Ireland S Master Storyteller

A wonderful collection of some of the best stories by this master writer.

A wonderful collection of some of the best stories by this master writer.

In this collection, actor and seanchaí (traditional storyteller) Éamon Kelly's finest stories are collected for the first time: stories of the real Kerry and the magical past of the Gobán Saor, the heartbreak of emigration, the stations, the priests, the courting and dancing, the war between the sexes. Kelly mines a rich seam of humour and sadness out of resilience of a people rich in hospitality and generosity, imagination, culture and tradition.

Supported by documents, many of which were not readily available or have never been published before, this book studies images of the 'Irish traditional storyteller' offered at different periods, from several viewpoints and for various purposes. Invariables, changes, ruptures and the effect of conflicting attitudes and ideologies are identified. Contextualized in Irish history and on the wider European scene, this huge book explores the testimony of early antiquarians, accounts of meetings with storytellers by 18th- or 19th-century travelers, representations of acts of elite storytelling in ancient Irish literature or of popular ones in oral tradition itself and in fiction in English - attention is given to the works of Maria Edgeworth, Lady Morgan, the Banim brothers and Griffin, Carleton, Lover, Le Fanu, Somerville and Ross, Yeats, Synge, George Moore and Joyce, and some more recent authors. The evolution of the aims and methods of folklorists, from the Romantic Age to the institutionalization of collecting and to modern ethnographic projects, and the links between definitions of folklore and cultural nationalism are investigated, as are the complex relationships between storytelling, history and truth and the concepts of Irishness and tradition. Another section tries to establish what is known of actual storytelling in the 19th century and in the first half of the 20th: the tellers' training, their techniques and conception of tradition, their status, the etiquette of performance and the role of the audience. Themes and formal characteristics of different kinds of oral narratives are examined.

Essay from the year 2016 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,0, University College Cork, course: Irish Folkore, language: English, abstract: The information era and the ongoing globalization are leading to a loss of cultural identity in many countries over the world. While Ireland is strongly connected to the digital Revolution with its many multinational IT-companies, it is even stronger connected to its culture and traditions. One of the most important parts of Irish Folklore is the storytelling. As Gearóid Ó Crualaoich wrote: ‘The perceived heritage of Irish stories and storytelling, taken together, is regarded as having the status of a Grand Tradition’. The aim of this essay is to make an analyses of the Irish storytelling, its typical process, variations and especially the role of the storyteller himself. Since a distinction is made according to the genres of the told stories, this essay will mainly focus on the scéalaí, and if he is the practitioner of oral literature par excellence.

“Riveting . . . Readers will quickly warm to [Frank] Delaney’s vividly described Ireland of the 1950s, its fully realized inhabitants, and the dynamic political and personal relationships that make for a remarkable story.”—Publishers Weekly (starred review) “If we’re to live good lives, we have to tell ourselves our own story. In a good way.” So says Ben MacCarthy’s beloved mentor, and it is this fateful advice that will guide Ben through the tumultuous events of Ireland in 1956. The national mood is downtrodden; poverty, corruption, and an armed rebellion rattle the countryside; and although Ben wants no part of the insurrection, he unknowingly falls in with an IRA sympathizer. Yet despite his perilous circumstances, all he can think about is finding his former wife and true love, Venetia Kelly, who after many years has returned to Ireland with her brutish new husband, a popular stage performer. Determined not to lose Venetia again, Ben calls upon every bit of his passion and courage to win her back, while finally reconciling his violent past with his hopes for a bright future. Brimming with fascinating Irish history, daring intrigue, and the drama of legendary love, The Last Storyteller is an unforgettable novel as richly textured and inspiring as Ireland itself. “A colorful, leisurely tale, with dark moments as well as humor and grace.”—The Star-Ledger “A magical tale [that] weaves in a jackpot of Irish myths.”—Bookreporter “Character-rich and dramatic.”—Library Journal

In Brian Friel's writing, the distinction between public and private is closely linked to the concepts of home, family, identity and truth. This study examines the characters' excessive introspection and their deep-seated need to disclose their most intimate knowledge and private truths to define who they are and, thus, to oppose dominant discourse or avoid heteronomy. This study begins by investigating how a number of Anglo-Irish writers publicised their characters' private versions of truth thereby illustrating what they perceived to be the space of 'Irishness'. The book then focuses on Friel's techniques of sharing his character's private views to demonstrate how he adopted and adapted these practices in his own oeuvre. As the characters' superficial inarticulateness and their vivid inner selves are repeatedly juxtaposed in Friel's texts, his oeuvre, quintessentially, displays a great unease with the concepts of communication and absolute truth.

"Experience the magical world of Irish storytelling where many remarkable characters await you: a king with a mysterious secret, brave warriors famous for their strength, a clever leprechaun who outwits humans, and many more"--Front dust jacket flap.