Marie‐Louise Coolahan
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199567652
- eISBN:
- 9780191722011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199567652.003.0002
- Subject:
- Literature, Early and Medieval Literature, Women's Literature
This chapter examines women's authorship and patronage of poetry in Irish. It focuses on the keen (caoineadh), in which the female speaker laments the death of an individual, and amateur syllabic ...
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This chapter examines women's authorship and patronage of poetry in Irish. It focuses on the keen (caoineadh), in which the female speaker laments the death of an individual, and amateur syllabic verse, locating both in the context of professional bardic poetry. The chapter demonstrates how Caitilín Dubh, Fionnghuala Ní Bhriain, and Brighid Fitzgerald engaged with bardic tradition and expressed complex positions in relation to gendered and ethnic identity. It analyses the legitimizing contexts for women's authorship of verse, discussing the more prolific Scottish Gaelic context as an important reference point for the understanding of Irish women's compositions. Finally, the chapter explores Irish noblewomen's patronage of poetry, arguing that this evidence throws light on women's critical engagement with bardic culture.Less
This chapter examines women's authorship and patronage of poetry in Irish. It focuses on the keen (caoineadh), in which the female speaker laments the death of an individual, and amateur syllabic verse, locating both in the context of professional bardic poetry. The chapter demonstrates how Caitilín Dubh, Fionnghuala Ní Bhriain, and Brighid Fitzgerald engaged with bardic tradition and expressed complex positions in relation to gendered and ethnic identity. It analyses the legitimizing contexts for women's authorship of verse, discussing the more prolific Scottish Gaelic context as an important reference point for the understanding of Irish women's compositions. Finally, the chapter explores Irish noblewomen's patronage of poetry, arguing that this evidence throws light on women's critical engagement with bardic culture.
Richard Higgins and Robert D. Richardson
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520294042
- eISBN:
- 9780520967311
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294042.001.0001
- Subject:
- Literature, American, 19th Century Literature
Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his ...
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Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his creative response to them as a poet, his philosophical understanding of them, the joy they gave him and the spiritual bond he felt with them. It includes excerpts from Thoreau’s extraordinary writing about trees from 1837 to 1861, illustrated with Higgins’s photography. The excerpts show his detailed observations on trees, his sense of loss at the ravaging of the forest during his life and the delight he took in the splendor of Concord’s woods and meadows. They also show his response to individual trees: an iconic Concord elm, a stand of old-growth oaks he discovered, his beloved white pines, trees made new by snow and trees as ships at sea. Higgins shows that Thoreau probed the complex lives of trees in the forest as a scientist and, as a poet and spiritual seeker, saw them as miracles that encapsulate all that is good about nature.Less
Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his creative response to them as a poet, his philosophical understanding of them, the joy they gave him and the spiritual bond he felt with them. It includes excerpts from Thoreau’s extraordinary writing about trees from 1837 to 1861, illustrated with Higgins’s photography. The excerpts show his detailed observations on trees, his sense of loss at the ravaging of the forest during his life and the delight he took in the splendor of Concord’s woods and meadows. They also show his response to individual trees: an iconic Concord elm, a stand of old-growth oaks he discovered, his beloved white pines, trees made new by snow and trees as ships at sea. Higgins shows that Thoreau probed the complex lives of trees in the forest as a scientist and, as a poet and spiritual seeker, saw them as miracles that encapsulate all that is good about nature.
Sean Williams and Lillis Ó Laoire
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195321180
- eISBN:
- 9780199893713
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195321180.003.0005
- Subject:
- Music, Ethnomusicology, World Music, History, American
Heaney's relationship with religion—both its practices and its general philosophies—was thorny and difficult. Raised in a culture of Catholicism, he was most comfortable with the form of vernacular ...
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Heaney's relationship with religion—both its practices and its general philosophies—was thorny and difficult. Raised in a culture of Catholicism, he was most comfortable with the form of vernacular religion that developed during the time of the suppression of Catholicism. Women, in particular, were responsible for the management of grief through keening at funerals. In a lament, women would sing about the death of Jesus from the perspective of Mary as a way to engage the community members in their own grieving process. Joe Heaney performed three laments centered around the life and death of Jesus, each of which had been excluded from the official forms of religious expression. In performing these laments, he highlighted existing tensions between the individual and the collective, the official and the vernacular, and the modern and traditional.Less
Heaney's relationship with religion—both its practices and its general philosophies—was thorny and difficult. Raised in a culture of Catholicism, he was most comfortable with the form of vernacular religion that developed during the time of the suppression of Catholicism. Women, in particular, were responsible for the management of grief through keening at funerals. In a lament, women would sing about the death of Jesus from the perspective of Mary as a way to engage the community members in their own grieving process. Joe Heaney performed three laments centered around the life and death of Jesus, each of which had been excluded from the official forms of religious expression. In performing these laments, he highlighted existing tensions between the individual and the collective, the official and the vernacular, and the modern and traditional.
Sarah Cole
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780195389616
- eISBN:
- 9780199979226
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195389616.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism, 20th-century and Contemporary Literature
This chapter takes as its scope the substantial canon of Irish literature in the first decades of the twentieth century that engaged intimately with violence. It argues that the expression of ...
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This chapter takes as its scope the substantial canon of Irish literature in the first decades of the twentieth century that engaged intimately with violence. It argues that the expression of violence can be understood according to four categories, each of which the chapter develops with respect to a host of writers, whose styles and political positions are widely divergent. The categories are not entirely parallel in structure, but together provide a capacious picture of the language of violence in the period: keening (or ritual lamentation), generative violence (the mode of the Rising), reprisal (the dark doppelganger of generativity), and allegory (in which the nation or body is likened to a tree or building). In tracing these four modes, the chapter invites a loosening of the ordinary political binaries that characterize criticism of this period. Prominent figures include, for keening, Synge and O'Casey; for generative violence, Synge, Yeats, Pearse, and other leaders of the Rising such as Plunkett and MacDonough; for reprisal, Mitchel, Yeats, Synge, and O'Casey; and for allegory, Yeats. Ultimately, the chapter charts an entirely new scheme for reading the violence canon in this period, attuned to the historical shifts eventuated by uprising, war and the institution of the nation state.Less
This chapter takes as its scope the substantial canon of Irish literature in the first decades of the twentieth century that engaged intimately with violence. It argues that the expression of violence can be understood according to four categories, each of which the chapter develops with respect to a host of writers, whose styles and political positions are widely divergent. The categories are not entirely parallel in structure, but together provide a capacious picture of the language of violence in the period: keening (or ritual lamentation), generative violence (the mode of the Rising), reprisal (the dark doppelganger of generativity), and allegory (in which the nation or body is likened to a tree or building). In tracing these four modes, the chapter invites a loosening of the ordinary political binaries that characterize criticism of this period. Prominent figures include, for keening, Synge and O'Casey; for generative violence, Synge, Yeats, Pearse, and other leaders of the Rising such as Plunkett and MacDonough; for reprisal, Mitchel, Yeats, Synge, and O'Casey; and for allegory, Yeats. Ultimately, the chapter charts an entirely new scheme for reading the violence canon in this period, attuned to the historical shifts eventuated by uprising, war and the institution of the nation state.
Theodor Meron
- Published in print:
- 1999
- Published Online:
- March 2012
- ISBN:
- 9780198268567
- eISBN:
- 9780191683534
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198268567.003.0002
- Subject:
- Law, Public International Law
The Life of Henry the Fifth, written in 1599, one of Shakespeare's histories, is a patriotic, epic portrayal of a phase in the bloody Hundred Years' War (1337–1453) between England ...
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The Life of Henry the Fifth, written in 1599, one of Shakespeare's histories, is a patriotic, epic portrayal of a phase in the bloody Hundred Years' War (1337–1453) between England and France. It describes a medieval campaign led by a chivalrous and virtuous king, who could perhaps do wrong but not a great deal of wrong, and in which the few acting in a just cause defeat the many. This chapter provides an international lawyer's commentary on the play by examining how Shakespeare used internationa1 law for his dramatic ends; to compare his version with its principal sources, the chronicles of Holinshed and Hall, and occasionally with other historians' views as to what transpired during the reign of Henry V; to assess Shakespeare's text in the light of 15th- and 16th-century norms of jus gentium, primarily as reflected in the writings of contemporary jurists and earlier medieval jurists; and, now and then, to show how attitudes toward the law of war have changed since Shakespeare's times, and thus to illustrate the law's evolution. The chapter draws on the works of modern writers on medieval and Renaissance law, such as Maurice Keen.Less
The Life of Henry the Fifth, written in 1599, one of Shakespeare's histories, is a patriotic, epic portrayal of a phase in the bloody Hundred Years' War (1337–1453) between England and France. It describes a medieval campaign led by a chivalrous and virtuous king, who could perhaps do wrong but not a great deal of wrong, and in which the few acting in a just cause defeat the many. This chapter provides an international lawyer's commentary on the play by examining how Shakespeare used internationa1 law for his dramatic ends; to compare his version with its principal sources, the chronicles of Holinshed and Hall, and occasionally with other historians' views as to what transpired during the reign of Henry V; to assess Shakespeare's text in the light of 15th- and 16th-century norms of jus gentium, primarily as reflected in the writings of contemporary jurists and earlier medieval jurists; and, now and then, to show how attitudes toward the law of war have changed since Shakespeare's times, and thus to illustrate the law's evolution. The chapter draws on the works of modern writers on medieval and Renaissance law, such as Maurice Keen.
Robert J. Kaczorowski
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780823239559
- eISBN:
- 9780823239597
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823239559.003.0001
- Subject:
- History, Social History
Chapter 1 explains the founding of Fordham Law School in 1905 as part of the social history of American Catholic immigrants and their children, the history of Catholic higher education, and the ...
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Chapter 1 explains the founding of Fordham Law School in 1905 as part of the social history of American Catholic immigrants and their children, the history of Catholic higher education, and the intellectual history of legal education. From its founding, the Fordham Law School was distinguished in offering an elite legal education taught by an elite faculty using the most advanced teaching method, the Harvard Langdellian case method. Its curriculum also was unique in that it required instruction in legal ethics and the philosophy of law. While he served as the Law School’s first dean, Paul Fuller was a senior partner in the first and most important contemporary U.S. international law firm, Coudert Brothers, and served as adviser and personal emissary in Latin American affairs for President Woodrow Wilson.Less
Chapter 1 explains the founding of Fordham Law School in 1905 as part of the social history of American Catholic immigrants and their children, the history of Catholic higher education, and the intellectual history of legal education. From its founding, the Fordham Law School was distinguished in offering an elite legal education taught by an elite faculty using the most advanced teaching method, the Harvard Langdellian case method. Its curriculum also was unique in that it required instruction in legal ethics and the philosophy of law. While he served as the Law School’s first dean, Paul Fuller was a senior partner in the first and most important contemporary U.S. international law firm, Coudert Brothers, and served as adviser and personal emissary in Latin American affairs for President Woodrow Wilson.
Chris Holmlund
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474403924
- eISBN:
- 9781474426756
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403924.003.0016
- Subject:
- Film, Television and Radio, Film
This chapter explores mutual inspiration and collaboration between female directors and actresses, singling out Nicole Holofcener and Catherine Keener and Kelly Reichardt and Michelle Williams. ...
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This chapter explores mutual inspiration and collaboration between female directors and actresses, singling out Nicole Holofcener and Catherine Keener and Kelly Reichardt and Michelle Williams. Holmlund applies the feminist ethics of Luce Irigaray’s later work to propose that the films of Holofcener/Keener and Reichardt/Williams concern relationships that acknowledge difference. Leaving an interval between partners that eliminates the objectification of the other rather than assuming positions of dominance and submission, their films, and their working partnerships as well, value an Irigarayan ‘difference for’ others, if in different ways, with Holofcener/Keener performing the subtle minutia of everyday encounters and Reichardt/Williams exploring relationships across class, race, species and the biosphere.Less
This chapter explores mutual inspiration and collaboration between female directors and actresses, singling out Nicole Holofcener and Catherine Keener and Kelly Reichardt and Michelle Williams. Holmlund applies the feminist ethics of Luce Irigaray’s later work to propose that the films of Holofcener/Keener and Reichardt/Williams concern relationships that acknowledge difference. Leaving an interval between partners that eliminates the objectification of the other rather than assuming positions of dominance and submission, their films, and their working partnerships as well, value an Irigarayan ‘difference for’ others, if in different ways, with Holofcener/Keener performing the subtle minutia of everyday encounters and Reichardt/Williams exploring relationships across class, race, species and the biosphere.
Jane Manning
- Published in print:
- 2020
- Published Online:
- October 2020
- ISBN:
- 9780199391028
- eISBN:
- 9780199391073
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199391028.003.0086
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter explores Gillian Whitehead’s Awa Herea. A personal and deeply felt response to the nature and folklore of New Zealand is always present in Whitehead’s music. The chapter illustrates how ...
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This chapter explores Gillian Whitehead’s Awa Herea. A personal and deeply felt response to the nature and folklore of New Zealand is always present in Whitehead’s music. The chapter illustrates how this is shown strongly in this cycle, for which she has composed her own text. Intimate spiritual identification with her heritage (she is one-eighth Maori) manifests itself, both in a special sensitivity to the sights and sounds of birds, beasts, plants, landscapes, and climate, and their significance in Maori culture, and in a fierce resistance to the commercial interests that threaten to destroy them. The work is divided into seven movements, some overlapping, making an exceptionally well-balanced whole.Less
This chapter explores Gillian Whitehead’s Awa Herea. A personal and deeply felt response to the nature and folklore of New Zealand is always present in Whitehead’s music. The chapter illustrates how this is shown strongly in this cycle, for which she has composed her own text. Intimate spiritual identification with her heritage (she is one-eighth Maori) manifests itself, both in a special sensitivity to the sights and sounds of birds, beasts, plants, landscapes, and climate, and their significance in Maori culture, and in a fierce resistance to the commercial interests that threaten to destroy them. The work is divided into seven movements, some overlapping, making an exceptionally well-balanced whole.
Kieran Mitton
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780190241582
- eISBN:
- 9780190492199
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190241582.003.0004
- Subject:
- Political Science, Conflict Politics and Policy
This chapter looks beyond the rational-actor framework for explanations of atrocity, beginning with an analysis of shame and the associated work of David Keen. The role that humiliation and shame ...
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This chapter looks beyond the rational-actor framework for explanations of atrocity, beginning with an analysis of shame and the associated work of David Keen. The role that humiliation and shame played in motivating and shaping violence in Sierra Leone, and the roots of these factors, are examined with reference to original testimony from perpetrators of violence, and placed within the context of findings from the behavioural sciences. The chapter concludes that shame and humiliation are useful for better understanding many specific forms of atrocity, but cannot be used to fully explain those instances of violence in which dehumanization, the emotion of disgust, or the apparent enjoyment of cruelty and violence played a role.Less
This chapter looks beyond the rational-actor framework for explanations of atrocity, beginning with an analysis of shame and the associated work of David Keen. The role that humiliation and shame played in motivating and shaping violence in Sierra Leone, and the roots of these factors, are examined with reference to original testimony from perpetrators of violence, and placed within the context of findings from the behavioural sciences. The chapter concludes that shame and humiliation are useful for better understanding many specific forms of atrocity, but cannot be used to fully explain those instances of violence in which dehumanization, the emotion of disgust, or the apparent enjoyment of cruelty and violence played a role.
