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UCD Scholarcast - Series 1: The Art of Popular Culture: From "The Meeting of the Waters" to Riverdance

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コンテンツは PJ Mathews によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、PJ Mathews またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal
The aim of this series is to offer insights into key moments in the story of Irish popular culture since the publication of Thomas Moore's Irish Melodies in the early nineteenth century. If the story of transnational Irish popular culture begins with Thomas Moore in the early nineteenth century, it wasn't until the end of the 1800s that writers and intellectuals began to theorize the impact of mass cultural production on the Irish psyche during the industrial century. In 1892 Douglas Hyde, sounding the keynote of the Irish Revival, wrote that: 'the present art products of one of the quickest, most sensitive, and most artistic races on earth are now only distinguished for their hideousness'. In the course of his influential essay, 'The Necessity for De-Anglicising Ireland', he built up a narrative of Irish cultural degeneration brought on by the un-thinking absorption of what he perceived to be vulgar British pop culture. Series Editor: PJ Mathews. Scholarcast theme music by: Padhraic Egan, Michael Hussey and Sharon Hussey. Development: John Matthews, Brian Kelly, Vincent Hoban, Niall Watts, UCD IT Services, Media Services. Consultant Producer: Cliodhna Ni Anluain, RTE
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Artwork
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Manage series 1028269
コンテンツは PJ Mathews によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、PJ Mathews またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal
The aim of this series is to offer insights into key moments in the story of Irish popular culture since the publication of Thomas Moore's Irish Melodies in the early nineteenth century. If the story of transnational Irish popular culture begins with Thomas Moore in the early nineteenth century, it wasn't until the end of the 1800s that writers and intellectuals began to theorize the impact of mass cultural production on the Irish psyche during the industrial century. In 1892 Douglas Hyde, sounding the keynote of the Irish Revival, wrote that: 'the present art products of one of the quickest, most sensitive, and most artistic races on earth are now only distinguished for their hideousness'. In the course of his influential essay, 'The Necessity for De-Anglicising Ireland', he built up a narrative of Irish cultural degeneration brought on by the un-thinking absorption of what he perceived to be vulgar British pop culture. Series Editor: PJ Mathews. Scholarcast theme music by: Padhraic Egan, Michael Hussey and Sharon Hussey. Development: John Matthews, Brian Kelly, Vincent Hoban, Niall Watts, UCD IT Services, Media Services. Consultant Producer: Cliodhna Ni Anluain, RTE
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Frank McGuinness speaks of his experience of adapting Brian Friel’s Dancing At Lughnasa for the screen, with Meryl Streep in the leading role. Friel has appeared to shy away from film for most of his distinguished career but was deeply influenced by the wider revolutions in acting, writing and directing across all media during the 1960s when modern sensibility took shape. Friel’s writing may have been influenced by Tennessee Williams and Arthur Miller but it also owes a debt to powerful films such as Kurosawa’s Rashomon. By reducing the role of the narrator and repositioning the climactic dance sequence, McGuinness attempted to translate what he regarded as a ‘male’ play into ‘a woman’s movie’.…
 
Over the last three decades Bill Whelan has been at the heart of many exciting moments of extraordinary innovation in Irish music across the genres from traditional to rock. Here he documents and considers his varied career to date, from jobbing session musician in the early 1970s to Grammy Award winner in 1997. Donal Lunny and Andy Irvine are recalled as seminal influences on his music during the Planxty years while the founding of Windmill Lane Studios in the 1980s is seen as a landmark moment in the evolution of Irish music across the spectrum. Whelan reflects on Riverdance from inception to global reception. At a time of rapid cultural change he welcomes the creative possibilities brought on by recent immigration to Ireland and argues for the importance of a robust Irish musical tradition.…
 
This lecture examines how contemporary Irish playwrights depict and how they engage the cinematic and narrative patterns we’ve come to associate with American movies. Donal O’Kelly’s Catalpa (1995), Martin McDonagh’s The Cripple of Inishmaan (1996), Marie Jones’s Stones in His Pockets (1999), and Geraldine Hughes’s Belfast Blues (2003) grapple with the effects of Hollywood on their characters and on Irish society. Despite frequently depicting individuals thwarted in their pursuit of big screen success, these plays maintain a surprising optimism about Hollywood. This suggests the American film industry provides a productive tool for exploring Irish identity and history in a moment of rapidly changing, globalized popular culture.…
 
This lecture explores forms of popular culture that developed in Ireland during the Second World War. Comparisons are drawn with Britain, where radio and cinema assume tremendous importance in the war years. In Ireland the major developments are in amateur drama, reading groups, beginnings of film and journalism. Particular attention is focused on the very specific relationship between high and popular culture which develops in both Britain and Ireland at this time due to the fact that many 'high cultural' writers are taking on mediated jobs in radio broadcasting. Consideration is also given to the role of The Bell and other cultural movements in strengthening the consensus on behalf of neutrality in Ireland.…
 
James Joyce’s works abound in references to popular culture. They depict such works as part of the very fabric of modern consciousness. Frequently, Joyce deploys allusions to popular entertainment as a means of underlining the debasement and vulgarity of contemporary existence. But also crucially, in the manner of Walter Benjamin, he depicts popular culture as a site of resistance and the very basis by which his characters may contest the enervating effects of capitalism and of political imperialisms.…
 
This lecture examines W.B. Yeats’s not inconsiderable body of writing for the newspapers which ranges from literary journalism to letters to the editor. Attention will focus on the tensions between his clear commitment to journalistic practice and his own avowed hostility to ‘the Ireland of the newspapers’.…
 
Like Moore’s Melodies, Bill Whelan’s Riverdance has become the stable signifier of a complex cultural moment. The innovation and appeal of his music lies in his ability to interrogate and transcend the highly compartmentalised divisions within Irish music which can be traced back to Yeats’s rejection of Moore’s songs.…
 
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