20
Ireland is figuring out exactly what kind of emotional content and =20
meaning needs to be brought about by the Irish short story, and =20
whether that applies to song as well.

Sean Williams
Evergreen State College=

Sender: The Irish Diaspora Studies List
From: "jjnmcg1[at]eircom.net"
Subject: Re: Tommy Walsh RIP
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Liam, Sorry to hear the news of Tommy Walsh's death=2E He was a good frien=
d
whenever I lectured to the Irish Centre under the auspices of Desmond
Greaves the editor the Irish Democrat-Tommy made sure everything was in
order and kind and courteous sometimes in difficult circumstances - John=

McGurk

Original Message:
-----------------
From: Liam Greenslade Academic liam=2Egreenslade[at]GMAIL=2ECOM
Date: Sun, 7 Nov 2010 14:14:41 +0000
To: IR-D[at]JISCMAIL=2EAC=2EUK
Subject: [IR-D] Tommy Walsh RIP


I've been incommunicado in Spain for the past week but I returned to=20
receive the sad news that Tommy Walsh,a key figure in the Liverpool=20
Irish community, had passed away at the age of 80=2E His funeral was held=20=

in Liverpool last Friday=2E

Tommy may be best known to IR-D members for his work with Irish=20
political prisoners during the dark days of the 1970s and 1980s, but he=20=

also contributed significantly to the welfare and cultural life of the=20
Irish community in Britain through his work with the Federation of Irish=20=

Societies and the GAA=2E

A full obituary can be found at:

http://www=2Eirishpost=2Eco=2Euk/tabId/60/itemId/6198/Tributes-flood-in-fo=
r-a-grea
t-Irishman=2Easpx

Best

Liam


--------------------------------------------------------------------
myhosting=2Ecom - Premium Microsoft=AE Windows=AE and Linux web and applic=
ation
hosting - http://link=2Emyhosting=2Ecom/myhosting

Sender: The Irish Diaspora Studies List
From: Liam Greenslade Academic
Subject: Tommy Walsh RIP
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I've been incommunicado in Spain for the past week but I returned to
receive the sad news that Tommy Walsh,a key figure in the Liverpool
Irish community, had passed away at the age of 80. His funeral was held
in Liverpool last Friday.

Tommy may be best known to IR-D members for his work with Irish
political prisoners during the dark days of the 1970s and 1980s, but he
also contributed significantly to the welfare and cultural life of the
Irish community in Britain through his work with the Federation of Irish
Societies and the GAA.

A full obituary can be found at:

http://www.irishpost.co.uk/tabId/60/itemId/6198/Tributes-flood-in-for-a-great-Irishman.aspx

Best

Liam

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: The Irish short story
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Anne Enright's Introduction to
The Granta Book of the Irish Short Story
Appeared in the Guardian yesterday.

The full text is on the Guardian web site...

Link and extracts, below...

P.O'S.


Ireland has produced some of the world's most celebrated short story =
writers
=96 and continues to do so. Why are the Irish so good at the form, and =
why do
they love it so much, asks Anne Enright

Anne Enright
The Guardian, Saturday 6 November 2010

...Much of what is said about the short story as a form is actually =
anxiety
about the novel =96 so it is worth saying that we do not know how the =
novel
delivers meaning, but we have some idea of how the short story might. =
There
is something irreducible about it: "A story is a way to say something =
that
can't be said any other way," says O'Connor, "and it takes every word in =
the
story to say what the meaning is." The novel, on the other hand, is not
finished by its own meaning, which is why it must grow a structure or =
impose
one; making the move from story to plot...

...Frank O'Connor bridged the gap between the aesthetic and the cultural =
in
a more romantic way. "There is in the short story at its most
characteristic," he writes, "something we don't often find in the novel, =
an
intense awareness of human loneliness." His book, The Lonely Voice, =
which
was published in 1963, is still a touchstone in any discussion of the =
short
story form. The question he asked =96 as this collection also asks =96 =
was why
Irish writers excel at the short story...

...In his useful essay on the subject, "Inside Out: A Working Theory of =
the
Short Story", John Kenny says that the short story has flourished "in =
those
cultures where older, usually oral forms, are met head on with the =
challenge
of new literary forms equipped with the idealogy of modernisation".
O'Connor's theories place the short story as the genre of the cusp =
between
tradition and modernity. The story is born from the fragmentation of old
certainties and the absence of any new ones, and this produces in the =
writer
a lyric response, "a retreat into the self in the face of an =
increasingly
complex . . . reality". The first thing to say about O'Connor's ideas is
that they rang true at the time. Whether or not the short story is, in
essence, an assertion of the self =96 small, but powerfully individual =
=96 to
the writer it certainly felt that way...

...is choice a particularly Irish problem? What about shame =96 a streak =
of
which runs through the work collected here? Humiliation, perhaps? Maybe =
we
should call that "the problem of power". There is also the problem of =
the
family, which is the fundamental (perhaps the only) unit of Irish =
culture,
and one which functions beyond our choosing. Until very recently, you =
could
only marry once in Ireland =96 though this does not answer the question =
of how
many times you can love, or what love is. Catholicism may give Irish =
writers
an edge when it comes to talking about the larger questions, but you =
could
say the adulteries in Trevor owe as much to Shakespearean comedy as to =
the
problem of the Catholic church. In fact, I think Trevor owes much to the
English short story tradition (as does the work of Clare Boylan), but =
let us
not confuse things here. Let us keep everyone in the one box, and then =
talk
about the box, its meaning and dimensions, and then let us paint the box
green...

...My romantic idea of Ireland did not survive the killings in the =
north,
and the realisation, in the 80s, that Irish women were considered far =
too
lovely for contraception: it foundered, you might say, between Dorothy
Macardle, and Canon Sheen. Perhaps as a result, I found it difficult to =
lose
myself in the dream that was the recent economic boom. My romantic idea =
of
the writer, meanwhile, did not survive the shift into motherhood =96 I =
might
have felt lonely and wonderful, but with small children, I just never =
got
the time. But though I am not a romantic, I am quite passionate about =
the
whole business of being an Irish writer. O'Faol=E1in was right: we are =
great
contrarians. When there is much rubbish talked about a country, when the =
air
is full of large ideas about what we are, or what we are not, then the
writer offers truths that are delightful and small. We write against our =
own
foolishness, not anyone else's. In which case the short story is as good =
a
place as any other to keep things real. =20

FULL TEXT AT=20

http://www.guardian.co.uk/books/2010/nov/06/anne-enright-irish-short-stor=
y

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: CFP UpStage: A Journal of Turn-of-the-Century Theatre
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Forwarded on behalf of

Helena Gurfinkel [mailto:hgurfinkel[at]yahoo.com]=20
To: P.OSullivan[at]Bradford.ac.uk
Subject: UpStage: A Journal of Turn-of-the-Century Theatre: Call for =
Papers

=A0
UPSTAGE, a peer-reviewed online publication dedicated
to research in turn-of-the-century dramatic literature,
theatre, and theatrical culture, seeks submissions for its
second issue scheduled for the spring or summer of 2011.
This is a development of the pages published under this name
as part of THE OSCHOLARS, and will henceforth be an
independently edited journal in the oscholars group
published at www.oscholars.com, as part of our expanding
coverage of the different cultural manifestations of the
fin de si=E8cle.=20
=20
Topics may include, but are not limited to, the work of
Shaw, Schnitzler, Ibsen, Chekhov, Strindberg, von
Hofmannsthal, and their contemporaries in Western and
Eastern Europe and beyond.=20
=20
UPSTAGE welcomes a variety of theoretical and critical
methodologies.=20
=20
We are interested in receiving:=20
=20
Scholarly articles of approximately 3000 words
Book-reviews of approximately 500 words
Reports on work in
=A0 progress (book manuscripts, Master=92s theses, and
doctoral dissertations) (approximately 500-1000 words)
Reviews of contemporary productions of turn-of-the-century
plays (or plays about the turn of the nineteenth century)
and announcements of future productions (approximately 500
words)=20
=20
The publication is international in scope. Although we will
publish in English initially, we hope to include
publications in other languages in the future.=20
=20
By February 15, 2011, please e-mail your submissions, as MS
Word attachments only, to both=20
=20
Dr. Helena Gurfinkel, Department of English Language and
Literature, Southern Illinois University Edwardsville,
Edwardsville, IL, USA at hgurfin[at]siue.edu
=20
=20
and=20
=20
Dr. Michelle C. Paull, Drama Programme, St. Mary's
University College, Strawberry Hill, Twickenham, TW1, 4SX,
England, at paullm[at]smuc.ac.uk
=20
Submissions should conform to the latest version of the MLA
style. In order to undergo masked peer-review, scholarly
articles must be submitted in the following way: the
author=92s contact information and brief bio should appear
in the body of the e-mail, while the Word attachment should
contain no identifying information.=20
=A0
Thank you,
=A0
Helena Gurfinkel

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article,
French Translations: Elizabeth Bowen and the Idea of Character
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French Translations: Elizabeth Bowen and the Idea of Character

Journal University of Toronto Quarterly
Publisher University of Toronto Press
ISSN 0042-0247 (Print) 1712-5278 (Online)
Issue Volume 79, Number 4 /2010
Pages 1054-1063

Author
Allan Hepburn

Abstract
In order to sharpen her understanding of how narrative distance from
character could be achieved in fiction, Elizabeth Bowen turned to French
novelists, especially Gustave Flaubert, Henri de Montherlant, Guy de
Maupassant, and Marcel Proust. She found in French novels examples of
narratorial cruelty towards characters. She also adopted the Proustian =
idea
that literature is always a translation of sorts, whether from one =
language
to another or from reality to representation. As previously unexamined
archival material proves, Bowen turned her hand to translating passages =
from
Flaubert's L'=C9ducation sentimentale and Proust's =C0 la recherche du =
temps
perdu in the early 1930s. She also made an attempt to index Flaubert's
correspondence. Throughout her career, Bowen commented frequently on =
French
fiction. She reviewed Henri de Montherlant's Piti=E9 pour les femmes and =
Les
jeunes filles when those volumes appeared in an English translation in =
1937.
She wrote prefaces to Flaubert's major works. In part, she admired the =
way
that national differences were inscribed in French and English fiction. =
But
she principally looked to French fiction for examples of the grandiosity =
=96
or littleness =96 of character within historical frameworks.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Re: The Irish short story
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Subject: RE: [IR-D] The Irish short story
From: "Morgan, Tony"
To: "The Irish Diaspora Studies List"

Fascinating and perceptive observation which underlines the essential =
value
of lyrical input. Not all Irish Short Stories have that quality...
=20
Tony Morgan=20

________________________________

From: The Irish Diaspora Studies List on behalf of Sean Williams
Sent: Sun 11/7/2010 5:57 PM
To: IR-D[at]JISCMAIL.AC.UK
Subject: Re: [IR-D] The Irish short story



While I would not presume to disagree with Enright's interpretation of=20
the short story, I'd like to offer an insight from ethnomusicology=20
that has shaped the way I understand the (Irish) short story vs. the=20
(Irish) novel.

In music, the beauty of the melody tends to take precedence when=20
emotion is conveyed. When narrative is important, the melody tends to=20
narrow in range until it falls within an octave or a fifth (or narrows=20
all the way down to "heightened speech," as in hip-hop). In opera, the=20
recitative format moves the story forward very quickly with syllabic=20
phrases (one note per syllable), while aria stops the forward motion,=20
focuses on engaging the emotions, uses a broad melodic range with=20
soaring melody lines, and (often) moves into the present tense. Aria=20
( =3D "air" =3D "song") uses many notes within the context of a single=20
syllable.

Compare, now, the lyric/emotive content of many Irish-language sean-
n=F3s songs with the rapid-fire intensity of many English-language=20
ballads in Ireland (or emotive pop music vs. narrative hip-hop). Irish=20
song reflects that same continuum of emotion/melody and narrative/
speech. And yes, I DO know that it's not that simple, and that there's=20
plenty of crossing over, but I'm trying to make a point.

Now let's take that into the short story and novel form, with the=20
recognition that it may not transfer exactly. I have always seen the=20
Irish short story as an emotive form and the novel as a narrative form=20
with emotive "songs" distributed throughout. Like opera, like an o=EDche =

airne=E1il, forward movement through the novel is brought about by the=20
balance of narrative and lyric (recitative and aria, ballad/joke/story=20
and love song) content in the experience. What may be relevant to=20
Ireland is figuring out exactly what kind of emotional content and=20
meaning needs to be brought about by the Irish short story, and=20
whether that applies to song as well.

Sean Williams
Evergreen State College

Sender: The Irish Diaspora Studies List
From: Claire Healy
Subject: Launch of New Issue of IMSLA: Irish Soldiers and Military
Conflicts in Spain, Latin America and the Caribbean
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=0A=0AThe Society for Irish Latin American Studies (SILAS) is delighted to =
announce =0Athe launch of Vol 7 No. 3 of the electronic journal Irish Migra=
tion Studies in =0ALatin America. In this issue, guest edited by historian =
Karen Racine, we focus =0Aon the multitudinous military connections between=
Ireland, Latin America and =0ASpain. We present a range of articles on Iri=
sh military figures in Buenos Aires, =0AGirona and New Granada, as well as =
involvement in wars in Cuba, Paraguay and the =0AFalklands/Malvinas Islands=
. Film criticism is a new addition to our =0Amultidisciplinary focus, toget=
her with the translation of an article by the 2010 =0ANobel Prize winner Ma=
rio Vargos Llosa. We also include two articles on genealogy =0Aand our regu=
lar book reviews and biographies. The journal is free to access at:=0A=0A=
=0Ahttp://www.irlandeses.org/imsla1003.htm=0A=0APlease find the full hyperl=
inked Table of Contents below.=0A=0AIrish Soldiers in Iberia and Latin Ame=
rica, by =0AKaren Racine =0A=0ABritish Army, I=
rish Soldiers - the 1806 Invasion of Buenos Aires, =
=0Aby Thomas Byrne=0AIrish Soldiers at the Sieges of Girona, 1808-1809 ,=
=0Aby Ois=C3=ADn Breatnach=0ARichard Crofton, =
Irish Soldier in New Granada=E2=80=99s Battle of El Santuario in 1829: =0A=
A Work in Progress and Search for More Information, =
=0Aby Matthew Brown=0ASaving Republics: General Martin Thomas McMahon, =
the Paraguayan War and the Fate =0Aof the Americas (1864-1870), =
by Michael Kenneth =0AHuner=0A=0AJohn O=E2=80=99Brien: Ca=
ptain Dynamite of the Cuban War for Independence, 1868-1898s, =
=0Aby Herminio Portell Vil=C3=A1=0ATestimonies of Irish-Argen=
tine Veterans of the Falklands / Malvinas War (1982), =0Aby John Kennedy=0A=
Who are the Good Guys?: Political Violence and the Figure of the Irish =
=0AMercenary in Louis Malle=E2=80=99s South-of-the-Border Western Film =C2=
=A1Viva Maria!, by =0APaula Gilligan=0AThe Ancestral Home of Chile=E2=80=99=
s Blest Family in Sligo, Ireland, =0Aby Moises=
Hasson Camhi=0ATerrys in Latin America of Cork origin, =
by Kevin =0ATerry=0ACastle with a Ghost, =
by Mario Vargas Llosa=0AReview of: =E2=80=9CW. R. Grace & Co. Los a=C3=
=B1os formativos: 1850-1930=E2=80=9D by Lawrence A. =0AClayton, Lima, Per=
=C3=BA, Asociaci=C3=B3n Mar=C3=ADtima y Naval Iberoamericana, 2008, 348 =
=0Apages. ISBN: 978-9972-877-07-0 (Spanish Language Edition), =
=0Aby Fabi=C3=A1n Gaspar Bustamante Olgu=C3=ADn.=0AReview =
of: Diego T=C3=A9llez Alarcia=E2=80=99s La manzana de la discordia. Histor=
ia de la =0AColonia del Sacramento desde la fundaci=C3=B3n portuguesa hast=
a la conquista por los =0Aespa=C3=B1oles (1677-1777)., =
by By Emilia Riquelme Cort=C3=A9s.=0AReview of: David Barnwell, P=
=C3=A1draig =C3=93 Domhnall=C3=A1in and Carmen Rodr=C3=ADguez Alonso=E2=80=
=99s =0ADiccionario Irland=C3=A9s-Espa=C3=B1ol / Focl=C3=B3ir Gaeilge-Sp=C3=
=A1innise, =0Aby Thomas Ihde=0AReview of: Michae=
l Lillis and Ronan Fanning=E2=80=99s The Lives of Eliza Lynch, Scandal =0Aa=
nd Courage,by Tony Phillips=0AReview of: David Tatham=E2=80=99s (ed.) Dicti=
onary of Falklands Biography (including =0ASouth Georgia). From Discovery u=
p to 1981, by =0AMariano Galazzi=0AEric Lamber=
t (1909-1996), historian and intelligence officer, by Moises =0AEnr=
ique Rodr=C3=ADguez=0APatricioLynch (1825=E2=80=931886), =
naval and military =0Aofficer, by Moi=
ses Enrique Rodr=C3=ADguez=0A=0AClaire Healy, SILAS President, Lisbon=0AJoh=
n Kennedy, SILAS Vice-President, London=0A=0A=0A

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article,
A Driving Image of Revolution: The Irish Harp and Its Utopian
Space in the Eighteenth Century
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The Ir-D list has discussed the harp as icon many times over the years. So
that this is a really useful article.

P.O'S.


A Driving Image of Revolution: The Irish Harp and Its Utopian
Space in the Eighteenth Century

Mary Louise O'Donnell

Utopian Studies, Volume 21, Number 2, 2010, pp. 252-273 (Article)
Published by Penn State University Press

abstract
In this article the Irish harp tradition is re-configured as a space
consisting of visual and sonic dimensions. The visual dimension of the Irish
harp space incorporates the employment of the instrument in contemporary
iconography; the sonic dimension includes the employment of the instrument
as a metaphor in contemporary literature and songs. By employing Bloch's
concept of surplus and tracing the path of the Irish harp from its earliest
employment in Christian iconography, its prominence as an icon of colonial
and Ascendancy rule, and finally its utilisation as an utopian tool to
inspire members of the Volunteer and United Irish movements in the late
eighteenth century, I identify how the accumulation of centuries of utopian
surplus resulted in the creation of an utopian icon that had the capacity to
inspire a generation of Irish men and women to critique the prevailing
social and political order in the eighteenth century.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Web Resource, Gallica
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There is an outlined of the Gallica project on

http://www.bnf.fr/en/collections_and_services/digital_libraries_gallica/a=
.ga
llica_experimentation_digital_offer.html

Extract pasted in below...

Briefly, it is a Biblioth=E8que nationale de France web portal.

The web site can be accessed at

http://gallica.bnf.fr/?lang=3DEN

for the English language version.

It is also available in French (of course), Spanish and Portuguese. It
tends to default to French when pushed.

In our terms it is most probably most useful to people interested in the
history of the Irish in France, in the eighteenth and nineteenth =
centuries -
the sources used by O'Callaghan, Irish Brigades, for example. But you =
also
sometimes find English language items that are still behind paywalls or
unscanned in other parts of the world. There are some useful maps. And =
I
found the audio file of a disc Liam Walsh, Irish piper.

P.O'S.


Gallica Experiment: Offering Digital Resources Legally Available
Giving Access to Digital Resources
Legal and Technical Conditions
Financial Support

Developed by the Biblioth=E8que nationale de France, Gallica is a =
platform
providing access to public domain and copyrighted digital material. The
project is part of a European program in which the BnF is the French
aggregator for the implementation of =AB Europeana =BB, the European =
digital
library.

The Biblioth=E8que nationale de France has been digitising its public =
domain
documents for more than 10 years; as a result, several tens of thousand
books, images, periodicals and sound recordings have been put online. =
The
valuable collections available via Gallica as well as the scientific,
historical and cultural interest of the digital library make it a
highly-appreciated service. To make it even better, the BnF has just =
started
a wide digitisation and re-formatting programme (the files formerly
digitised only in image mode are re-formatted in text mode) so as to =
enhance
its heritage collection and improve search and viewing services.

To complete the digitised collections, an experiment is under way to =
enable
wide access to copyrighted digital documents, via Gallica. The =
Biblioth=E8que
nationale de France, the Syndicat national de l=92Edition (French =
Publishers
Association), the Direction du Livre et de la lecture (Book and Reading
Directorate) and the Centre national du Livre (National Center for the =
Book)
work together to find legal and technical solutions as well as a =
business
model that will allow online access to recently published books in the
strict observance of the copyright law.

Full text at
http://www.bnf.fr/en/collections_and_services/digital_libraries_gallica/a=
.ga
llica_experimentation_digital_offer.html

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Book Notice, Contested Cultural Heritage
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This book, edited by Helaine Silverman, has turned up in our alerts - I
think because it cites
Coach Fellas: Heritage and Tourism in Ireland
by Kelli Ann Costa

A web search shows that there are sections of Helaine Silverman's collection
on Google books, and her historiographic chapter looks very useful.

Also in the book is a chapter about the Belfast murals by Alexandra
Hartnett.

P.O'S.

Contested Cultural Heritage
Religion, Nationalism, Erasure, and Exclusion in a Global World
Edited by Helaine Silverman
SPRINGER
2010

Chapter 1
Contested Cultural Heritage: A Selective Historiography
Helaine Silverman

Chapter 3
Contested Legacy
Aestheticized Geographies of Conflict: The Politicization of Culture and the
Culture of Politics in Belfast's Mural Tradition
Alexandra Hartnett

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Tales of Irish sadness
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Tales of Irish sadness

Wake of the Bones explores painful lives of those who fled Ireland's Great
Famine

BY PAT DONNELLY, THE GAZETTE NOVEMBER 10, 2010 4:06 AM


Wake of the Bones is a great title for a play about the estimated 6,000
Irish immigrants who died in Montreal as a result of Ireland's Great Famine
of 1847.

Their tragedy is commemorated by a huge stone that stands on a small island
of grass near the approach to the Victoria Bridge.

Some call it The Black Rock, others The Irish Stone. It was placed there in
1859 to mark the graves of those who were buried in ditches after they died
from a deadly combination of starvation and typhus in 1847.

It's a poignant landmark, with many stories to tell.

The fact that David Gow's Wake of the Bones, which premiered recently at the
Hudson Village Theatre, has been held over for another week, indicates a
strong interest within the anglophone community. (Count this reporter among
those who most eagerly anticipated its arrival.)

Unfortunately, the playwright has failed to deliver a gripping narrative to
match his arresting title.

Wake of the Bones plays like a first draft, stuffed with predictably chosen
songs (yes, they sing Finnegan's Wake). He seems to be dancing around and
away from the core of the matter rather than meeting it head on...

FULL TEXT AT

http://www.montrealgazette.com/news/todays-paper/Tales+Irish+sadness/3804965
/story.html

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Martin Sheen retraces roots in Spain, Ireland
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Martin Sheen retraces roots in Spain, Ireland
November 10, 2010,

SANTIAGO DE COMPOSTELA, Spain (AFP) - At 70 years old, Martin Sheen, star of
TV series "The West Wing" and of "Apocalypse Now", has gone back to his
roots in his latest films -- set in Spain and Ireland.

The US actor known both as liberal political activist and fervent Catholic
stars in a new film "The Way", directed by his son, Emilio Estevez, and set
on the Way of Saint James pilgrimage route in the rugged northwestern
Spanish region of Galicia -- his father's homeland.

And later this week, he begins shooting on another film set in his late
mother's home village of Borrisokane, in county Tipperary in Ireland.

His parents, both impoverished immigrants, met when they attended a
'citizenship school' in Dayton, Ohio, where he was born in 1940, one of 10
children.

"I've always felt the balance between the two (cultures), I've never felt
more Spanish than I did Irish and I've never felt more Irish than I did
Spanish," he told AFP following a news conference in the Galician capital of
Santiago de Compostela, where is attending the Spanish premiere of "The
Way".

"I love both countries, and both cultures had a profound effect on me."

In "The Way" Sheen plays an American widower who travels to Spain to recover
the body of his dead and estranged son.

After cremating the body, he sets off on a voyage of spiritual discovery on
the Way of Saint James, or Camino de Santiago, with his son's ashes in his
backpack.

"I've grown up all my life hearing about Santiago and the pilgrimage, so the
film is a culmination and a deeply satisfying dream come true," Sheen, who
was born Ramon Estevez but took an Anglicized stage name in order to help
him get work as an actor, told the news conference.

"My father was my hero, he was the most influential person in my life
growing up," he said, his voice breaking just slightly.

"He had an interesting relationship with the United States, because he was
born on July 2, 1898, that's the day the United States declared war on
Spain."

Francisco Estevez came to the United States when he was 16, in 1914, but was
unable to enter as a Spaniard because there was a quota on Spaniards because
of the Spanish-American war.

"So he went with his brother to Havana for almost three years and came back
into the United States through Miami as a Cubano. He had a very interesting
journey."

Sheen's mother, Mary Ann Phelan, who died when he was only 11, emigrated to
the United States during the Irish war of independence.

"Now I find myself, aged 70, coming back to my father's home in Galicia to
make a film about The Way of Saint James, and I began last week in Dublin
the pre-production on a film about my mother's village in Borrisokane, in
County Tipperary and I'm going back on Thursday to begin filming there," he
said.

"It's an extraordinary circle of events, to have the opportunity to work in
Spain and Ireland, two of my favorite countries in all the world but to
actually work in their cultures, their villages is unbelievable...

FULL TEXT AT
http://www.mb.com.ph/articles/286758/martin-sheen-retraces-roots-spain-irela
nd

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Oxford Leverhulme Diasporas Programme
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Many Ir-D members will want to be aware of this new research programme.

Basically, it looks to me as if the Oxford anthropologists are having
another go. I find it difficult to be enthusiastic.

P.O'S.

Oxford Leverhulme Diasporas Programme

This page provides information about an IMI-led University-wide research
programme on the impact of diasporas, funded by the Leverhulme Trust (1
January 2011 to 31 December 2015). The programme bid was coordinated and
written by Robin Cohen (IMI), Nicholas Van Hear (COMPAS) and Alan Gamlen
(IMI).

Background
Diasporas are one of the most prominent and controversial manifestations of
increased globalisation. The connection between migrants and people who have
stayed at home has profound effects on societies in the country of origin
and the country of destination, as well as on the diasporas themselves.

Diaspora members may spread progressive attitudes, or they may become
enclaves of intolerance. Diasporas are feared and loved, appearing both as
traitors and champions. We identify three fundamental dynamics relating to
the formation, maintenance, and impacts of diasporas:

Connecting: the way that diasporas create networks encompassing those back
home, others in diaspora and, more widely, their imagined communities based
on co-ethnicity or other identities.

Contesting: the contradictory processes of inclusion of diasporas within and
exclusion from territorially-bound communities, and the emergence of
potentially conflicting identities.

Converging: the way in which diasporic communities de-emphasise their
origins and blend with indigenous or other migrant communities to create new
social formations, cultures and practices.

Objectives
We aim to integrate humanities and social science perspectives in order to
investigate the social, economic, political and cultural impacts of these
three dynamics of diaspora. We will examine why, how, where and when
particular impacts arise from particular trajectories, and who initiates and
experiences these impacts.

SOURCE
http://www.imi.ox.ac.uk/research-projects/oxford-leverhulme-diasporas-progra
mme

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Book Review, Lisa Rosner. The Anatomy Murders
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More on Burke and Hare...

Journal of British Studies 49 (October 2010): 919=E2=80=93921
=C2=A9 2010 by The North American Conference on British Studies. All =
rights reserved.

Book Review=20
Lisa Rosner. The Anatomy Murders: Being the True and Spectacular History =
of Edinburgh=E2=80=99s Notorious Burke and Hare and of the Man of =
Science Who Abetted Them in the Commission of Their Most Heinous Crimes. =
Philadelphia: University of Pennsylvania Press, 2010. Pp. 328. $29.95 =
(cloth).
John Carter Wood,=20

The Open University

It is a challenge to take a single murder case (even one with multiple =
victims) and turn it into a book that can appeal to both general readers =
and academic specialists. In The Anatomy Murders, Lisa Rosner tries to =
do just that, providing both a detailed examination of one of the most =
famous instances of serial murder in British history and a historical =
contextualization of the time and place where it occurred.

In the late 1820s, William Burke and William Hare (with some assistance =
from their female partners) killed at least sixteen people in Edinburgh =
and sold their corpses to anatomy lecturers working in that =
city=E2=80=99s expanding medical research institutions. When they were =
finally caught, the case generated a level of outrage that has given it =
an enduring place in the popular memory of serial murder, perhaps =
rivaled only by Jack the Ripper. One of the strong points of =
Rosner=E2=80=99s book is that she presents not only a history of the =
case but also a history of the histories written about it, pointing out =
how its depictions and meanings have subtly changed in the nearly two =
centuries since they occurred.

Despite the book=E2=80=99s strengths, there are less satisfying aspects, =
which are partly related to the divergent tasks that it takes on...

...Thus, for all of the detail provided here about the time and place =
within which this series of somehow striking (but also, as the text =
reveals, somehow mundane) killings occurred, the era and environment of =
the Burke and Hare murders remains detached from relevant =
cross=E2=80=90cultural and longer=E2=80=90term issues involving science, =
law, culture, media, and attitudes toward death. The book, a vivid =
snapshot of urban Scotland in the early nineteenth century, nevertheless =
often fails to demonstrate what the experiences of its key figures have =
to say about the wider world of the nineteenth century or the relevance =
that they might continue to have for us today. Those seeking an =
engaging, readable, and comprehensive account of this famous case, =
however, will be well served.