Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: CFP IASIL2011, Leuven - Irish Literatures: Conflict and Resolution
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=A0
Call for papers
=A0
Irish Literatures: Conflict and Resolution
=A0
IASIL conference
=A0University of Leuven (Belgium)=20
18-22 July 2011
=A0
Proposals for papers are invited for the 35th annual conference of the
International Association of Irish Literatures (IASIL) to be held at =
Leuven,
18 =96 22 July 2011. The conference theme is 'Irish Literatures: =
Conflict and
Resolution'.=20
=A0
Conflict and resolution occupy a central place in the Irish literary
imagination. Indeed, conflicting or conflicted identities can be found =
in
most literary texts, whether on the level of the family and the =
individual
or on a national and global scale. The conflicts may be of a cultural,
religious, political or psychological kind and the resolution can be
peaceful or violent, instant or delayed. Yet conflict and resolution =
also
play a role in the style and structure of literary texts or in the =
dynamics
of literary history, think of the tensions between poetics or the =
struggle
between tradition and the avant-garde. Conflict is vital in that =
perspective
and resolution produces the original and the great.=20
=A0
This conference seeks to address the role of conflict and resolution in
Irish literatures from a variety of different perspectives. It will =
consider
such topics as=20
- divided loyalties and conflicting identities in literary texts=20
- identity and conflict/resolution
- conflict and resolution in poetics and literary tradition
- conflict and resolution as an element of plot and rhetoric
- relation between thematic and formal elements of conflict and =
resolution=20
- transgenerational conflict
- conflict and memory
- crime and punishment
- ritual dimensions of conflict and resolution=20
- conflict and resolution between genders
- the literary response to political conflicts and resolutions =
throughout
Irish history
- the role of literary texts in political conflicts and resolutions
=A0
Papers should be no longer than 20 mins. The organizers also =
particularly
welcome proposals for panels of 3 or 4 papers. Please send a proposal, =
of
not more than 200 words per paper, to: hedwig.schwall[at]arts.kuleuven.be
before 31st January 2011. Further information about the conference can =
be
found on the conference website: http://www.irishstudies.kuleuven.be.
=A0
Elke D'hoker
Lecturer in English and Irish literature
Faculty of Arts
University of Leuven
Blijde Inkomststraat 21, bus 3311
B-3000 Leuven
++32 (0)16 32 48 83
=A0

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Book Review, Bradbury on Sean D. Moore _Swift, the Book,
and the Irish Financial Revolution: Satire and Sovereignty in
Colonial Ireland_
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Subject: REV: Bradbury on Sean D. Moore _Swift, the Book, and the Irish
Financial Revolution: Satire and Sovereignty in Colonial Ireland_
From: H-Net Staff
Date: November 22, 2010 10:41:22 AM EST

Sean D. Moore. Swift, the Book, and the Irish Financial Revolution: =
Satire
and Sovereignty in Colonial Ireland. Baltimore Johns Hopkins =
University
Press, 2010. xi + 268 pp. $65.00 (cloth), ISBN 978-0-8018-9507-4.

Reviewed by Jill M. Bradbury
Published on H-Albion (November, 2010)
Commissioned by Jeffrey R. Wigelsworth

Jonathan Swift's Contributions to the Irish Financial Revolution and
Anglo-Irish Print Culture

This concise monograph manages the difficult task of interpreting =
Jonathan
Swift's corpus in new contexts, while contributing to existing themes in
Swift scholarship. Taking a new economic criticism approach, Sean D. =
Moore
examines Swift's engagement with and contributions to the development of
Irish financial institutions. Moore's study profits from existing =
studies on
the English financial revolution, in particular on the representational
issues posed by new financial instruments and on the structural overlap
between public and private credit. But he adds a new and important =
dimension
by bringing the colonial context of the Irish situation to bear and by
extending the homology between paper forms of money and print to the
concurrent development of the Irish financial and book markets. While
Moore's study makes novel contributions to these different lines of
scholarship, it could benefit from further elaboration of certain =
elements,
along with more extensive use of scholarship in economic history and the
history of economic thought. =20

Moore dates the beginnings of the Irish financial revolution to 1716, =
when a
small group of Anglo-Irish landowners loaned the Irish treasury funds =
for
national security. The interest on this first national debt was to be =
paid
in perpetuity from future tax revenues, thus giving investors a strong
incentive to resist any attempt by the British Parliament to regulate
taxation in Ireland or to restructure the debt. Following George =
Berkeley,
Moore terms this coterie "the Monti" and argues that the political and
economic community it formed was the origin of Anglo-Irish national
identity. While not a member of the Monti, Swift supported the political =
and
socioeconomic values it represented. Moore views Swift's pamphlets on =
the
national bank, Wood's halfpence, and other financial and commercial =
issues
as successful attempts to mobilize a domestic publishing industry to =
sway
public opinion and policymakers to act in the Monti's interests, which =
were
depicted as those of the Irish nation in general. Moore argues that
Anglo-Irish political thought thus originates in this discourse on the
national debt, which is at the same time a discourse on a national print
culture. Swift's writings on trade and currency, in particular, suggest =
the
potential of an Anglo-Irish publishing industry to counteract British
political, economic, and cultural imperialism.

Moore anchors his conjoint reading of the national debt and the national
book trade by tracing the motif of weaving in _The Battle of the Books, =
A
Tale of a Tub_ (1704) and _A Proposal for the Universal Use of Irish
Manufactures_ (1720). Through this traditional metaphor for writing, =
Swift
attacks the cultural hegemony of British standards of taste in both
sartorial and intellectual fashions. This metadiscourse on textiles as a
symbol for cultural production appears in several of Swift's tracts on =
Irish
economic issues, as well as in those of other Anglo-Irish writers. Moore
also demonstrates how financial issues and print culture were connected =
in
Swift's critique of British colonialism through analysis of scatological
imagery, the homology between minting/printing, and the metaphorics of
cannibalism. His analysis of the major works thus connects to central =
issues
in recent Swift scholarship, but his argument is most compelling when
focused on the shorter pamphlets and unpublished tracts.

_Swift, the Book, and the Irish Financial Revolution_ offers a fresh and
engaging reading of familiar material, but some aspects of Moore's =
argument
need further development. Reception issues, in particular, are touched =
on,
but not well explored. More evidence could have been presented that =
Swift's
readers understood his pamphlets to be about both financial issues and =
the
need for a national book trade. The influence of Swift's writings on the
actions of both publishers and politicians are similarly gestured at, =
but
not convincingly detailed. The compressed epilogue on the "branding" of
Irish identity introduces an entirely new topic and theoretical =
perspective
that would be better unpacked in another study. =20

Moore's project also displays the tendency of the "literary" new =
economic
criticism to slight economic history and the history of economic =
thought.
His discussion of the Irish financial revolution cites only a few =
primary
texts, while his foundational concept of the fiscal-military imperial =
state
draws largely, if not entirely, from John Brewer's _The Sinews of Power_
(1990). The financial revolution and its contribution to British =
imperialism
has been the subject of extensive research by economic historians, =
however,
and Moore's study would have been strengthened had it incorporated (or =
even
undertaken) more of this work. For example, further background on the
composition of the Monti, its self-recognition as such, and the extent =
to
which it did indeed encompass the "Protestant Interest" could have been
provided. For scholarship on the history of economic thought, Moore =
relies
on the work of literary critics Clifford Siskin (1998) and James =
Thompson
(1996), rather than studies by economists. This perhaps accounts for =
Moore's
misleading use of "political economy," as in his opening comment that =
"The
first arena of argument chosen for the Monti's publicity campaign was
political economy, a discipline of study and genre of print" (p. 6). =
While
some degree of anachronism inheres in historical argument, this usage is
particularly unsuited to the period Moore is describing. "Political =
economy"
was first used in print by Antoine de Montchr=E9tien in 1615, but it was =
not
commonly used to refer to the state's harnessing of economic development =
and
policies for political ends until the 1760s and 1770s. It did not come =
into
being as a discipline of study and a genre of print until the nineteenth
century. Moore's synoptic use of this term suggests a level of =
theoretical
sophistication and discursive self-awareness that did not exist during =
the
1720s and 1730s (Moore himself recognizes this at a later point, but =
handles
the intellectual development of economic discourse inconsistently). One
could furthermore argue that Swift's works are not representative of the
"political economy," such as it was, of the period. Finally, Moore might
have benefited from including the economic literature on the social =
aspects
of finance, in addition to the literary studies by Catherine Ingrassia
(_Authorship, Commerce, and Gender in Early Eighteenth-Century England: =
A
Culture of Paper Credit_ [1998]), Colin Nicholson (_Writing and the Rise =
of
Finance: Capital Satires of the Early Eighteenth Century_ [1994]), and
Sandra Sherman (_Finance and Fictionality in the Early Eighteenth
Century:Accounting for Defoe_ [1996]).

A final weakness appears in Moore's use of an orthodox Marxist
base/superstructure-material/ideological dichotomy that is at odds with
elements of his argument and with the body of literary-financial =
criticism
within which he situates his study. In their studies of the financial
revolution, Ingrassia, Nicholson, Sherman and others stress the
representational consequences of new credit instruments. Paper money, =
joint
stock company shares, and forms of public credit such as the national =
debt
problematized the assumption of a "real" basis of value and undermined =
clear
distinctions such as material/imaginative or referent/sign. At various
points, Moore incorporates this representational "crisis" into his =
readings
of Swift's works, as when he writes, "Property, for Swift, was no longer
prior to money; the maintenance of the 'real' that land ownership
represented was now codependent with the 'imaginary' realm of discourse =
and
commodity exchange" (p. 156). Yet comments sprinkled throughout his =
study
frame the overall analysis in terms of a distinction between the =
economic
and the ideological: e.g., "The Debt of the Nation thus came to be the
material basis for eighteenth-century Anglo-Irish political thought" (p. =
4);
"Ireland's debt was the economic foundation of the ideology of =
Anglo-Irish
Protestant nationalism" (p. 15); "The manifest gap between the economic =
base
and the ideology of this new imagined community" (p. 136); and "The
Anglo-Irish elite had established the economic base of their fledgling =
state
with the founding of the Debt of the Nation in 1716, and that base =
required
a superstructure of ideology to sustain it" (p.149). All of these =
statements
beg the question of how debt, a form of wealth that exists in a
textual/fictional medium, could function as a material ground for this
base/economic-superstructure/ideology framework. =20

To sum up, Moore's study is thought-provoking and makes a number of
important interventions in both the literary scholarship on the =
financial
revolution and in Swift scholarship more generally. But the execution of =
the
argument is weak in several important respects and readers will find =
much to
argue with in the details. =20

Citation: Jill M. Bradbury. Review of Moore, Sean D., _Swift, the Book, =
and
the Irish Financial Revolution: Satire and Sovereignty in Colonial =
Ireland_.
H-Albion, H-Net Reviews. November, 2010.
URL: https://www.h-net.org/reviews/showrev.php?id=3D31401

This work is licensed under a Creative Commons=20
Attribution-Noncommercial-No Derivative Works 3.0 United States=20
License.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: BAIS Postgraduate Essay Prize 2011
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The British Association for Irish Studies, in association with Irish =
Studies
Review and Cambridge University Press, is pleased to announce the BAIS
Postgraduate Essay Prize.

Entries are invited for an essay on any aspect of=20
Irish Studies

The winning entry will be published in Irish Studies Review and the =
winning
author will receive =A3500 of Cambridge University Press books of their
choice.

Entrants should be student members of BAIS who are registered for =
Masters or
Doctoral programmes in Great Britain. Essays should be between 5,000 and
8,000 words in length and be presented in accordance with the =
Instructions
for Authors of Irish Studies Review. All essays must be submitted
electronically by 17 March 2011. The Prize will be judged by a
multi-disciplinary panel. The winner will be announced in May 2011.
=20
Please direct entries or enquiries to: Dr Ian McBride,
ian.mcbride[at]kcl.ac.uk.=20

British Association for Irish Studies: http://www.bais.org.uk.

Irish Studies Review: =
http://www.tandf.co.uk/journals/titles/09670882.asp

Cambridge University Press: http://uk.cambridge.org/
=A0
=A0
=A0
British Association of Irish Studies - Postgraduate Essay Prize

Entrants should be student members of BAIS who are registered for =
Masters or
Doctoral programmes at institutions of higher education in Great =
Britain. =20

The winning entry will be published in Irish Studies Review and the =
winning
author will receive =A3500 of Cambridge University Press books of their
choice.

Essays should be between 5,000 and 8,000 words in length and be =
presented in
accordance with the Instructions for Authors of Irish Studies Review. =
All
essays must be submitted electronically to be received by 17 March 2011. =
The
Prize will be judged by a multi-disciplinary panel. The winner will be
announced in May 2011.

Judging Criteria

The judges will eventually have to compare unlike pieces of work, so the
criteria have to be general enough to be applied to all essays, but also
particular enough to ensure that those working in the discipline from =
which
the winning essay comes can recognise its quality.=20

1. General criteria

=95=A0=A0=A0=A0=A0=A0=A0=A0 An essay which presents an original and =
publishable contribution
to Irish studies, and which with minor corrections may be published in a
journal of international standing (Irish Studies Review).
=95=A0=A0=A0=A0=A0=A0=A0=A0 An essay which will be a worthy recipient of =
a prize awarded by an
internationally-respected academic publisher (Cambridge University =
Press)
and presented in the Irish Embassy. =20

2. Particular/subject-specific criteria

=95=A0=A0=A0=A0=A0=A0=A0=A0 The quality of the research-methods
=95=A0=A0=A0=A0=A0=A0=A0=A0 The clarity of the writing (bearing in mind =
that it will be read
both by a specialist and a wider scholarly audience)=20
=95=A0=A0=A0=A0=A0=A0=A0=A0 The originality of analysis
=95=A0=A0=A0=A0=A0=A0=A0=A0 The originality of the conclusion

3. Ranking

If there is more than one suitable candidate from within a specific
discipline according to the general criteria, they will be ranked by =
subject
specialists in the light of the particular criteria.

4. Comparing equally ranked entries and final judgement

Essays which fulfil all the criteria above and are ranked equally =
excellent
by subject-specialists will be re-read by the whole panel. They will =
comment
on in them in the light of the following criteria:

=95=A0=A0=A0=A0=A0=A0=A0=A0 An essay which makes a contribution to Irish =
Studies as a whole.
=95=A0=A0=A0=A0=A0=A0=A0=A0 An essay which shows an awareness of issues =
in related disciplines
within and outside Irish Studies
=95=A0=A0=A0=A0=A0=A0=A0=A0 An essay which will convey the excellence of =
Irish Studies as a
whole to the broader scholarly community.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article,
"Out of the Land of Bondage": The English Revolution and the
Atlantic Origins of Abolition
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A number of Ir-D members will be interested in this article by John =
Donoghue, which in effect combines, or recombines, material and stories =
that recent historiographies have tried to differentiate. Without =
rescuing the MOPE syndrome it does put the Irish experience into a more =
interesting context. I have given a summary and some quotes below.

John Donoghue's conclusion is: 'Carrying forward the idea that we =
should study the history of slavery as the history of slaveries, it =
follows that we should pursue the same flexible approach to the history =
of abolition, noting that it changed as slavery changed and as radicals =
developed new tactics and strategies to render rising antislavery =
sentiment into active abolitionism...'

Articles
'In =E2=80=9C=E2=80=98Out of the Land of Bondage=E2=80=99: The English =
Revolution and the Atlantic Origins of Abolition,=E2=80=9D John Donoghue =
intervenes in debates about the origins of slavery as well as of =
abolitionism in the anglophone Atlantic world. He broadens our =
historical notion of unfree labor beyond the African and Native American =
slaves who have long garnered the lion=E2=80=99s share of scholarly =
attention. Focusing on the protean labor situation of the 17th century, =
Donoghue recasts indentured servants as =E2=80=9Cbond slaves=E2=80=9D =
who suffered temporary bondage alongside the Africans and Native =
Americans subjected to both temporary and permanent forms of bondage. =
English merchants participated in the African and Native American slave =
trades, but they also participated in the licit and illicit trafficking =
of the poor into bonded labor as an important new source of profit and =
wealth. The essay culminates with a transatlantic network of radicals =
who condemned economic slavery and slave-trading as part of their =
critiques of arbitrary government in New and Old England. As Old England =
plunged into revolution and New England into rebellion, attempts to =
define the Englishman=E2=80=99s freeborn status against different forms =
of economic and political =E2=80=9Cslavery=E2=80=9D gained new potency, =
in both England and the colonies. Donoghue thereby pulls the origins of =
English abolitionism back to the latter seventeenth century.'

SOURCE
http://blog.historians.org/publications/1153/american-historical-review--=
october-2010


Article source...

The American Historical Review, 115:943=E2=80=93974, October 2010
=C2=A9 2010 American Historical Association. All rights reserved.
DOI: 10.1086/ahr.115.4.943

Article=20
=E2=80=9COut of the Land of Bondage=E2=80=9D: The English Revolution and =
the Atlantic Origins of Abolition
John Donoghue=20

'In 1646 the teenager Charles Bayly wandered through the =
Thames=E2=80=90side town of Gravesend on his way to London, joining =
thousands of other people streaming into the capital after being =
uprooted by the chaos of the English Revolution.1 As he wrote years =
later, in Gravesend he=20

met with one Bradstreet, who was commonly called a spirit, for he was =
one of those who did entice children and people away for Virginia; he =
fell into discourse with me, and I being in tender years, he did =
cunningly get me on board a ship, which was then there riding ready for =
to go to those parts, and I being once on board, could never get on =
shore, until I came to America, where I was sold as a bond=E2=80=90slave =
for 7 years.
Reflecting on his subsequent life in the Chesapeake, Bayly described his =
plight:=20

[I endured] hunger, cold, nakedness, beatings, whippings, and the like =
=E2=80=A6 for many times was I stripped naked, and tied up by the hand, =
and whipped, and made to go barefoot and bare=E2=80=90legged in cold and =
frosty weather, and hardly clothes to cover my nakedness, besides the =
sore and grievous labor which I was continually kept at during which =
time my poor soul would be often bemoaning itself concerning my sore =
captivity and misery =E2=80=A6 I had hard labor, and my daily exercise =
was beyond the common manner of slaves, for mine was often night and =
day.2

Although his master tried to break his spirit through such brutal =
treatment, Bayly remained strong, resisted, and briefly managed to =
escape. Upon his subsequent capture, a colonial court punished him by =
doubling his seven=E2=80=90year term of service, notwithstanding the =
fact that this sentence contradicted both English statute and common law =
regarding servants.3 While in Gravesend, Bayly had fallen victim to an =
illegal form of enslavement called =E2=80=9Cspiriting=E2=80=9D; but once =
transported to the Chesapeake, he legally became the temporary, chattel =
property of his owner, although this too violated English labor law. =
Within one context, the imperial, Bayly's chattel status remained =
ambiguous, but within another context, his own lived experience, he =
conveyed his position on the plantation with precision: he called =
himself a =E2=80=9Cbond slave.=E2=80=9D Referring to those who labored =
beside him in what he described as =E2=80=9CMaryland in =
Virginia,=E2=80=9D he wrote movingly, =E2=80=9Cthe poor creatures had =
better have been hanged, than to suffer the death and misery they =
did.=E2=80=9D4...'

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article,
Rose Ann Heslip (1821-1915): Charlotte
Bront=?iso-8859-1?Q?=EB's_?=Cousin and her Descendants
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Rose Ann Heslip (1821-1915): Charlotte Bront=EB's Cousin and her =
Descendants=20

Author: Marsden, Imelda A.1

Source: Bronte Studies, Volume 35, Number 3, November 2010 , pp. =
232-247(16)

Publisher: Maney Publishing

Abstract:
An account of the later part of the life of Rose Ann Heslip, cousin of
Charlotte Bront=EB, which was spent caring for the family of her =
daughter,
Emily Bingham, in Ayrshire and Bradford. Rose Ann contested the =
generally
unfavourable picture drawn of her Irish ancestors by Dr William Wright =
and
was visited by some early members of the Bront=EB Society. The article
concludes with a note on her descendants. Some elusive contemporary
newspaper accounts featuring Rose Ann are reprinted.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article, The Progressive Unionist Party of Northern Ireland
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The Progressive Unionist Party of Northern Ireland: A Left-Wing Voice in an
Ethnically Divided Society

Author: Edwards, Aaron1

Source: British Journal of Politics and International Relations, Volume 12,
Number 4, November 2010 , pp. 590-614(25)

Publisher: Wiley-Blackwell

Abstract:
The Progressive Unionist party (PUP) was formed in the late 1970s and is one
of the smallest political parties in Northern Ireland, both in terms of its
membership size and its share of the vote, which translates into only a tiny
number of elected representatives. Yet, supporters and critics alike have
marked it out as one of the most distinctive voices in Northern Irish
politics-in the main because of its democratic socialist ideology and its
class-based character. This article examines the PUP's political programme,
its membership and support base, its role in the peace process and its
relationship with illegal loyalist terrorist organisations. It does so by
drawing on current debates in the political science literature about ethnic
parties in divided societies. Moreover, it focuses on the often neglected
relationship between ethnicity and class in the PUP in order to explain how
the party understands and contributes towards the peace process and
democratic stability in Northern Ireland.

Keywords: Progressive Unionist party; Northern Ireland; ethnic parties;
class

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: CFP French Society for Irish Studies, Brest, March 2011
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I have read this message, very carefully, a number of times. And I have
decided that what it is is a Call For Papers. Yes, that is what it is. =
It
is.

P.O'S.


Call for papers
2011 SOFEIR Conference
(Soci=E9t=E9 Fran=E7aise d=92Etudes Irlandaises)
10-11 mars 2011
University of Brest, France
=A0
Freeze Frame=A0: Focusing, Distorting, Restructuring
=A0
Images are all-important in our representations of the world, be =
it in
the field of historical archives, political iconology or cultural and
aesthetic productions.

The freeze frame and magnifying effect of photography has been
extensively used and analysed by historians and the press alike. This is
particularly true in Ireland where photographs of =93the Troubles=94, of =
the
Peace Process and of reconciliation have accompanied, highlighted and
sometimes influenced history in the making (cf. Colin Graham=92s article =
:
=AB=A0=91Every Passer-By a Culprit=92=A0? Archive Fever, Photography and =
the Peace in
Belfast=A0=BB, Third Text, Vol. 19, 2005). The fixed image which does =
not belong
to a narrative continuity can create spectacular effects, but the =
spectator
and the analyst can still step back, study its inner workings, and
appreciate its documentary value as a trace of the past, subjective
testimony, restructuring of reality : in fine, one can evaluate its aura =
of
truth.

From the memorable photograph representing Edward Carson and the
Ulster Covenant (Belfast 1912) to those showing Ian Paisley and Martin
McGuinness smiling together (May 2007), famous shots have signalled the
milestones of a political and cultural history marked by conflict and
division. Researchers are invited to shed light on what lies outside the
frame, to contextualize and also to deconstruct the uses of photographs =
that
have come to belong to an official iconography, or that have been so =
broadly
circulated as to progressively become de-contextualized icons (i.e.,
photographs of=A0 bog bodies or of young Republican demonstrators =
wearing
tear-gas masks).

Whether one approaches photo-journalism, documentary and/or artistic
exhibitions, travel photography (one remembers the astounding =
photographs
taken in Ireland by two young Frenchwomen commissioned by Albert Kahn in
1913), or whether one seeks to capture the heart of Ireland (Synge=92s
photographs of the Aran Islands) or attempts to suggest the invisible (
Beckett=92s portraits by John Minahan, Faith by Jackie Nickerson, =
(2007),
Willie Doherty=92s work), the focus in always on the authenticity of a
relationship between representation and reality. The frontiers between
traces, reconstruction and aesthetics often remain blurred, and the =
fixed
image is a privileged site for constant negotiations between mimetic
reproduction and powerful fantasmatic imagination (art historian
Jean-Fran=E7ois Chevrier defines photography as an =93extraordinaire =
pi=E8ge =E0
fantasmes=94- Le Monde, 9/7/2010).

The suspension of time and freeze framing encourage encounters and
exchanges between different semiotic and aesthetic systems, fully =
exploited
by literature and other visual arts. John Banville subverts the genre of =
the
travel guide with his Prague Pictures (2003), while Paul Muldoon invents
=93phoetry=94 in Plan B (2009). Such cross-media explorations testify to =
the
Medusa-like impact of stills but also to their use as a source of =
meditation
and intersemiotic work, a process participants are encouraged to explore
further.
=A0
Freezing reality, framing it for show, constructing an iconic
synecdoche, historicizing a particular moment, structuring the allegory =
of
an event, framing a postcard view into another semiotic system, =
transforming
a snapshot into a metaphor - all this has been put to use to build
historical, political, cultural and artistic representations of Ireland.
Participants at the conference are invited to analyse, decode and/or
re-contextualize such productions in all fields of Irish, art, history =
and
culture.

The growing technical diversity of production (from silver =
negative to
digital screen photography), its ever increasing rapidity and the
globalization of cultural practices tend to favour media hybridation (as =
in
the works of Sean Hillen or Victor Sloan) and radically modify the =
principle
of adherence to reality. Which forms has photography taken in Ireland =
since
it first appeared in the 1840s, and what place does it hold in Irish
culture? Can we speak of an historicity of Irish photography? What are =
its
new geographical frontiers (within and outside the island) and how does
digitalization bear on its cultural and aesthetic uses?

250-300 words proposals in English or French should be sent to =
Ga=EFd
Girard, Universit=E9 de Bretagne =
Occidentale-Brest=A0(gaid.girard[at]univ-brest.fr)
and Anne Goarzin, Universit=E9 Rennes 2 (anne.goarzin[at]univ-rennes2.fr) =
by 15
December 2010, with a short biographic presentation.
=A0

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Dissertation,
A Similarity Matrix for Irish Traditional Dance Music
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School of Computing
Dissertations
Dublin Institute of Technology Year 2010

A Similarity Matrix for Irish Traditional Dance Music
Padraic Lavin
Dublin Institute of Technology, padraic.lavin[at]student.dit.ie

ABSTRACT
It is estimated that there are between seven and ten thousand Irish =
traditional dance tunes in existence. As Irish musicians travelled the =
world they carried their repertoire in their memories and rarely =
recorded these pieces in writing. When the music was passed down from =
generation to generation by ear the names of these pieces of music and =
the melodies themselves were forgotten or changed over time. This has =
led to
problems for musicians and archivists when identifying the names of =
traditional Irish tunes.

Almost all of this music is now available in ABC notation from online =
collections. An ABC file is a text file containing a transcription of =
one or more melodies, the tune title, musical key, time signature and =
other relevant details.

The principal aim of this project is to define a process by which Irish =
music can be compared using string distance algorithms. An online survey =
will then be conducted toassess if human participants agree with the =
computer comparisons. Improvements will then be made to the string =
distance algorithms by considering music theory. Two other methods of =
assessing musical similarity, Breand=C3=A1n Breathnach=E2=80=9Fs Melodic =
Indexing System and Parsons Code will be computerised and integrated =
into a Combined Ranking System (CRS). An hypothesis will be formed based =
on the results and experiences of creating this system. This hypothesis =
will be tested on humans and if
successful, used to achieve the final aim of the project, to construct a =
similarity matrix.

Key words: Irish music, string distance algorithm, similarity matrix, =
combined ranking system, music comparison, edit distance

SOURCE
http://arrow.dit.ie/cgi/viewcontent.cgi?article=3D1029&context=3Dscschcom=
dis

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Report,
FROM CATASTROPHE TO MARGINALISATION: THE EXPERIENCES OF SOMALI
REFUGEES IN IRELAND
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FROM CATASTROPHE TO MARGINALISATION:
THE EXPERIENCES OF SOMALI REFUGEES IN IRELAND
Elena Moreo and Ronit Lentin

Migrant Networks Project, Trinity Immigration Initiative,
Trinity College Dublin
In association with HAPA - Horn of Africa People's Aid

Dublin 2010
HAPA

Table of Contents
1.
Introduction
2.
The Somali refugee crisis
3.
Irish asylum, integration, resettlement and direct provision policies
3.1
Somalis in Ireland
3.2
Racism against Africans in Ireland
4.
Collaborative research methodology: process, theory, practice
5.
The journey from Somalia to Ireland
6.
Somali refugees in Ireland
6.1
Initial reception
6.2
Housing
6.3
Employment
6.4
Education
6.5
The young generation
6.6
Family reunification
7.
HAPA - A migrant-led response
8.
Recommendations
9.
Conclusion
10.
References
HAPA

FULL TEXT AT
http://www.tara.tcd.ie/jspui/bitstream/2262/41175/1/HAPA_MASTER_COPY_final_e
dit_RL_(12)%20(2).pdf

Sender: The Irish Diaspora Studies List
From: kdejong01
Subject: Re: Article,
"Out of the Land of Bondage": The English Revolution and the
Atlantic Origins of Abolition
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Dear all,

This is certainly an interesting context, particularly because it speaks of=
the North American indentured servant experience, as opposed to the West I=
ndian one. I have to say though that Nini Rodgers in her book Ireland, Slav=
e and Anti-Slavery (Basingstoke, 2007) provides a very good outline of the =
difference between serving an indenture and the institution of Black Slaver=
y. And certainly with regards to the Caribbean (my own research area) there=
are discrepancies. So in that context, I would be quite hesitant in follow=
ing Donoghue's line.

Karst de Jong

________________________________________
From: The Irish Diaspora Studies List [IR-D[at]jiscmail.ac.uk] On Behalf Of Pa=
trick O'Sullivan [P.OSullivan[at]bradford.ac.uk]
Sent: Tuesday, November 23, 2010 9:16 AM
To: IR-D[at]jiscmail.ac.uk
Subject: [IR-D] Article, "Out of the Land of Bondage": The English Revoluti=
on and the Atlantic Origins of Abolition

A number of Ir-D members will be interested in this article by John Donoghu=
e, which in effect combines, or recombines, material and stories that recen=
t historiographies have tried to differentiate. Without rescuing the MOPE =
syndrome it does put the Irish experience into a more interesting context. =
I have given a summary and some quotes below.

John Donoghue's conclusion is: 'Carrying forward the idea that we should s=
tudy the history of slavery as the history of slaveries, it follows that we=
should pursue the same flexible approach to the history of abolition, noti=
ng that it changed as slavery changed and as radicals developed new tactics=
and strategies to render rising antislavery sentiment into active abolitio=
nism...'

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Bobbie Hanvey Photographic Archives at Boston College
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From: Pauline Prior
To: The Irish Diaspora Studies List
Date: Tue, 23 Nov 2010 11:04:06 +0000
Subject: RE: [IR-D] CFP French Society for Irish Studies, Brest, March 2011/

Dear all

With reference to the subject matter of this conference, some of you may be=
interested in the Bobbie Hanvey Photographic Archives at Boston College (o=
n all aspects of life in NI in the past 30 years). This is a collection of =
photographs which are available for use in academia (see details of the lic=
ence on the site). High resolution images for publication have to be reques=
ted directly from the Burns Library at Boston College, where the Archives a=
re kept. (photographs should be referenced in the normal way).

Below are the links to the Burns library and to a Flickr page (which has a =
selection) are below.=20
If you have any problem with the link, just google Bobbie Hanvey Boston C=
ollege

http://www.bc.edu/sites/libraries/hanvey/index.html

http://www.flickr.com/photos/bc-burnslibrary/sets/72157622453329347/


All the best

Pauline Prior


Dr Pauline Prior
School of Sociology, Social Policy and Social Work
Queen's University Belfast
Belfast BT7 1NN

Tel: 0044 28 9097 3342
Fax: 0044 28 9097 3943
Email: p.prior[at]qub.ac.uk
Website: Pauline Prior





-----Original Message-----
From: The Irish Diaspora Studies List [mailto:IR-D[at]jiscmail.ac.uk] On Behal=
f Of Patrick O'Sullivan
Sent: 23 November 2010 09:26
To: IR-D[at]jiscmail.ac.uk
Subject: [IR-D] CFP French Society for Irish Studies, Brest, March 2011

I have read this message, very carefully, a number of times. And I have
decided that what it is is a Call For Papers. Yes, that is what it is. It
is.

P.O'S.


Call for papers
2011 SOFEIR Conference
(Soci=E9t=E9 Fran=E7aise d'Etudes Irlandaises)
10-11 mars 2011
University of Brest, France
=A0
Freeze Frame=A0: Focusing, Distorting, Restructuring
=A0
Images are all-important in our representations of the world, be it i=
n
the field of historical archives, political iconology or cultural and
aesthetic productions.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Re: CFP French Society for Irish Studies, Brest, March 2011
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From: Dymphna Lonergan
To: The Irish Diaspora Studies List
Date: Tue, 23 Nov 2010 14:49:27 -0800
Subject: RE: [IR-D] CFP French Society for Irish Studies, Brest, March 2011

Thanks for the laugh, Paddy. This 'call' reminds me of that Jean Luc Goddard
nouvelle vague film of the 1960s that translated as Breathless!

-----Original Message-----
From: The Irish Diaspora Studies List [mailto:IR-D[at]JISCMAIL.AC.UK] On Behal=
f Of Patrick O'Sullivan
Sent: Tuesday, 23 November 2010 7:56 PM
To: IR-D[at]JISCMAIL.AC.UK
Subject: [IR-D] CFP French Society for Irish Studies, Brest, March 2011

I have read this message, very carefully, a number of times. And I have
decided that what it is is a Call For Papers. Yes, that is what it is. It
is.

P.O'S.


Call for papers
2011 SOFEIR Conference
(Soci=E9t=E9 Fran=E7aise d'Etudes Irlandaises)
10-11 mars 2011
University of Brest, France
=A0
Freeze Frame=A0: Focusing, Distorting, Restructuring
=A0
Images are all-important in our representations of the world, be it i=
n
the field of historical archives, political iconology or cultural and
aesthetic productions.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: New Series on Modern Irish History: Reappraisals in Irish History
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Forwarded on behalf of
Enda Delaney

-----Original Message-----
Subject: New Series on Modern Irish History: Reappraisals in Irish History
From: Enda Delaney

Liverpool University Press is delighted to announce that it will publish a
new series on modern Irish history, Reappraisals in Irish History, with Enda
Delaney (University of Edinburgh) and Maria Luddy (University of Warwick) as
editors.

The series offers new insights into Irish history, society and culture from
1750. Recognising the many methodologies that make up historical research,
titles present innovative and interdisciplinary work that is conceptual and
interpretative, and seeks to expand and challenge the common understandings
of the Irish past.

The objective of the series is to showcase new and exciting scholarship on
subjects such as the history of gender, power, class, the body, landscape,
memory, and social and cultural change. It also reflects the diversity of
Irish historical writing, since it includes titles that are
empirically-sophisticated together with conceptually-driven synoptic studies
from early career and established scholars.

What will make this series especially appealing is that each author draws on
methods and concepts from across traditional disciplinary boundaries, yet at
the same time offers a fresh and unique interpretation of the topic and
locates these arguments in a broader context.

Proposals, which fit these themes, should be sent to Alison Welsby,
Commissioning Editor for History at Liverpool University Press
(a.welsby[at]liv.ac.uk), who can also provide further information.

Enda Delaney

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: TOC IRISH UNIVERSITY REVIEW VOL 40; NUMB 2; 2010
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The new team are settling in to their chairs...
Editor: Dr John Brannigan (University College Dublin)
Assistant Editor: Dr Emilie Pine (University College Dublin)


IRISH UNIVERSITY REVIEW
VOL 40; NUMB 2; 2010
ISSN 0021-1427

pp. 1-19
Elizabeth Gaskell's `The Poor Clare' and the Irish Famine.
Ingelbien, R.

pp. 20-41
Beckett's Cosmopolitan Ground.
Pearson, N.C.

pp. 42-53
Beckett's Godot: Nietzsche Defied.
Massoud, M.M.F.

pp. 54-70
Trapped `in Pluto's Cell': Sam Baneham's The Cloud of Desolation.
Morse, D.

pp. 71-85
The Unheimliche in Brian Friel's Faith Healer: Memory, Aesthetics, Ethics.
Lin, Y.-c.

pp. 86-106
Reconsidering Dermot Bolger's Grotesquery: Class and Sexuality in The
Journey Home.
Pierse, M.

pp. 107-125
`Our Story is Everywhere': Colum McCann and Irish Multiculturalism.
Tucker, A.

pp. 126-147
The Weight of Emptiness: Narcissism and the Search for the Missing Twin in
John Banville's Birchwood and Mefisto.
O Connell, M.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: CFP new peer-reviewed postgraduate Journal, AIGNE, UCC - IDENTITY
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This is the Call for Papers, as it has reached us. I think they must mean
'in either the Irish or the English language.' Unless they really want both
- in which case they should have written... Oh well...

Anyway... Some diaspora themes...

P.O'S.

Call for Articles for new peer-reviewed postgraduate Journal, AIGNE
Publication Date: 2011-03-31

The College of Arts, Celtic Studies and Social Sciences in University
College Cork, Ireland is pleased to announce the first Call for Papers for
their new peer-reviewed postgraduate journal, Aigne (Mind). Submissions are
welcome from postgraduates across the Humanities in both the Irish and
English language. Each issue is theme based, and the journal is currently
seeking papers which incorporate issues of "Identity."
"Today you are You, that is truer than true. There is no one alive who is
Youer than You."

Dr Suess

How do we begin to answer the question: "Who am I?" or, with the increasing
popularity of social networks, "Who are You?" Historically rooted in the
collective as well as the individual, traditional conceptualisations of
identity have found themselves facing new challenges in a globalized world.
Does technology isolate individuals as much as it brings them together? Is
identity a construct or is it something more innate? Has identity become a
commodity, something that can be created, stolen, or even sold? How is
identity represented in art, literature, media, education, popular culture?

In order to answer these questions and more, Aigne is currently seeking
submissions on the topic of Identity. Papers may include, but are not
restricted to discussions on:

* politics of identity
* identity crisis
* theoretical conceptualisations of identity - feminist, postcolonial,
(post)modern etc.
* tabula rasa or "the blank slate" debate
* technology, media and social networks
* religion and faith in identity formation
* identity as performance
* Self and Other
* diasporic reflections on identity
* identification and separation

Articles presented to Aigne must be original works between 3,000 and 5,000
words in length. The deadline for submissions is Tuesday March 1st, 2011.
Submissions are accepted in both the English and Irish language - see our
Submissions page for more information. Please remember to include a 250 word
abstract - with English translation if necessary.

Please mark your email "Identity" and send to: aigne[at]ucc.ie

Editorial Board
aigne[at]ucc.ie

Email: aigne[at]ucc.ie
Visit the website at http://aigne.wordpress.com

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: TOC SHAW The Annual of Bernard Shaw Studies, Volume 30, 2010,
Bernard Shaw and the Irish Literary Tradition
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Broadly the policy on the Ir-D list is that we do not follow too closely
studies of the writers of the 'canon' - in effect, writers who have =
their
own scholarly journals. =20

In many ways it is a daft policy, because nearly all these writers were
writers in, for and of the diaspora.

The background problem is that there is so much produced about these =
writers
- it is not as if there is a gap that the Ir-D list should try to fill. =
As
I say, scholars of the canon have their own journals, and often have =
their
own discussion networks. Whilst we do that voodoo that we do. =20

Also so much of what is written about such writers is hermetically =
sealed
off from wider discourses. I still enjoy a good bit of lit crit, but I =
am
sometimes daunted by the difficulties of explaining to outsiders quite =
what
is going on. Recently a dear colleague was rather shocked when I =
summarised
what was going on as 'the production of more and more comment on a small
number of readily available texts...' The magic is, of course, that =
there
are some texts that can withstand so much commentary, and even some that
benefit from it.

Let me now warmly welcome the latest issue of SHAW The Annual of Bernard
Shaw Studies Volume 30, 2010. Much to interest many Ir-D members.

P.O'S.


SHAW The Annual of Bernard Shaw Studies
Volume 30, 2010

Table of Contents

Introduction: Bernard Shaw and the Irish Literary Tradition
Peter Gahan
pp. 1-26

Two Unpublished Letters to Eamon de Valera: With an Introduction by Brad
Kent
Bernard Shaw
Brad Kent
pp. 27-30

Learning from Barry Sullivan: Shaw=92s First Superman
Stanley Weintraub
pp. 36-42
=20
=93Dear Harp of My Country=94; or, Shaw and Boucicault
Martin Meisel
pp. 43-62
=20
Protestant Perspectives on Ireland: John Bull=92s Other Island and The =
Real
Charlotte
Eibhear Walshe
pp. 63-74

Shaw and the Syngean Provocation
Nelson O=92Ceallaigh Ritschel
pp. 75-94

Bernard Shaw and James B. Fagan, Playwright and Producer
Christopher Innes
pp. 95-107
=20
Undoing Identities in Two Irish Shaw Plays: John Bull=92s Other Island =
and
Pygmalion
Kimberly Bohman-Kalaja
pp. 108-132

Shaw, Ireland, and World War I: O=92Flaherty V.C., an Unlikely =
Recruiting Play
Terry Phillips
pp. 133-146
=20
Meditations in Time of Civil War: Back to Methuselah and Saint Joan in
Production, 1919=961924
James Moran
pp. 147-160
=20
Shaw, The Bell, and Irish Censorship in 1945
Brad Kent
pp. 161-174
=20
John Bull=92s Other Eden
Heinz Kosok
pp. 175-190
=20
Exorbitant Apparatus: On the Margins with Shaw, Beckett, and Joyce
Craig N. Owens
pp. 191-215

Bernard Shaw in Contemporary Irish Studies: =93Pass=E9 and =
Contemptible=94?
Victor Merriman
pp. 216-235

Shaw Productions in Ireland, 1900=962009
Nicholas Grene
Deirdre McFeely
pp. 236-259
=20
Reviews

Contributors
pp. 305-309
Notices
pp. 310-314

International Shaw Society
pp. 315-321

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article,
Eat or Be Eaten: Ernest
G=?iso-8859-1?Q?=E9bler's_?=Self-Fashioning as Jewish Monster
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Journal of Jewish Identities
Issue 3, Number 2, July 2010

Eat or Be Eaten:
Ernest G=E9bler's Self-Fashioning as Jewish Monster in Shall I Eat You =
Now?=20
Michelle Woods
SUNY at New Paltz

Trilobite, Dinosaur, Man and Fish Fingers, is the whole of Evolution.
Ernest G=E9bler, Hoffman=20

Salerio: Why, I am sure, if he forfeit, thou wilt not take his flesh. =
What's
that good for?
Shylock: To bait fish withal. If it will feed nothing else, it will feed =
my
revenge.
William Shakespeare, The Merchant of Venice=20

Ernest G=E9bler's 1968 novel, Shall I Eat You Now?, published as Hoffman =
in
the United States in 1969, is, on the face of it, a misogynistic revenge
fantasy. Written shortly after G=E9bler's divorce from the Irish =
novelist Edna
O'Brien, and just as her career was taking off with The County Girls
trilogy, G=E9bler's novel tells the story of a rejected middle-aged man,
Benjamin Hoffman, who blackmails a young woman by the name of Janet into =
a
week of sex with him as partial revenge for his wife's desertion. The =
wife,
Maureen Dingle Murphy, is a crude caricature of O'Brien, and is =
portrayed as
a woman who leaves Hoffman for gin, psychoanalysis, feminism and fame. =
The
novel was originally an Emmy award-winning 1968 screenplay, Call Me =
Daddy,
and was successful enough to have been adapted as a film (1970's =
Hoffman)
starring Peter Sellers and Sinead Cusack, but is long out of print and
forgotten. In this article, I want to revisit Shall I Eat You Now? and =
its
film adaptation, Hoffman, because it is a rare narrative engagement by =
an
Irish writer who "may or may not have been" Jewish1 with Jewishness and, =
I
argue, the protagonist's monstrosity is a deliberate attempt to explore =
and
subvert anti-Semitic stereotyping through an excessive representation of
"anti-Semitic iconography,"2 namely those monsters associated with
Jewishness: Shylock, Dracula, Bluebeard and E.T.A. Hofmann's Coppelius.3

...

The grotesque, pathetic Hoffman may be a projection of Ernest G=E9bler's
self-hatred, based on a problematic relationship with his immigrant =
father,
but, I would argue, it is also a means for G=E9bler to explore an =
otherness he
is made to feel in his Irish context. In the baroque strategy of making
Hoffman several monsters at once, all connotively identified with
anti-Semitic discourse, G=E9bler subverts the act of othering, unmasking =
the
absurd fragility of its fictions. Hoffman and G=E9bler inhabit =
monstrosity to
spite the societal expectations and assumptions that surround them, but
neither can live up to the monsters they create. [End Page 89]

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Thesis, Shillelaghs, Shovels,
and Secrets: Irish Immigrant Secret Societies and the Building of
Indiana Internal Improvements, 1835-1837
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Shillelaghs, Shovels, and Secrets: Irish Immigrant Secret Societies and the
Building of Indiana Internal Improvements, 1835-1837
Please use this identifier to Cite or link to this item
http://hdl.handle.net/1805/2056


Title: Shillelaghs, Shovels, and Secrets: Irish Immigrant Secret Societies
and the Building of Indiana Internal Improvements, 1835-1837
Author: Perry, Jay Martin

Department: Department of History
Grantor: Indiana University
Permanent Link: http://hdl.handle.net/1805/2056

Abstract: In the 1830s, Indiana undertook an ambitious internal
improvements program, building the state's first railroad and multiple
canals. To complete the projects, Indiana used Irish immigrant laborers. The
Irish laborers developed a reputation for brawling amongst themselves,
highlighted by a riot involving 600 laborers working on the Wabash and Erie
Canal in 1835. Multiple volumes of Indiana history identify the Wabash and
Erie riot as a one-time event inspired by Protestant and Catholic animosity
imported from Ireland. A review of the historical record, however,
contradicts these long-held assumptions. Inspired by Irish traditions of
faction fighting and peasant secret societies, Irish immigrant laborers
formed secret societies that used violence against competitors in hopes of
securing access to internal improvement jobs for their own membership. The
rival secret societies, the Corkonians and the Fardowns, organized based on
their provincial origins in Ireland. Examples of Corkonian and Fardown
violence occurred throughout the country. In Indiana, a pattern of Corkonian
and Fardown conflict resulted in skirmishes on at least three different
construction sites between 1835 and 1837. In contrast to the traditional
narrative, the Corkonians and Fardowns were both pioneers of the first wave
of large-scale Irish Catholic immigration whose rivalry centered on job
protection and economic grievances.

Keywords: Catholic
canals
unskilled labor
Madison and Indianapolis Railroad
Central Canal
Ireland
Know Nothings
nineteenth century
internal improvements
Secret Societies
Riots
Fardowns
Corkonians
Wabash and Erie Canal
railroad laborers
canal laborers
Irish immigrants
Indiana
LC Subject: Immigrants -- Indiana -- 19th century
Irish -- Foreign countries -- 19th century
Railroads -- Design and construction -- 19th century
Canals -- Design and construction -- 19th century
Secret societies -- Indiana -- 19th century
Unskilled labor
Madison and Indianapolis Rail Road Company
American Party
Riots
Wabash and Erie Canal (Ind. and Ohio)
Indiana
Date: 2010-02-01
Appears in Collections: History Department Theses and Dissertations

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Article,
We're Sort of Imposters": Negotiating Identity at Home and Abroad
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We're Sort of Imposters": Negotiating Identity at Home and Abroad
SARAH JEWETT

Curriculum Inquiry
Volume 40, Issue 5, pages 635-656, December 2010

ABSTRACT
In this article, I argue that through study abroad programming, university
students engage in relational encounters between self (home culture) and
other (host culture)-twinned concepts that constitute and are constituted by
each other. Moreover, I assert that these encounters take place not only
during the students' time abroad, but also well before it as students
produce and consume various identities through performances,
representations, and discourses. These practices and processes at home shape
the ways in which students create meanings abroad. In making these claims, I
look closely at students' experiences in a short-term study abroad program
to Ireland and Northern Ireland. I assert that it was through the students'
constructions of Irishness as commodities, claims, and contestations that
they encountered their Americanness. The qualitative data for this study
were collected in the mid-2000s, and include focus group transcripts,
journals, photo-reflections, as well as related program and course
documents.

Sender: The Irish Diaspora Studies List
From: Patrick O'Sullivan
Subject: Book Notice, The Philosophical Habit of Mind,
Rhetoric and Person in John Henry Newman's Dublin Writings
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Angelo Bottone
The Philosophical Habit of Mind
Rhetoric and Person in John Henry Newman's Dublin Writings

Book Series: Zeta Series in Christian Theology, vol. 1
Availability: Paperback & Electronic (pdf)
Publication date: September 2010
Size: 13 x 20 cm
Pages: 248
Language: English
ISBN: 978-973-1997-61-2 (paperback)
ISBN: 978-973-1997-62-9 (ebook)
Paperback: 22 EUR (shipping not included)
eBook Individuals: 9 EUR
eBook Institutions: 90 EUR

This is the first comprehensive study of John Henry Newman's works related
to his foundation of a university in Ireland. It considers his Dublin
Writings (1851-1859) in their totality and full meaning, in an attempt to
show that they share a unity that is not merely chronological but also
conceptual. It analyses Newman's volumes, articles and sermons produced
while he was in residence in Dublin and explains the historical background
that led to the establishment of the Catholic University of Ireland. This
work offers an original exploration of the influences of philosophers such
as Aristotle, Cicero and Locke on Newman's own thought. Aristotle's
inspiration is presented in a new light and compared with Ciceronian
rhetoric and the Utilitarianism of Locke and his followers. Moreover, the
intellectual, moral and artistic dimensions of the human person in Newman's
Dublin Writings are discussed, in conjuction with his concepts of the unity
of knowledge and of the philosophical habit of mind. The final chapter is
the author's personal reflection on the issues that Newman raised, with
reference to the development of university education and to contemporary
thinkers such as Derrida and MacIntyre.

Testimonia

Angelo Bottone has covered some aspects of Newman from an original
perspective, focusing particularly on the rhetorical elements of his
writings. In this respect, his work is innovative, as Newman's Dublin
Writings have been always considered only for their contribution to a debate
on education. Angelo Bottone covers new areas, like the influence of Cicero
or the role of the study of foreign and ancient languages in the university
founded by Newman. Angelo Bottone's book and its timing for publication may
generate new perspectives on this period of Newman's life. He has given a
philosophical flavour to this study, which is novel as other authors have
written about Newman mostly from a theological or educational view point.
(Domenico Iervolino, University of Naples)

Bottone's book is an historical and thematic treatment of Newman's Dublin
writings, the best know of which is The Idea of a University. The merit of
this work is that is makes available an account of many other writings of
Newman that are not generally available, and presents an integrated
interpretation of them. Reading The Idea of a University in the context of
his other Dublin writings allows the reader to gain a more complete and
nuanced understanding of this centrally important text. (Gerard Casey,
University College Dublin)

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-of-mind.-rhetoric-and-person-in-john-henry-n.html