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.

From “Ireland’s finest living novelist” (Roddy Doyle)—a funny, moving, exquisitely written novel about a community on the cusp of change Acclaimed Irish author Dermot Healy’s first novel in more than ten years is a rich, beguiling, and wonderfully funny story about community, family, love, and bonds across generations, an epic in miniature that features an unforgettable cast of innocents and broken eccentrics. The novel presents the bemusing and unsettling misadventures of Philip Feeney, known to one and all as Mister Psyche, a teenager haunted by a recent traumatic event who takes up with two men some fifty years his senior. Its still, lyrical power casts a miraculous literary spell and will appeal to readers of William Trevor, Roddy Doyle, John McGahern, and Anne Enright.

In a wind-battered Mayo cottage, playwright Jack Ferris tries to salvage something from his broken love affair with Catherine Adams. Drink and despair drove her away; can his imagination call her back? But as he summons up her past, Jack finds he has also called up Catherine's RUC father and a whole dangerous world of opposed traditions.

Modern Irish Autobiography provides the first comprehensive critical analysis of the Irish autobiographical tradition from the early nineteenth century to the present day. This pioneering collection offers readers a stimulating and provocative introduction to the principal themes, modes and narrative strategies of Irish autobiographers.