The Langland Myth

PMLA ◽  
1935 ◽  
Vol 50 (1) ◽  
pp. 36-56 ◽  
Author(s):  
Oscar Cargill
Keyword(s):  
Trinity College ◽  
William Langland ◽  
Piers Plowman ◽  
Trinity College Dublin ◽  
The One ◽  
The Trinity

It is remarkable that the one possibly contemporary statement in regard to the authorship of Piers Plowman has never been adequately examined. That is the note in the Trinity College Dublin MS. D, 4, I (Skeat's No. XLI, C-text), to the effect that the author was William Langland, the son of a gentleman, Stacy de Rokayle, who lived in Shipton-under-Wychwood as a tenant of Lord le Spenser in the County of Oxford:Memorándum quod Stacy de Rokayle pater Willielmi de Longlond, qui Stacius fuit generosus, et morabatur in Shypton under Whicwode, tenens domini le Spenser in comitatu Oxon., qui predictus Willielmus facit librum qui vocatur Perys ploughman.

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.

Lady Meed and God's Meed: the Grammar of ‘Piers Plowman’ B 3 and C 4

Traditio ◽  
1991 ◽  
Vol 46 ◽  
pp. 291-311 ◽  
Author(s):  
Paula J. Carlson
Keyword(s):  
William Langland ◽  
Piers Plowman ◽  
The Third ◽  
Piers Plowman B ◽  
The One

When William Langland revised his poem Piers Plowman for the second time, he added a long, intricate analogy to the third passus. In all three versions of Piers, the dreamer, Will, finds himself in this early passus at a king's court and witnesses a debate between two figures, Lady Meed and Conscience, about the appropriateness of their possible marriage. The B text, the one scholars most often discuss, presents the would-be bride, Lady Meed, arguing that regardless of their nature the gifts she dispenses at court are integral to the smooth operation of society. These gifts, then, are honorable, and Lady Meed's nature need not prevent her marriage to Conscience. The reluctant Conscience, however, distinguishes between two kinds of meed, one holy and one corrupt. He holds that Lady Meed represents only the corrupt meed and so is intrinsically immoral. Her ‘gifts’ and ‘payments,’ he says, are not proportionate to desert, as she claims, but are instead bribes and payoffs. Rather than easing the functioning of society, they subvert it. On these grounds, Conscience refuses to marry Lady Meed. The king before whom Lady Meed and Conscience argue is initially torn about the nature of Lady Meed, as indeed readers of the poem have remained. In what appears to be an effort to clarify Conscience's argument, Langland adds almost a hundred lines to the debate in the C text.

The second language lexicon: some evidence from university-level learners of French and German

1991 ◽  
Vol 7 (1) ◽  
pp. 61-81 ◽  
Author(s):  
David Singleton ◽  
David Little
Keyword(s):  
Second Language ◽  
Lexical Processing ◽  
Trinity College ◽  
Mental Lexicon ◽  
Pilot Phase ◽  
Trinity College Dublin ◽  
The Status ◽  
University Level ◽  
The Trinity ◽  
The Way

A widely held view among psycholinguists is that the L2 mental lexicon is qualitatively different from the L, mental lexicon - more 'phonological' and more 'loosely organized'. In this paper we present some C-test-elicited data from the pilot phase of the Trinity College Dublin Modern Languages Project which call the above view into question. Our data suggest that the way in which words are processed depends not on the status (L1 or L2) of the language of which they are tokens, but rather on the degree of difficulty of the lexical task concerned. Our data further suggest that there is some measure of interaction between L, and L2 lexical processing.

scholarly journals Can you teach an old dog new tricks? Institution-wide pedagogical reform at an elite university in Ireland

2017 ◽  
Vol 8 (2) ◽  
pp. 87-93
Author(s):  
Michelle Share ◽  
Ciara O'Farrell
Keyword(s):  
Trinity College ◽  
Assessment Framework ◽  
Interdisciplinary Learning ◽  
Trinity College Dublin ◽  
Elite University ◽  
Assessment Of Learning ◽  
The Social ◽  
Pedagogical Reform ◽  
Teaching Learning ◽  
The Trinity

Institution-wide pedagogical reforms are common across higher education institutions. Such reforms may be driven by rationalisation as well as recognition of the need to provide students with interdisciplinary learning experiences that equip them with the “social and analytic competencies needed in contemporary careers outside the academy” (British Academy, 2016, p.5). This paper reports on an institution-wide pedagogical reform initiative, the Trinity Education Project (TEP), at Trinity College Dublin, an elite and ancient Irish university. We describe the development of the TEP and the implementation of its Assessment Framework, which aims to bring diversity into teaching, learning and assessment through the assessment of graduate attributes in a system strongly focused on assessment of learning, examinations and lectures. Reflections on challenges are presented. Discussion centres on the extent to which it is possible, and the best approach, to achieve consensus in an educational system where autonomous disciplinary structures and traditions prevail.

‘Mirror up to nation’: Synge and Shakespeare

2015 ◽  
Vol 45 (1) ◽  
pp. 9-24
Author(s):  
Anthony Roche
Keyword(s):  
James Joyce ◽  
Trinity College ◽  
Western World ◽  
Complex Relationship ◽  
National Theatre ◽  
Trinity College Dublin ◽  
The Dead ◽  
The One

Christopher Murray, Philip Edwards, and Rebecca Steinburger have examined the ways in which the Irish Dramatic Revival drew on the example and plays of Shakespeare. Their emphasis falls on Yeats and O'Casey, both of whom have written extensively on Shakespeare in their prose essays and autobiographies. The allusions to Shakespeare by Synge are much briefer and more cryptic. And yet there is a deep and complex relationship between Shakespeare and Synge, as this essay will indicate. The one writer who has paired the two is James Joyce, in the Library chapter of Ulysses, set in the same year that Ireland's National Theatre was founded. The essay also looks at the neglected fact that Synge, while an undergraduate at Trinity College, Dublin, took lectures on Shakespeare from Professor Edward Dowden and made copious extracts from Dowden's Shakespeare: His Mind and Art. The essay goes on to examine Synge's key remarks on Shakespeare in relation to Irish writers and to compare the return of the dead father in The Playboy of the Western World and Hamlet.

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