Inhaltsangabe:Abstract: Irish English (hereafter abbreviated as IE) has been the subject of many previous studies, dealing primarily with history, grammar, pronunciation and lexicon. Many works have also been published about the English language used in works of famous Anglo-Irish authors such as Swift, Synge or Joyce. However, little research exists on the English language used in works by contemporary Irish authors. The purpose of this paper is to give an idea of what modern written IE is like. In this paper four plays by contemporary Irish authors (all born between 1950 and 1960) will be analysed with regards to pronunciation, grammar, lexicon and manners of speech. These plays are: - The Factory Girls by Frank McGuinness. - After Easter by Anne Devlin. - Brownbread by Roddy Doyle. - At The Black Pig s Dyke by Vincent Woods. As will be discussed later on, IE is not a common dialect, but regionally different, especially between the northern and the southern part of the island. In order to point out some dialect variation, the plays were selected according to their settings, which were County Donegal, Belfast, Dublin and County Leitrim. This paper will be divided into two parts. In the first part, I would like to give a theoretical overview of the various aspects of IE, such as grammar, pronunciation, lexicon and manners of speech, and how they differ from Standard English (henceforth abbreviated as SE). I will commence by providing a historical overview on how and when the English language came to Ireland, which is essential for understanding the further development of the different dialects and accents. This introductory overview is followed by IE pronunciation and grammar in comparison to RP and SE respectively. Subsequently, the lexicon of IE and certain manners of speech, such as exaggeration, will be considered. The second part will comprise the analyses of the four plays, which were carried out on the basis of those features of IE outlined in the theoretical part. The analyses will provide a short summary of the respective play, and present relevant examples from the plays. Evidently, there are more typically Irish features in the text corpus, however these are not investigated here. The second part will conclude with a comparison of the findings of the four plays. Inhaltsverzeichnis:Table of Contents: 1.Introduction3 Part I.5 2.The advance of the English language in Ireland across the [...]

This Handbook offers a multiform sweep of theoretical, historical, practical and personal glimpses into a landscape roughly characterised as contemporary Irish theatre and performance. Bringing together a spectrum of voices and sensibilities in each of its four sections — Histories, Close-ups, Interfaces, and Reflections — it casts its gaze back across the past sixty years or so to recall, analyse, and assess the recent legacy of theatre and performance on this island. While offering information, overviews and reflections of current thought across its chapters, this book will serve most handily as food for thought and a springboard for curiosity. Offering something different in its mix of themes and perspectives, so that previously unexamined surfaces might come to light individually and in conjunction with other essays, it is a wide-ranging and indispensable resource in Irish theatre studies.

With the publication of The Third Policeman, Dalkey Archive Press now has all of O'Brien's fiction back in print.

Observe the Sons of Ulster Marching Towards the Somme was revived by the Abbey Theatre, Dublin in 1994 as part of an acknowledgement of the peace process. The production was subsequently taken to the Edinburgh Festival in 1995 and opened at the Royal Shakespeare Company's Barbican Theatre, London, in March 1996.

With exclusive access to the Haughey archives, Gary Murphy presents a reassessment of Charles Haughey's life and legacy. Saint or sinner? Charles Haughey was, depending on whom you ask, either the great villain of Irish political life or the benevolent and forward-thinking saviour of a benighted nation. He was undoubtedly the most talented and influential politician of his generation, yet the very roots of his success – his charisma, his intelligence, his ruthlessness, his secrecy – have rendered almost impossible any objective evaluation of his life and work. That is, until now. Based on unfettered access to Haughey's personal archives, as well as extensive interviews with more than eighty of his peers, rivals, confidants and relatives, Haughey is a rich and nuanced portrait of a man of prodigious gifts, who, for all his flaws and many contradictions, came to define modern Ireland. 'A superbly balanced exploration of the life and politics of one of the most fascinating figures in 20th century Ireland.' Professor John Horgan 'An indispensable read for anyone with an interest in modern Irish history.' David McCullagh 'Offers much new detail – and not a few surprises – about the personality and career of a political titan who is still, in equal measure, revered and reviled in 21st century Ireland.' Conor Brady

Rory O'Connell, Ballymaloe Cookery School teacher and author of Master It (winner of the prestigious Andre Simon Food Book Award), is back with his second cookbook, which contains the recipes from his popular RTE TV show, How to Cook Well, and focuses on seasonal, balanced three-course meals for elegant eating and entertaining. Recipes are divided by season and include Beetroot and Autumn Raspberries with Honey, Mint and Labna; Sashimi of Mackerel with Crisped Radishes and Scallions; Roast Hazelnut Panna Cotta with Chocolate and Caramel Sauce and Duck Leg Curry with Cider Vinegar. Each perfectly balanced meal caters for 4-6 people, and one of the meals is entirely meat-free. In addition, every season includes a menu for entertaining a large group of people - from a summer alfresco lunch to a Christmas feast. Complete meals can be replicated for elegant entertaining, or individual dishes can be tried for simple and pleasing lunches or dinners. An absolute delight of a cookbook offering a very modern way to eat.