The Golden Thread
Liverpool University Press (Verlag)
978-1-80207-372-0 (ISBN)
This two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two essays written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short essays provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance.
Volume One covers plays by Irish women playwrights written between 1716 to 1992, and seeks to address and redress the historic absence of Irish female playwrights in theatre histories. Highlighting the work of nine women playwrights from the eighteenth and nineteenth centuries, as well as thirteen of the twentieth century’s key writers, the chapters in this volume explore such varied themes as the impact of space and place on identity, women’s strategic use of genre, and theatrical responses to shifts in Irish politics and culture.
CONTRIBUTORS: Conrad Brunström, David Clare, Thomas Conway, Marguérite Corporaal, Mark Fitzgerald, Shirley-Anne Godfrey, Úna Kealy, Sonja Lawrenson, Cathy Leeney, Marc Mac Lochlainn, Kate McCarthy, Fiona McDonagh, Deirdre McFeely, Megan W. Minogue, Ciara Moloney, Justine Nakase, Patricia O'Beirne, Kevin O'Connor, Ciara O'Dowd, Clíona Ó Gallchoir, Anna Pilz, Emilie Pine, Ruud van den Beuken, Feargal Whelan
**
David Clare is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Fiona McDonagh is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Justine Nakase is Adjunct Lecturer at Portland State University.
IntroductionDavid Clare, Fiona McDonagh & Justine Nakase
“There’s no Place like old England”: Space and Identity in Mary Davys’s The Northern Heiress; Or, the Humours of York (1716)
Marguérite Corporaal
“Some tender scenes demand the melting tear”: Frances Sheridan’s The Discovery (1763) and the Vindication of “Sentimental Comedy”
Conrad Brunström
Irish Wit on the London Stage: Elizabeth Griffith’s The Platonic Wife (1765)
Clíona Ó Gallchoir
Deceptive Disabilities in Maria Edgeworth’s The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body
Sonja Lawrenson
Reimagining Maria Edgeworth’s The Knapsack (1801) for a Contemporary Young Audience
Fiona McDonagh & Marc Mac Lochlainn
Mary Balfour’s Kathleen O’Neil (1814): An Expression or Betrayal of Her Ulster Scots Background?
David Clare
Justice and the “Triple Goddess” Archetypes in Anna Maria Hall’s Mabel’s Curse (1837)
Ciara Moloney
Operas without a Hero: A Comic Trilogy (1876–1879) by Elena Norton and Mary HeyneMark Fitzgerald
“Petticoats!—petticoats! petticoats!”: Sartorial Economics in Clotilde Graves’s A Mother of Three (1896)
Justine Nakase
From Gort to Antarctica: Lady Gregory’s Audiences and The Rising of the Moon (1903)
Anna Pilz
Lady Gregory’s Grania (1912): Myth and Mythology
Shirley-Anne Godfrey
“You have let the play go to pieces”: Geraldine Cummins and Susanne R. Day’s Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre
Thomas Conway
“Something left over from the Eighteenth Century, undergoing a slow process of decay”: The Impotence of the Ascendancy in Mary Manning’s Youth’s the Season–? (1931)
Ruud van den Beuken
Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy’s The King of Spain’s Daughter (1935)
Úna Kealy & Kate McCarthy
The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre
Ciara O’Dowd
Corruption and Socio-Political Tensions in Christine Longford’s Tankardstown (1948)
Kevin O’Connor
Social Class, Space, and Containment in 1950s Ireland: Maura Laverty’s “Dublin Trilogy” (1951–1952)
Cathy Leeney & Deirdre McFeely
Máiréad Ní Ghráda’s An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight
Feargal Whelan
Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989)
Emilie Pine
Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984)
Megan W. Minogue
A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan’s Eclipsed (1988 / 1992)
Patricia O’Beirne
Coda – What the Woman Sees: Waking Up to Feminist Aesthetics
Cathy Leeney
| Erscheinungsdatum | 05.03.2024 |
|---|---|
| Zusatzinfo | Illustrations, black and white |
| Verlagsort | Liverpool |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Themenwelt | Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Anglistik / Amerikanistik |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Literaturgeschichte | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Literaturwissenschaft | |
| ISBN-10 | 1-80207-372-8 / 1802073728 |
| ISBN-13 | 978-1-80207-372-0 / 9781802073720 |
| Zustand | Neuware |
| Haben Sie eine Frage zum Produkt? |
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