Made In Ireland

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

Have you ever wanted to press the escape button on your life? Ruth Davenport writes about romance and happily ever after. But not from experience. After a heartbreaking rejection, she decides a change of scenery is needed. On a whim, she thinks Ireland is the place to go to write her next book. But when she arrives, everything that can go wrong, does. In the middle of the night, she lands on the doorstep of an Irish pub in the middle of nowhere belonging to an enigmatic Irishman. Sean Hughes needs a woman under his roof like he needs a hole in the head. His policy is to steer clear of all women in general. Besides, he’s too busy running a pub and getting his dream business up off the ground. He has no time to be helping pretty tourists. But he needs some quick cash and she needs accommodation. A deal is struck that suits them both. As they spend more time together, they begin to see the other in a different light. Can they overcome their fears and take a chance on happiness? Read the rest of the books in the Escape to Ireland series. Her Fake Irish Husband Her Irish Inheritance A Match for the Matchmaker

When the Irish nationalist Michael Collins signed the Anglo-Irish Treaty in December 1921, he observed to Lord Birkenhead that he may have signed his own death warrant. In August 1922 that prophecy came true when Collins was ambushed, shot and killed by a compatriot, but his vision and legacy lived on. Tim Pat Coogan's biography presents the life of a man whose idealistic vigor and determination were matched by his political realism and organizational abilities. This is the classic biography of the man who created modern Ireland.

Although the policy has frequently been dismissed as either incoherent or inconsequential, it very nearly succeeded in its objectives and certainly brought about a profound transformation in the political, social, and economic landscape of Ireland."--BOOK JACKET.

Traces the life of the man who negotiated for Irish independence and describes the political background of the times. Bibliog.

A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studies—from the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both ‘British’ and ‘Irish’ cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.

NEW YORK TIMES BESTSELLER NEW YORK TIMES • 10 BEST BOOKS OF THE YEAR NATIONAL BESTSELLER The Atlantic: 10 Best Books of 2022 Best Books of the Year: Washington Post, New Yorker, Salon, Foreign Affairs, New Statesman, Chicago Public Library, Vroman's “[L]ike reading a great tragicomic Irish novel.” —James Wood, The New Yorker “Masterful . . . astonishing.” —Cullen Murphy, The Atlantic "A landmark history . . . Leavened by the brilliance of O'Toole's insights and wit.” —Claire Messud, Harper’s Winner • 2021 An Post Irish Book Award — Nonfiction Book of the Year • from the judges: “The most remarkable Irish nonfiction book I’ve read in the last 10 years”; “[A] book for the ages.” A celebrated Irish writer’s magisterial, brilliantly insightful chronicle of the wrenching transformations that dragged his homeland into the modern world. Fintan O’Toole was born in the year the revolution began. It was 1958, and the Irish government—in despair, because all the young people were leaving—opened the country to foreign investment and popular culture. So began a decades-long, ongoing experiment with Irish national identity. In We Don’t Know Ourselves, O’Toole, one of the Anglophone world’s most consummate stylists, weaves his own experiences into Irish social, cultural, and economic change, showing how Ireland, in just one lifetime, has gone from a reactionary “backwater” to an almost totally open society—perhaps the most astonishing national transformation in modern history. Born to a working-class family in the Dublin suburbs, O’Toole served as an altar boy and attended a Christian Brothers school, much as his forebears did. He was enthralled by American Westerns suddenly appearing on Irish television, which were not that far from his own experience, given that Ireland’s main export was beef and it was still not unknown for herds of cattle to clatter down Dublin’s streets. Yet the Westerns were a sign of what was to come. O’Toole narrates the once unthinkable collapse of the all-powerful Catholic Church, brought down by scandal and by the activism of ordinary Irish, women in particular. He relates the horrific violence of the Troubles in Northern Ireland, which led most Irish to reject violent nationalism. In O’Toole’s telling, America became a lodestar, from John F. Kennedy’s 1963 visit, when the soon-to-be martyred American president was welcomed as a native son, to the emergence of the Irish technology sector in the late 1990s, driven by American corporations, which set Ireland on the path toward particular disaster during the 2008 financial crisis. A remarkably compassionate yet exacting observer, O’Toole in coruscating prose captures the peculiar Irish habit of “deliberate unknowing,” which allowed myths of national greatness to persist even as the foundations were crumbling. Forty years in the making, We Don’t Know Ourselves is a landmark work, a memoir and a national history that ultimately reveals how the two modes are entwined for all of us.

The Irish Yearbook of International Law is intended to stimulate further research into Ireland's practice in international affairs and foreign policy, filling a gap in existing legal scholarship and assisting in the dissemination of Irish thinking and practice on matters of international law. On an annual basis, the Yearbook presents peer-reviewed academic articles and book reviews on general issues of international law. Designated correspondents provide reports on international law developments in Ireland, Irish practice in international fora and the European Union, and the practice of joint North-South implementation bodies in Ireland. In addition, the Yearbook reproduces documents that reflect Irish practice on contemporary issues of international law. Publication of the Irish Yearbook of International Law makes Irish practice and opinio juris more readily available to Governments, academics and international bodies when determining the content of international law. In providing a forum for the documentation and analysis of North-South relations the Yearbook also make an important contribution to post-conflict and transitional justice studies internationally. As a matter of editorial policy, the Yearbook seeks to promote a multilateral approach to international affairs, reflecting and reinforcing Ireland's long-standing commitment to multilateralism as a core element of foreign policy.