Podcasts about anne fogarty

A woman, a man, a beach at twilight, and at least one orgasm: but what exactly happens? Is Gerty MacDowell brainwashed or liberated by the women's magazines she reads? Is the episode misogynist or empathetic? We complicate these binaries with Anne Fogarty, professor at University College, Dublin, Cathal Mac Thréinfhir, retired teacher in Limerick, Nuala O'Connor, Irish novelist, James Turner, professor at UC Berkeley, and Vicki Mahaffey, professor at University of Illinois at Urbana-Champaign.

James Joyce in Dublin. Professor Anne Fogarty joins Henry in Dublin to recreate a day in the life of Leopold Bloom. They discuss Ulysses by James Joyce and visit the Martello Tower where the novel opens, Eccles Street, Davy Byrnes and the National Library. They meet Darina Gallagher, director of the James Joyce Centre, who coordinates the annual Bloomsday celebrations. 2 February 2022 is the 100th anniversary of the first book publication of Ulysses. Penguin Modern Classics editions of Ulysses by George Orwellhttps://www.penguin.co.uk/books/57043/ulysses/9780141182803.htmlhttps://apple.co/3KEWdDP Penguin audiobook of Ulysses, read by Patrick Gibsonhttps://www.penguin.co.uk/books/1057043/ulysses/9780241422601.htmlhttps://apple.co/3H81bqI Anne Fogartyhttps://people.ucd.ie/anne.fogarty The James Joyce Centrehttps://jamesjoyce.ie/ The James Joyce Tower & Museumhttps://joycetower.ie/ Davy Byrneshttps://davybyrnes.com/ Sweny's Pharmacyhttps://www.sweny.ie/ See acast.com/privacy for privacy and opt-out information.

TS Eliot described it as one of the greatest short stories ever written. James Joyce finished the final story in his collection Dubliners, The Dead, in Trieste 1907. This story of the Misses Morkan’s annual gathering of family, friends and music students is framed by the elderly sisters’ nephew Gabriel Conroy and his wife Gretta and a personal epiphany triggered by the fragment of a song. Professors Declan Kiberd, Anne Fogarty and Gerardine Meaney help us unpack the story and find out why it has such resonance and power.

At the end of the night we leave 15 Usher’s Island and follow Gabriel and Gretta Conroy’s journey up river and down O’Connell St (then Sackville Street) to the Gresham Hotel. With Professor Anne Fogarty we re-visit the Gresham Hotel and Gabriel’s own moment of self-revelation. Gerardine Meaney and Declan Kiberd explore the story’s love stories and how they relate to Joyce and his own life’s love, Nora Barnacle. Love and loss are intertwined in the personal epiphanies in The Dead and through the archives we look at what was happening in Joyce’s own life with the death of his mother May and his family’s decline into poverty. Declan Kiberd, Gerardine Meaney, Kevin Whelan and Anne Fogarty explore the story’s ending and that final scene of a snow covered Ireland. Is it one of despair or hope?

This podcast features an interview with Eilis Ni Dhuibhne, conducted by Professor Anne Fogarty, which concluded the UCD symposium dedicated her work.

This podcast features an interview with Eilis Ni Dhuibhne, conducted by Professor Anne Fogarty, which concluded the UCD symposium dedicated her work.

'A Portrait of the Artist as a Young Man' by James Joyce on the eve of its publication centenary with Éilis Ní Dhuibne, Anne Enright, Frank McGuinness, Anne Fogarty and Luke Gibbons with readings by Barry McGovern from hte RTÉ archives..

Sinéad Morrissey reads from her work during an evening of poetry also featuring Eavan Boland and Paul Muldoon. The event was moderated by Anne Fogarty, professor of James Joyce Studies, University College Dublin, and took place during the 22nd North American James Joyce Conference.

Paul Muldoon reads from his work during an evening of poetry also featuring Eavan Boland and Sinéad Morrissey. The event was moderated by Anne Fogarty, professor of James Joyce Studies, University College Dublin, and took place during the 22nd North American James Joyce Conference.

Eavan Boland reads from her work during an evening of poetry also featuring Paul Muldoon and Sinéad Morrissey. The event was moderated by Anne Fogarty, professor of James Joyce Studies, University College Dublin, and took place during the 22nd North American James Joyce Conference.

Eavan Boland, Paul Muldoon, and Sinéad Morrissey discuss the state of Irish poetry following their separate readings as part of the 22nd North American James Joyce Conference. The discussion is moderated by Anne Fogarty, professor of James Joyce Studies, University College Dublin.

TS Eliot described it as one of the greatest short stories ever written. James Joyce finished the final story in his collection Dubliners, The Dead, in Trieste 1907. This story of the Misses Morkan's annual gathering of family, friends and music students is framed by the elderly sisters' nephew Gabriel Conroy and his wife Gretta and a personal epiphany triggered by the fragment of a song. Professors Declan Kiberd, Anne Fogarty and Gerardine Meaney help us unpack the story and find out why it has such resonance and power. Dr Luca Crispi, working on the Joyce papers at the National Library, shows how the manuscripts illuminate how Joyce wrote.

At the end of the night we leave 15 Usher's Island and follow Gabriel and Gretta Conroy's journey up river and down O'Connell St (then Sackville Street) to the Gresham Hotel. With Professor Anne Fogarty we re-visit the Gresham Hotel and Gabriel's own moment of self-revelation. Gerardine Meaney and Declan Kiberd explore the story's love stories and how they relate to Joyce and his own life's love, Nora Barnacle. Love and loss are intertwined in the personal epiphanies in 'The Dead' and through the archives we look at what was happening in Joyce's own life with the death of his mother May and his family's decline into poverty. Declan Kiberd, Gerardine Meaney, Kevin Whelan and Anne Fogarty explore the story's ending and that final scene of a snow covered Ireland. Is it one of despair or hope?

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’.

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.

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 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.

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.

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 is focused primarily on the pre-revolutionary period in Ireland and looks at the cultural and visual significance of the image of the boy within Irish nationalist discourse.

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’.

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’.

This lecture is focused primarily on the pre-revolutionary period in Ireland and looks at the cultural and visual significance of the image of the boy within Irish nationalist discourse.

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.

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.

PJ Mathews introduces Series 1 of UCDscholarcast

PJ Mathews introduces Series 1 of UCDscholarcast