By Ruben Moi, Brynhildur Boyce, Charles Armstrong
The essays during this quantity discover interartistic connections in Irish literature, drama, movie and the visible arts. inside of glossy and postmodern tradition, innovation is usually pushed by way of magnificent interrelations among the humanities, and this e-book bargains a dialogue of this phenomenon and analyses a few works of art that circulation throughout disciplines. a number of members study the concept that of ekphrasis, taking a look at how Irish writers comparable to Seamus Heaney, John Banville, Paul Muldoon, Ciaran Carson, Patrick Kavanagh, W.B. Yeats and Samuel Beckett have answered to the visible arts. Others discover interartistic ‘crossings’ within the drama of Brian Friel, in James Barry’s eighteenth-century Shakespeare work and in modern Irish movie. jointly, the essays current a clean viewpoint on Irish inventive tradition and open up new avenues for destiny research
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Additional resources for The Crossings of Art in Ireland
Anezka has come to Janáček’s home in Brno to question the composer on some of the seven hundred love letters he wrote to Kamila. Anezka’s doctoral thesis aims to verify unequivocally the link between Janáček’s great passion for Kamila – as supposedly evidenced in the love letters – and the magnum opus that is ‘Intimate Letters’. Thus, the theme of the play seems to be the notion that if the source of a work is known, then its particular truth and meaning can be elucidated. Interestingly, however, the question about the source of Leoš Janáček’s Second String Quartet, as enacted in Performances, also opens up a question on the sources of Friel’s play.
52 Brian Friel’s Performances: Meaning in an Intermedial Play 41 located in the twenty-first century. Perhaps, then, the computer reference in Performances evokes a certain paradigm that could be associated with digital culture. Importantly, this is not to imply that Janáček is some sort of projection of information, or that Anezka is a kind of avatar in a virtual reality; rather the notion here is that perhaps a digitally contrived collapse of time/space, absence/presence is achieved through a condition of possibility granted by an increasingly digitalized existence, which in turn impacts on human thought and perception.
Further, Keys and Crosson remind us that the most fruitful Introduction 21 interactions involve a certain open-endedness, a form of responsiveness – resistant to precipitately closing down horizons – that has both aesthetic and political ramifications. Thus this volume as a whole does not endorse a single methodological or ideological ideal, but tries to demonstrate the breadth and vitality of the crossings of art in Ireland – even as it seeks to show how critical commonplaces and prejudices can be challenged in the very same process.
The Crossings of Art in Ireland by Ruben Moi, Brynhildur Boyce, Charles Armstrong