Researching Irish art in its educational context

2018 ◽  
Vol 43 (3) ◽  
pp. 123-126
Author(s):  
John Turpin
Keyword(s):  
Skill Acquisition ◽  
Art History ◽  
Trinity College ◽  
Art And Design ◽  
Trinity College Dublin ◽  
Documentary Sources ◽  
Royal Dublin Society ◽  
British Rule ◽  
The 1960S ◽  
Irish Art

Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.

scholarly journals Composing in Exile

2010 ◽  
Vol 1 (1) ◽  
Author(s):  
Rosemarie Rowley
Keyword(s):  
Cold War ◽  
Early Retirement ◽  
Film Industry ◽  
Trinity College ◽  
English Literature ◽  
War Poetry ◽  
Trinity College Dublin ◽  
Literary Revival ◽  
National University ◽  
The 1960S

Rosemarie Rowley Rosemarie Rowley was born in 1942. She received a Dublin Corporation scholarship in the fifties, has degrees in Irish and English literature (with Distinction) at Trinity College, Dublin, philosophy, and, later,  psychology (National University of Ireland). While at Trinity College in the 1960s she published her first poems. After working as a teacher, in the nascent film industry in Ireland, and as a European fonctionnaire in Luxembourg, she took early retirement and began to participate in the emerging environmental movement in Ireland. She has published five books of poetry, not counting a Cold War poetry pamphlet, “Politry” and has four times won the Epic award in the Scottish International Poetry Competition. “The Sea of Affliction” (1987) counts as one of the first works in eco-feminism ( The Irish Literary Revival website). Her most recent books are “Hot Cinquefoil Star” (2002) and “In Memory of Her” (2004, 2008) both published by Rowan Tree Press, Dublin. See also http://www.rosemarierowley.ie/

Reading and Writing History in Sixteenth-Century France: The Case of La Legende des Flamens (1522)

2016 ◽  
Vol 16 (1) ◽  
pp. 59-85
Author(s):  
Catherine Emerson
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Early Modern ◽  
Trinity College ◽  
Reading And Writing ◽  
Trinity College Dublin ◽  
Documentary Sources ◽  
Lost Work ◽  
Historical Writings ◽  
The Way

A rare copy of a first edition of La Légende des Flamens, now in Trinity College Dublin, reveals a number of facts about its position in that library, probably a mid-nineteenth-century acquisition but acquired in the context of existing similar holdings of medieval and early modern French historical writings. Unlike these writings, however, the text takes an explicitly anti-Flemish and pro-French royalist stance. Criticism levelled at the two most recently deceased popes — or at the English — may explain why the author has decided to remain anonymous, or the text may have been conceived as a compilation of documentary sources without need for an author. This article examines the way that the text deploys sources, including a lost work by Giles of Rome, and draws some conclusions about the situation of the author of the text. Publisher François Regnault is considered as a possible author.

scholarly journals Metodologia de pesquisa da história da arte para o estudo de obras de Salões de Arte da década de 1960

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 244
Author(s):  
Nelyane Gonçalves Santos
Keyword(s):  
Art History ◽  
Historical Discourse ◽  
The Public ◽  
Brazilian Art ◽  
Documentary Sources ◽  
The 1960S

Na tendência de estudos acerca dos salões na história da arte no Brasil é necessário o desenvolvimento de uma metodologia pautada na análise das obras que compuseram esses eventos. A constituição dos circuitos artísticos a partir da efervescência que os salões geravam entre artistas, críticos e público, nos chama a atenção sobre a necessidade de ampliarmos a compreensão das propostas artísticas vistas a partir da materialidade e visualidade das obras. Isto porque, o estabelecimento de marcos definidores de uma arte brasileira na transição do moderno ao contemporâneo, afastou os discursos históricos das obras e os aproximou da interpretação de fontes documentais, forçosamente associadas aos movimentos de arte em esfera internacional. Assim, a proposta metodológica que aqui se apresenta, coloca o desafio da interpretação das obras a partir de seus próprios vestígios e sentidos, sem desconsiderar a ampliação da pesquisa por meio de fontes documentais que esclareçam, mas não “profetizem” uma revelação de significado para a arte no Brasil da década de 1960. ABSTRACT The trend of studies on the salons in Brazil's art history is necessary to develop a guided methodology in the analysis of the works that made up those events. The constitution of the artistic circuit from the effervescence that the halls generated among artists, critics and the public draws our attention on the need to broaden the understanding of artistic proposals views from the visual and materiality of the works. This is because the establishment of the defining landmarks of Brazilian art in the transition from modern to contemporary, away from the historical discourse of the works and approached the interpretation of documentary sources, necessarily associated with art movements in the international sphere. Thus, the methodological proposal presented here, puts the challenge of interpretation of works from its own traces and directions, without disregarding the expansion of research through documentary sources to clarify, but not "prophesy" a revelation of significance for art in Brazil in the 1960s. KEYWORDS Methodology, art history, art salons, visuality, materiality.

Racine Lighting Beckett

2016 ◽  
Vol 25 (2) ◽  
pp. 225-242
Author(s):  
Cal Revely-Calder
Keyword(s):  
Samuel Beckett ◽  
Trinity College ◽  
Trinity College Dublin ◽  
The Trinity

Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.

Are We Doing Diversity Justice? A Critical Exchange

2020 ◽  
Vol 50 (1) ◽  
pp. 112-119
Author(s):  
Chiamaka Enyi-Amadi ◽  
Emma Penney
Keyword(s):  
Trinity College ◽  
Literary Culture ◽  
Value Systems ◽  
Irish Literature ◽  
Critical Race ◽  
Roundtable Discussion ◽  
Literary Value ◽  
Irish Studies ◽  
Trinity College Dublin ◽  
Race Analysis

This critical exchange is based on a conversation between the authors which took place during the Irish University Review Roundtable Discussion: Displacing the Canon (2019 IASIL Conference, Trinity College Dublin). As authors we give first-hand accounts of our experience writing, editing, and teaching in Ireland, attempting to draw out concerns we have for the future of Irish literature and Irish Studies that specifically relate to race. The conversation here suggests that race directly impacts what we consider valuable in our literary culture. We both insist on decentring universalism as a governing literary critical concept and insist on the urgent application of critical race analysis to the construction of literary value systems in Ireland.

Poetry and Science: William Wordsworth and his Irish Friends William Rowan Hamilton and Francis Beaufort Edgeworth, c. 1829

Romanticism ◽  
2020 ◽  
Vol 26 (1) ◽  
pp. 89-101
Author(s):  
Brandon C. Yen
Keyword(s):  
Literary History ◽  
William Wordsworth ◽  
Trinity College ◽  
Bodleian Library ◽  
Trinity College Dublin ◽  
The Relationship

Through hitherto neglected manuscripts at Trinity College Dublin, the Bodleian Library, and the Wordsworth Trust, this paper explores the relationship between William Wordsworth and his Irish friends William Rowan Hamilton and Francis Beaufort Edgeworth around 1829. It details the debates about poetry and science between Hamilton (Professor of Astronomy at Trinity College Dublin and Royal Astronomer of Ireland) and Edgeworth (the novelist Maria Edgeworth's half-brother), in which Wordsworth was embroiled when he visited Ireland in the autumn of 1829. By examining a variety of documents including letters, poems, lectures, and memoirs, a fragment of literary history may be restored and a clearer understanding may be reached of the tensions between poetry and science in Wordsworth's poetry, particularly in The Excursion, and of the Irish provenance of a memorable passage in ‘On the Power of Sound’.

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