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<records>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>1</startPage>
    <endPage>11</endPage>
    <publisherRecordId>6193</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Writing the Naked Body: Sex and Nudity in Nuala Ní Chonchuír’s Nude ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Máximo Aláez-Corral ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Oviedo, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay looks into the deconstruction of the male gaze and the objectification process around the concepts of nudity and nakedness. Starting from the review of some of Martha Nussbaum’s, John Berger’s, or Laura Mulvey’s main ideas on the topic of the gaze and objectification, a practical analysis of some of the short stories contained in Nuala Ní Chonchúir’s Nude (2009) is provided. By so doing, I intend to examine the ways in which conventional objectification phenomena can be turned upside down, challenged or parodied in order to reveal cultural discriminatory undercurrents and offer a new non-objectifying visual and written representation of the naked body.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/Maximo-Alaez-Corral_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Ní Chonchúir</keyword>
              <keyword>Objectification</keyword>
              <keyword>Male Gaze</keyword>
              <keyword>Nude</keyword>
              <keyword>Naked Body</keyword>
              <keyword>Feminism.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>12</startPage>
    <endPage>22</endPage>
    <publisherRecordId>6011</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Power, Gender and the Nation: Negotiations of Belonging in Evelyn Conlon’s Short Story “Park-Going Days” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ María Amor Barros-del Río ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of  Burgos, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In the central decades of the 20th century, the feminine icons of “Mother Church” and “Mother Ireland” were set as conduct models to follow by Irish women. Simultaneously, legal, moral and economic forces collaborated in limiting the scope of their agency. In order to elicit where women situated and how female expressions of belonging and not belonging took shape, this article uses intersectionality to look into the short story “Park-Going Days” authored by women’s rights activist and writer Evelyn Conlon. The plot displays the ambivalent feelings of the newcomer, a childless married woman, towards the other women in the community and her difficulties fitting in. At the same time, this story provides the reader with the unspoken personal experiences of these women in relation to marriage, work and motherhood. Thus, the analysis will show how this situation is constructed and understood by the author. Besides, the use of intersectionality will allow a multi-level analysis to unveil the interdependence of structures, social categories and representations that result in socially constructed forms of differentiation and exclusion for (some) women, and the consequent forms of resistance and consent. Finally, new paths for literary analysis are suggested within the frame of intersectionality.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/M.Amor-Barros-del-Rio_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Ireland</keyword>
              <keyword>Motherhood</keyword>
              <keyword>Intersectionality</keyword>
              <keyword>Exclusion</keyword>
              <keyword>Belonging</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>23</startPage>
    <endPage>32</endPage>
    <publisherRecordId>6184</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Bram Stoker’s Proposal for the Development of a  Small Nation ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Manuel Cadeddu ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Independent Scholar, Sardinia, Italy ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay aims at exploring Bram Stoker’s interest in the conditions of Ireland, where he was born in 1847 and where he spent almost half of his life. He spoke and wrote about it more than once over the decades, showing not only his interest in this field but also that he foresaw a bright future for his homeland. At the same time, he repeatedly put forth his proposal for the development of a small nation, either hiding behind a fictional country of his own invention or calling it openly Ireland. The main source for this brief analysis is The Lady of the Shroud, one of his last novels. Reference is also made to his first novel, The Snake’s Pass, and to two articles and an address he gave in public while still at university.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Manuel-Cadeddu_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Bram Stoker</keyword>
              <keyword>Lady of the Shroud</keyword>
              <keyword>The Snake’s Pass</keyword>
              <keyword>Ireland’s progress.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>33</startPage>
    <endPage>44</endPage>
    <publisherRecordId>5949</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A Life of Their Own: Women’s Mid-life Quest in Contemporary Irish Women’s Short Stories ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ann Wan-lih Chang ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Shih-chien University, Kaohsiung Campus, Taiwan ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay focuses on the motif of quest, as initiated by older or middle-aged women and depicted in stories by Clare Boylan, Éilís Ní Dhuibhne, Stella Mahon, Mary Dorcey and Marilyn McLaughlin in the 1980s and 90s. Throughout the western literary canon the quest motif recurs in myths, legends or genres such as rite-of-passage novels, in which a hero (seldom a heroine) is encouraged to prove his own value through a series of tests. Within this tradition, a woman’s quest is usually one involving a process which shapes her into the contemporary norms of social conformity – essentially losing or sublimating the self rather than developing or expressing the potential of the self. Notwithstanding the traditional depictions of a female quest in which loss and self-sacrifice are characteristic, representations of Irish women in the stories explored in this essay demonstrate heroines whose quest leads them to a kind of awakening and enlightenment. The heroine in Irish women’s stories engages in subversion of the social norm as part of an attempt to reconcile with residual trauma from the past, or with inner conflicts which have left her feeling alienated from accepted social conventions and expectations in respect of women. Irish female writers illustrate through their narrative a latent power to challenge and to subvert the traditionally accepted and dominant patriarchal ideology of Irish society.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Ann-Wan-lih-Chang_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Irish feminism</keyword>
              <keyword>Irish Short Story</keyword>
              <keyword>Rebellious Women</keyword>
              <keyword>Transformation</keyword>
              <keyword>Quest</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>44</startPage>
    <endPage>55</endPage>
    <publisherRecordId>6081</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A Map of Things Known and Lost  in Anne Enright’s The Green Road ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Margarita Estévez-Saá ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Santiago de Compostela, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The present contribution interprets Anne Enright’s most recent novel, The Green Road (2015), as the story of two decades of an Irish family that is used by the writer to offer an alternative fictional rendering of the history of Ireland and the Irish from the 1980s till the early twenty-first century, as well as, formally speaking, a further contribution to the Irish writers’ penchant for destabilizing the conventions of a literary genre too frequently associated with British settlement and stability (Eagleton 1995) and with nineteenth-century realism (Hand 2011); and, therefore, recurrently considered as unable to apprehend the disruptive and multifaceted condition of Ireland and the Irish. Enright goes from the particular to the universal: the story of the Madigans serves to cover the recent history of Ireland as well as to deal with concerns such as motherhood, religion, sex, aging depression, illness, materialism and migrations, among others. Formally speaking, Enright’s latest novel is undoubtedly the most daring and innovative text in her already vast literary output and can and should be interpreted as the author’s most remarkable contribution to a literary genre with which Irish writers have not ceased to experiment.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/Margarita-Estevez-Saa_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Anne Enright</keyword>
              <keyword>The Green Road</keyword>
              <keyword>Family</keyword>
              <keyword>Contemporary society</keyword>
              <keyword>Irish history</keyword>
              <keyword>Irish novels</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>56</startPage>
    <endPage>68</endPage>
    <publisherRecordId>6098</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “Dublin Traitors” or “Gallants of Dublin” The Argentine Newspapers and the Easter Rising ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Mariano Galazzi ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Universidad Austral, Argentina ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The Easter Rising was a turning point in contemporary Irish history. Although it lasted for a few days, from Monday 24 to Saturday 29 April, 1916, it had great impact in Ireland itself, and it also aroused considerable interest in many other countries, particularly in those with a significant Irish community, as in the case of Argentina. The aim of this paper is to study the way in which the contemporary Argentine graphic media (published in Spanish and in English) presented and commented about the events that took place in Dublin. While it will try to contribute to the knowledge of the global echoes of the Easter Rising, this analysis will seek to help in a better understanding of the ideas of the English-speaking groups in Argentina, and particularly of the Irish community in that country, a group formed mainly by Argentine-born people of Irish descent.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/Mariano-Galazzi_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Easter Rising</keyword>
              <keyword>1916</keyword>
              <keyword>Irish Diaspora</keyword>
              <keyword>Argentina</keyword>
              <keyword>Newspapers.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>69</startPage>
    <endPage>81</endPage>
    <publisherRecordId>5887</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Terrys in Spain and Latin-America: Exile and Rise of an Irish Merchant Family ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Beatriz García-Álvarez de la Villa ]]></name>
        <affiliationId>1</affiliationId>
      </author>
     
      <author>
        <name><![CDATA[ Kevin Terry ]]></name>
        <affiliationId>2</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Oviedo, Spain ]]></affiliationName>
     
      <affiliationName affiliationId="2"><![CDATA[ Cloyne Literary and Historical Society, Ireland ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This paper examines a Cork merchant family, Terry, with particular attention to the causes of their exile to Spain about 1700. Their significant sway in the civic and commercial affairs of Cork City at the beginning of the 17th century, and their downfall by the mid 17th century due to the impact on Catholic families of The Cromwellian Wars are detailed. After their exile to Spain, the success of this Irish family is linked to the recognition by the Spanish crown of their proofs of nobility, and the rights they gained to trade with the Indies. Their descendants quickly rose to influential positions in Spain and in South America where they moved to during the 18th century.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/Garcia-AlvarezTerry_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>History</keyword>
              <keyword>Terry</keyword>
              <keyword>Merchant</keyword>
              <keyword>Exile</keyword>
              <keyword>Genealogy</keyword>
              <keyword>Irish Americans</keyword>
              <keyword>Irish Spanish</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>82</startPage>
    <endPage>92</endPage>
    <publisherRecordId>6200</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Interculturalism in Sam Najjair’s account of the battle for Tripoli: Soldier for a Summer ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Marie-Violaine Louvet ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Toulouse 1 - Capitole University, France ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Interculturalism is the result of an interaction between different cultures and the possibility of the emergence of a new form of cultural expression and identity. This article studies the process of conciliation or re-conciliation of two cultures in Sam Najjair’s book Soldier for a Summer. This is the diary of an Irish Libyan citizen who participated in the liberation of Tripoli from Gaddafi’s rule in the Summer of 2011, during the Libyan civil war. The reader follows the main character from Dublin to Tripoli and then back to Dublin at the end of the war. In the book, which is first and foremost targeted at the Irish public to try to gather support for the revolution, Sam Najjair outlines an intercultural space between Ireland and Libya, opening ‘an Irish angle’ on the Libyan conflict, directly connected to his dual identity of a Libyan second generation immigrant living in Ireland.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/MarieV-Louvet_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Ireland</keyword>
              <keyword>Libya</keyword>
              <keyword>Interculturalism</keyword>
              <keyword>Autobiography</keyword>
              <keyword>Tripoli Brigade</keyword>
              <keyword>Sam Najjair.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>93</startPage>
    <endPage>107</endPage>
    <publisherRecordId>6247</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A Portrait of the Rebel as an Artist:  Deconstructing Post-coloniality in Francis Stuart’s Black List, Section H ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Shahriyar Mansouri ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Shahid Beheshti University, Tehran ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The historically ‘interrogative’ nature of the modern Irish novel introduces post-independence Ireland as a locus that is torn between social double standards and political extremes. Rebellious and critical voices channelled through the dialectical discourse of the novel and at once critiqued a State-sponsored voice of internal othering and narratives of decolonization. To sustain its relevance as a medium of criticism the modern Irish novel replaced the classical structure of the novel with narratives that tend to deconstruct the State’s politics of formation. These narratives, this paper suggests, are inherently personal and structurally biographical, enabling the Irish to revisit the past and restructure their perception of critical concepts such as national identity, ideological intolerance, and individual formation. By examining Francis Stuart’s Black List, Section H (1971), and John McGahern’s The Dark (1965), firstly I will identify these resistant voices, which challenged and subverted the socio-political, and educational boundaries. Secondly, I will explore a dividing line that appeared between such critical voices, splitting them into critics who sought a liberated definition of Irishness rooted in the principles of the men of 1916, and rebels who demanded social recognition and political and commercial success. It is the latter group, I argue, that instead of enhancing the standards of life in Ireland became a threat to its very foundation.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Shahriyar-Mansouri_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Modern Irish Novel</keyword>
              <keyword>Francis Stuart</keyword>
              <keyword>John McGahern</keyword>
              <keyword>Post-coloniality</keyword>
              <keyword>1916 Rising.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>108</startPage>
    <endPage>117</endPage>
    <publisherRecordId>6164</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ “The Familiar Style of Decaying Colonial Powers”: Irish National Newspapers and Portugal’s  Colonial Wars, 1961-1974 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Jean Mercereau ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Instituto Politécnico de Leiria, Universidade do Minho, Portugal ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ The early stages of Salazar’s Estado Novo regime in Portugal, between the 1933 constitution and the end of World War II, raised a lot of attention in Ireland as well as in other countries. Salazar’s solutions to Portugal’s economic and financial crisis were then widely considered as potential solution to many of Ireland’s problems. Progressively, however, Ireland lost interest in the Portuguese situation and paid little attention to the evolution of Salazar’s dictatorship until the late 1950s in such a way that when colonial wars broke out in Portuguese African territories in the early 1960s, de Valera’s Ireland and Salazar’s Portugal had been drifting apart for over a decade. More importantly, Portugal’s determination to cling to its colonies, causing the country’s isolation on the international scene, went against what the Irish Nation essentially stood for. The objective of this article is to consider the coverage by Ireland’s three main newspapers – Irish Independent, Irish Press and Irish Times – of Portugal’s colonialist policies between 1961 and the fall of the dictatorship in April 1974.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Jean-NF-Mercereau_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Portugal</keyword>
              <keyword>Ireland</keyword>
              <keyword>António Salazar</keyword>
              <keyword>Eamon de Valera</keyword>
              <keyword>Irish newspapers</keyword>
              <keyword>Colonialism.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>118</startPage>
    <endPage>131</endPage>
    <publisherRecordId>6261</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Robert J. Flaherty and Seáinín Tom Ó Dioráin: Lights, Camera, and (Not Too Much) Action ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Tomás Ó h-Íde (Ihde) ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Lehman College, City University of New York, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Famed director Robert Flaherty’s first direct sound film, Oidhche Sheanchais, was recently discovered at Harvard University. This article discusses the impact that the discovery will have on our understanding of this short film, especially as concerns film studies and folklore. It notes several misunderstandings reported in the literature over the years that have now been set right with the finding of the film. The article points to resources held in archives in Ireland and the United States that can additionally address questions related to this film. While a noteworthy contribution to the filmography of Robert Flaherty, the short ‘talkie’ must be approached with caution by folklorists due to the coaching of actors and cinematographic editing.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/Tomas-o-h-ide_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Oidhche Sheanchais</keyword>
              <keyword>Man of Aran</keyword>
              <keyword>Robert Flaherty</keyword>
              <keyword>Seáinín Tom</keyword>
              <keyword>Aran Islands</keyword>
              <keyword>Maggie Dirrane</keyword>
              <keyword>Sound Film</keyword>
              <keyword>Irish language.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>132</startPage>
    <endPage>148</endPage>
    <publisherRecordId>5990</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ A “Distant Music”:  Invoking Phantasmagoria in Joyce’s “The Dead” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Julio Ángel Olivares Merino ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Jaén, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This approach to Joyce’s “The Dead” casts a light on the mechanics of phantasmagoria working as a foundational deconstructive strategy at the core of this masterpiece. Marking the salience of the ineffable and the invisible, the revenant motif stands in this narrative as a disruptive agent of the repressed, rising and blending in with the immediately visible or overtly framed to assert a balanced prominence between notions of the foreground and the background. The ghost has a multiplication of forms in “The Dead”, both a denotative and a figurative rendition, either embodied in the ghastly setting, mood and atmosphere, together with the ethereal musings of the music, or in the crucial summoning of three spectral modes: the return of those already dead and gone; the evanescent living as dead and, closing the circle, both the former and the latter as a unified synonym of the suspended. Projected on this scenario, both interacting with or stemming from it, our approach will offer readings of Gabriel Conroy’s rite of passage and quest for assertiveness within the oneiric masquerade of a haunted Christmas in Dublin.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/J.A.-Olivares-Merino_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Ghosts</keyword>
              <keyword>Deconstruction</keyword>
              <keyword>Assertiveness</keyword>
              <keyword>Snow</keyword>
              <keyword>Music</keyword>
              <keyword>Eepiphany</keyword>
              <keyword>Repressed</keyword>
              <keyword>Disintegration</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>149</startPage>
    <endPage>162</endPage>
    <publisherRecordId>5980</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Cumann na mBan &#038; Women in Irish  Republican Paramilitary Organisations, 1969-1986 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Dieter Reinisch ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ European University Institute, Florence, Italy ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ 2014 marked the centenary of Cumann na mBan, the Irish Republican women’s organisation. While a number of recent publications have dealt with the first decade of Cumann na mBan, its existence in the second half of the 20th century has largely been neglected by academics. However, women played an integral part in the Republican struggle and many of these women held influential positions in the Irish Republican Movement. With this in mind, the article will discuss the role of Cumann na mBan within the so-called Provisional Republican Movement between 1969 and 1986. Based on 25 Oral History interviews with former members of the women’s organisation, the membership structure of the organisation and its activities will be discussed. In particular, the role of women in the Irish Republican Movement will be examined along with a number of other factors which have hitherto been largely underplayed in the historiography of women activists in the Irish Republican Movement. This will provide students and academics with literature for further in-depth research on Cumann na mBan. In essence, the aim of the article is to introduce Cumann na mBan into the historiography of the recent conflict in the North of Ireland.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Dieter-Reinisch_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Cumann na mBan</keyword>
              <keyword>Women IRA</keyword>
              <keyword>Irish Republican Army</keyword>
              <keyword>Irish Republican splits</keyword>
              <keyword>Oral History</keyword>
              <keyword>Northern Ireland Conflict</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>163</startPage>
    <endPage>171</endPage>
    <publisherRecordId>5977</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ What’s in a Name? Reading the Character of Mary/Moira  in Jane Urquhart’s Away ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Audrey Robitaillié ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Queen’s University Belfast, Northern Ireland ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This article analyses the various connotations of the name of the protagonist in Jane Urquhart’s Irish-Canadian novel Away, first published in 1993. The heroine Mary changes her name to Moira at the start of the book, which leads the reader to ponder on the significance of these names. By exploring the classical, topographical, naval, linguistic and religious undertones of Mary/Moira, this study seeks to demonstrate how the Canadian author conveys notions of postcolonialism throughout her novel with the choice of a character’s name.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Audrey-Robitaillie_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Jane Urquhart</keyword>
              <keyword>Irish Diaspora</keyword>
              <keyword>Canadian Literature</keyword>
              <keyword>Postcolonialism</keyword>
              <keyword>Irish Folklore</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>172</startPage>
    <endPage>183</endPage>
    <publisherRecordId>5971</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Representing the Irish in Russell Banks’s Cloudsplitter. Swift’s American Resonances? ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Lioba Simon Schuhmacher ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Oviedo, Spain ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Race is at the centre of Russell Banks’s grand scale novel Cloudsplitter (1998) which traces John Brown’ struggle to abolish slavery in the years before the American Civil War. While Brown’s (and Banks’s) sympathy with Negro slaves is prevalent, the treatment of other social and ethnic groups, such as Native Americans and the Irish immigrants offers insight into the racial and cultural complexity of the United States. The essay identifies the three instances in which members of the Irish immigrant community in the aftermath of the Great Famine that drove them across the Atlantic play a role in this work, including: an extremely young prostitute, a “sad lot” of miners dwelling in shanties, and a gang of “Irish laddies” in Boston who beat up the narrator. It is suggested that these beings could be reminiscent of Jonathan Swift’s depiction of the Irish in A Modest Proposal, and the Struldbrugs and Yahoos in Gulliver’s Travels, in their circumstances, characterization, and actions.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/L.Schuhmacher_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Cloudsplitter</keyword>
              <keyword>Russell Banks</keyword>
              <keyword>Irish Immigration</keyword>
              <keyword>Race</keyword>
              <keyword>Class</keyword>
              <keyword>Nineteenth Century America</keyword>
              <keyword>Jonathan Swift</keyword>
              <keyword>A Modest Proposal</keyword>
              <keyword>Gulliver’s Travels</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>184</startPage>
    <endPage>189</endPage>
    <publisherRecordId>5967</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Seamus Heaney and the Belfast Group: Revising on His Own ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ashby Bland Crowder ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Professor Emeritus at Hendrix College, Arkansas, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ It was Seamus Heaney’s practice to submit poems that were to appear in Death of a Naturalist to the Belfast Group. He did not, however, bring all of them for the weekly discussions and published some just as they had appeared in the journals they were first published in. He did some revising independent of the Group, and this essay argues that when Heaney revised on his own the principles of the Group influenced his practice: he was sometimes successful in those independent revisions, sometimes not. Two poems demonstrate his practice. His revisions of “The Barn” eliminated awkward repetition, achieved clarity, and enhanced the emotion of fear experienced by the boy character. The revisions he made on his own for “Ancestral Photograph”, however, were not all successful; after the Group discussed the poem, Heaney made additional effective revisions, correcting all but one of the original missteps.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/A.Bland-Crowder_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Seamus Heaney</keyword>
              <keyword>Manuscript Revision</keyword>
              <keyword>Twentieth-century Irish Poetry</keyword>
              <keyword>Belfast Group</keyword>
              <keyword>“The Barn”</keyword>
              <keyword>“Ancestral Photograph”</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>190</startPage>
    <endPage>198</endPage>
    <publisherRecordId>6567</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Leaning “well beyond the plumb” of His Native Language: Heaney’s Tone and the International Style ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Nick Norwood ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Columbus State University, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ In the last decades of his life Seamus Heaney enjoyed phenomenal worldwide success, outselling, or so it was widely held, all other poets writing in English combined, a fact attesting to the existence of an international component in his work. A close study of the entire body of his poetry, as well as a study of the concurrent poetic interests he himself professed and which other critics have identified, reveals a subtle and gradual shift toward what may be referred to as the “international style”. The reader encounters such a style, prominently manifest, in the work of some of Heaney’s poetic influences, especially Eastern European poets like Czeslaw Milosz and Zbigniew Herbert. This article argues, however, that Heaney’s stylistic shift was too slight to account for the enormity of his international success and asserts instead that his far-ranging appeal is a matter of tone: Heaney’s attitude toward his material, but more so, deep characteristics of his personality – what Ted Hughes refers to as “the ultimate suffering and decision” in him –occupy space below the surface of his work and imbue it with a quality to which readers around the world are drawn.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Nick-Norwood_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Seamus Heaney</keyword>
              <keyword>International Style</keyword>
              <keyword>Poetic Tone</keyword>
              <keyword>Poetry in Translation</keyword>
              <keyword>Czeslaw Milosz</keyword>
              <keyword>Richard Wilbur.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>199</startPage>
    <endPage>212</endPage>
    <publisherRecordId>6354</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Dante’s Legacy: Kinship between Languages in Seamus Heaney’s Poetics ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Daniela Panzera ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Independent Scholar, Limerick, Ireland ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ Dante’s influence on Seamus Heaney’s poetry – generally analyzed from a religious, philosophical, and cultural perspective – has been widely acknowledged by critics and by Heaney himself. Heaney, though, was also fascinated with Dante’s stylistic achievements and concern for themes such as land, politics and language. As a conscious innovator of his time, Dante developed the vernacular in literature, demonstrating that it was suitable for poetic expression. He created a universal idiom out of the various Italian dialects, believing that a common tongue was the means to achieve some form of national unity. Following Dante’s example, in the place-name poems “Broagh” and “Anahorish” (Wintering Out), Heaney reunites both the English and the Irish traditions through a meditation of the semantic elements of both cultures. Moreover, in his collection Electric Light, and in his translation of Dante’s “Ugolino” (Inferno XXXII-XXXIII), the Irish poet places the local aspects of his culture in a universal framework. This article will display how, through his engagement with Dante and through the specific practice of translation, Heaney is able to transcend ethnic boundaries in order to obtain an objective view of the world. Like his medieval predecessor, in his works Heaney locates the global in the local and vice versa, emphasizing the epistemological value of constructively interacting with other cultures and languages, which ultimately enriches an understanding of one’s own cultural identity.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Daniela-Panzera_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Dante Alighieri</keyword>
              <keyword>Seamus Heaney</keyword>
              <keyword>Language</keyword>
              <keyword>Influence</keyword>
              <keyword>Translation</keyword>
              <keyword>European Perspective.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>213</startPage>
    <endPage>219</endPage>
    <publisherRecordId>6241</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ The Revolutionary Chora in Seamus Heaney’s Kite Poetry ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Hannah Spruce ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Independent Scholar, Leeds, England ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This paper examines the presence and impact of the Kristevan chora in the kite poetry of Seamus Heaney, demonstrating how the presence of the chora in his final kite poem “A Kite for Aibhín” is used to alter the discursive representation of fatherhood that was handed down to Heaney through symbolic language. The views of Heaney and Kristeva on the revolutionary potential of poetry is analysed alongside Heaney’s poetry to glean an understanding of how poetry has a profound impact on identity and representation. This paper proves that for Heaney poetry afforded weighty individual change, acting as a technological medium through which he could alter language.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Hannah-Spruce_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Seamus Heaney</keyword>
              <keyword>Julia Kristeva</keyword>
              <keyword>Poetry</keyword>
              <keyword>Poetics</keyword>
              <keyword>Gender</keyword>
              <keyword>The Maternal</keyword>
              <keyword>Language</keyword>
              <keyword>The Chora.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>220</startPage>
    <endPage>231</endPage>
    <publisherRecordId>6210</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Converting to Things Foreknown:  Heaney’s Marvelous Imagination in “Station Island” ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ryan L. Womack ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Baylor University in Waco, TX, USA ]]></affiliationName>
        </affiliationsList>

        <abstract language="eng"><![CDATA[ This essay explores Seamus Heaney’s “Station Island” series in its procession of visions during a pilgrimage to the island of Lough Derg. I argue that Heaney works out in this series a picture of the meeting of worlds, of the worldliness of the present and the in-breaking of the otherworldly, and in this poem we see the “deep Catholicism” of Heaney’s redemptive, cathartic poetry. This feature is important to understanding the significance of Heaney’s marriage of the sacred and secular; these poems, examined in the context of Heaney’s larger vision, show the evolution of Heaney’s poetry and put forth the possibility of a poetry that can work as purgation.
 ]]></abstract>
    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/02/Ryan-L.-Womack_EI11.pdf</fullTextUrl>
    
          <keywords language="eng">
              <keyword>Seamus Heaney</keyword>
              <keyword>Station Island</keyword>
              <keyword>Pilgrimage</keyword>
              <keyword>Catholicism</keyword>
              <keyword>Sacred</keyword>
              <keyword>Purgatory.</keyword>
            </keywords>
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>232</startPage>
    <endPage>233</endPage>
    <publisherRecordId>6535</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ The Weather Forecast ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Mary O'Malley ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Poet ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Mary-O’Malley1_EI11.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>234</startPage>
    <endPage>235</endPage>
    <publisherRecordId>6538</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Under your Keel – The Real Map of Ireland ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Mary O'Malley ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Poet ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/Mary-O’Malley2_EI11.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>236</startPage>
    <endPage>243</endPage>
    <publisherRecordId>6401</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Studies in Spain: 2015-March 2016 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Constanza del Río-Álvaro ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Zaragoza, Spain ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/IStudiesinSpain_EI11.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>244</startPage>
    <endPage>258</endPage>
    <publisherRecordId>6040</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Studies Round the World – 2015 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Patricia A. Lynch ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ University of Limerick, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/IStudiesRoundtheWorld_EI11.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>259</startPage>
    <endPage>274</endPage>
    <publisherRecordId>6495</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Film and Media Studies Publications – 2015 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Ruth Barton ]]></name>
        <affiliationId>1</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ Trinity College Dublin, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/03/IrishFilmMediaStudiesPublications2015_EI.pdf</fullTextUrl>
    
      </record>
<record>
    <language>eng</language>
        <publisher>Journal of Irish Studies</publisher>
        <journalTitle>Estudios Irlandeses</journalTitle>
        <eissn>1699-311X</eissn>
            <publicationDate>2016-03-15</publicationDate>
        <volume>11</volume>
    <issue>11</issue>
        <startPage>275</startPage>
    <endPage>320</endPage>
    <publisherRecordId>6302</publisherRecordId>
    <documentType>article</documentType>
    <title language="eng"><![CDATA[ Irish Film and Television – 2015 ]]></title>

    <authors>
     
      <author>
        <name><![CDATA[ Tony Tracy ]]></name>
        <affiliationId>1</affiliationId>
      </author>
     
      <author>
        <name><![CDATA[ Roddy Flynn ]]></name>
        <affiliationId>2</affiliationId>
      </author>
        </authors>

    <affiliationsList>
       
      <affiliationName affiliationId="1"><![CDATA[ NUI Galway, Ireland ]]></affiliationName>
     
      <affiliationName affiliationId="2"><![CDATA[ School of Communications, Dublin City University, Ireland ]]></affiliationName>
        </affiliationsList>

    
    <fullTextUrl format="pdf">https://www.estudiosirlandeses.org/wp-content/uploads/2016/04/IrishFilmandTV_EI11.pdf</fullTextUrl>
    
      </record>
</records>