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He addresses the myth of the local versus the global, beginning with the observation that the Irish landscape has been the stage on which the economic boom was played and went bust. He presents the work of the Heritage Council in the past decade or so and demonstrates the close relations between herit- age and landscape, emphasizing the crucial role of history and heritage in landscape planning and the need for local initiatives to balance larger economic and political issues.

They explains the synergies and tensions between strategic and local understandings of landscape value. The fundamental role played by local projects in landscape planning is further discussed in Part V, which links landscape and contemporary art. On the one hand contemporary art conflates the traditional polarity of wilderness and urbanism at either end of the landscape spectrum, and more particularly, it returns to the homology of people with environment interpreted as unkempt, threatening, barbaric and unknowable as a means of exploring darker impulses and conditions.

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PROOF Marie Mianowski 9 On the other hand, a certain number of artistic incentives have been designed to try and connect the people who live in a specific space, whether urban or peripheral, to their landscape and build a sense of place in that specific landscape. Paula Murphy explains that such is the case of sculpture, which involves some form of active participation, even if only by the way in which the works are accessed. Visual art is a powerful tool to relate the inhabitants of a divided space to the landscape, construct a common sense of place and build up peace.

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Physically grappling with urban landscapes is exactly the experience that choreographer Catherine Crochet and director Christian Giriat have had as performing artists-in-residence in Belfast. In the last chapter of the book they tell what it means to move about the landscape and view it at the pace of walking, and from the point of view of the wanderer, impeded by walls, barricades and other obstacles or on the contrary, moving about step after step in a landscape, which, for all its divisions and violence, offers alleys and back lanes in which the artist-performer transforms his walk into a work of art.

And the writing of such a work? Although it is not the object of the present book as no study of land- scape could ever be exhaustive, landscape studies engage with points of view and therefore also with the notion of landscape seen from a distance. This book shows how the border between the north and the south of the island highlights a potentially still conflictual double per- spective, as each side attempts to gaze beyond the almost century-old border.

But surely there is material for another book in the study of con- temporary landscapes of Ireland seen from a distance: from Britain, from the United States or from the European continent and particularly the Eastern part of the continent where so many people have returned, who thrived in Ireland not so long ago. What memories linger in the minds of those men and women who have just left Ireland, as thousands of other exilees before them?

Bibliography Deleuze, G. Frawley, O. Kennedy-Andrews, E. S Brewer. Lefebvre, H. Lloyd, D. Miller, J. Robinson, T. Smyth, G. Soja, E. Trevor, W. Virilio, P.

Irish contemporary landscapes in literature and the arts

Wylie, J. Charles, , urbanism, 8 wolves, sustainable, see sustainable woodland, , , , , —1, , vernacular, 29, 42, 46, 48, 61—2, see also forest video camera Wordsworth, William, 77, 80 see camera Wylie, John, 1, 10 viewer, 1, 3, 8, , , —61, , , Yeats, William Butler, —2, , Vinegar Hill, , violence, 6, 9, 63, 82, 84—9, 92, 94—5, Young, Sally, 97, , —4, —60, —5, , , , zoning, see land-use Virilio, Paul, 7—8, Related Papers. By Sophie Orlando and Charlotte Gould. By Neil Fleming. Ciaran Carson: Space, Place, Writing. By Neal Alexander. Similarly, the essays of Sir Richard Steele and the fiction and poetry of Oliver Goldsmith reveal little of the social origins of these authors.

Goldsmith's reputation as the most distinguished poet of Irish birth during the eighteenth century rests on his celebration of rural life in the ambiguously situated Deserted Village During the sixteenth and seventeenth centuries there was little poetry of any merit in English. Similarly, during the eighteenth century Anglo-Irish verse is barely distinguishable from English verse of the times. Eighteenth-century fiction reveals a similar concern with cultural and political identity.

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Again, as in the case of poetry, Goldsmith's genial Vicar of Wakefield and Laurence Sterne 's wildly inventive Tristram Shandy — —neither of which engages Irish affairs—are the only novels of distinction by Irish-born writers of the eighteenth century. The cultural programs of these theaters were exclusively from London: John Fletcher and Thomas Shadwell resided in Dublin for brief periods, and many of the most distinguished dramatists of the period were in fact Irish-born and got their start in the Dublin theater.

One could go further and assert that the English comedy of manners from the Restoration to the rise of Romanticism was principally the creation of brilliant Irishmen— George Farquhar , William Congreve , Charles Macklin, Oliver Goldsmith , and Richard Brinsley Sheridan. These figures were followed by Oliver Goldsmith — , author of the laughing comedy She Stoops to Conquer , and Richard Brinsley Sheridan, whose many plays include the sensations of the age The Rivals and The School for Scandal As might be inferred from these names and titles, the eighteenth-century theater was predominantly Protestant and colonial, having its focus on London with its clubs, theaters, and townhouses.

The only trace of their Irish roots that these writers betray is their occasional injection of the "stage Irishman" into their dramas. This hard-drinking, sentimental figure, eloquent in his thick brogue, spendthrift but generous, pugnacious though cowardly, unmannerly and illogical, was a stereotype on the English stage for two centuries.


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The character enabled these dramatists to ingratiate themselves with their London audiences, though some, out of patriotic sentiment, criticized the stereotype. Not surprisingly, this lively theatrical environment produced many distinguished figures on the eighteenth-century stage: the Shakespearean actor Spranger Barry — , Thomas Sheridan — , actor and father of Richard Brinsley, and the actresses Peg Woffington? Bellamy — The last phase of the early modern or classical modern period in Gaelic literature — is characterized by the prevalence of a standard literary language maintained by professional poets or scholars called filidh in Irish and frequently bards in English.

Their verse compositions are a large part of the literature of the period, principally praise-poems to their patrons among the aristocracy, but also much religious and personal poetry. They also adapted narrative and pious matter from French and English sources, as well as love poetry in the amour courtois courtly love genre. A major theme of their poetry, shared with Foras Feasa, is the lament for a glorious past unappreciated by the thugs around them, whether Irish or Cromwellian, who are deaf to the poetry of Ireland.

Even after literary patronage had totally ceased in the eighteenth century, the traditional literary art was maintained by priests, cultured farmers, artisans, and hedge schoolmasters. These classes continued to make and circulate manuscripts, and to compose occasional and personal poems, sermons and pious material, and prose narratives. The most celebrated single work from the last century of this tradition is the long satirical poem by the Clare mathematics teacher Brian Merriman? As the number of poets dwindled, they were reduced to beggary. Their works remained in the folk memory, however, and influenced the style of the popular songs that finally replaced their written compositions.

The oral and manuscript traditions preserved the Fionn or Ossianic sagas from the late Middle Ages , inspiring verse and prose compositions into the eighteenth century. The Ossianic poems of James Mcpherson — , partially drawn from the parallel oral tradition of Gaelic Scotland, stimulated an interest among the Anglo-Irish gentry in the culture of their tenantry.

The rebellions and plantations of the seventeenth century resulted in the change of ownership of land and wealth and the destruction of much of the previously accumulated architectural capital. These uncivil circumstances required designers to accommodate the primary needs of defense. The most distinctive pattern found among the planters, especially in the North, therefore, was the tower house and bawn, a four-story stone dwelling surrounded by a fortified enclosure.

Nearly three thousand of these were built by the rising gentry between and It was only after that nonfortified domestic houses were built in town and country, the finest surviving examples of which are Rothe House in Kilkenny city and the Anglo-Dutch Beaulieu in County Louth. Meanwhile, the vast majority of the Irish people lived in stone or clay cottages, a type that remained unchanged into the twentieth century.

The period of the Restoration in England and the arrival in of the Duke of Ormond as viceroy marked the beginning of one of the greatest ages in the history of Irish civilization. The last decades of the seventeenth century saw the rise of buildings in Dublin and elsewhere in the new classical style.

The first such public building was the Royal Hospital, Kilmainham, in Dublin. Designed by Sir William Robinson and built between and , it was a home for retired soldiers modeled on Les Invalides in Paris. During the first quarter of the eighteenth century Palladian architecture, which aimed at a strict reading of classical convention, appeared in Ireland.

Many of the larger country houses of the period, such as Castletown — and Russborough , reflect the style. People who viewed this item also viewed. Picture Information. Have one to sell? Sell now - Have one to sell? Get an immediate offer.

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