If a programme includes a major project or dissertation, there may be costs associated with transport, accommodation and/or materials. The amount will depend on the project chosen. There may also be additional costs for printing and binding.

No list of the greatest Irish poems should exist without something from Seamus Heaney, one of Ireland’s most famous and well-loved poets. Playwright, novelist, essayist, and poet, Oscar Wilde is considered Ireland's most inspired wit. Born Oscar Fingal O'Flaherty Wills Wilde in Dublin in 1854, he studied at Trinity College Dublin and then at Magdalen College Oxford. He remarked that the first thing he forgot at Oxford was his Irish accent, but when his play Salomé was banned he openly accused the English of being narrow-minded saying, ‘I am not English; I'm Irish which is quite another thing.’ In an article about his translations, Sionóid wrote that Irish poetic forms are completely different from those of other languages and that both the sonnet form and the iambic pentameter line had long been considered "entirely unsuitable" for composing poetry in Irish. In his translations, Soinóid chose to closely reproduce Shakespeare's rhyme scheme and rhythms while rendering into Irish. [31]

Curriculum

Exit qualifications are available: students may exit with a Postgraduate Diploma by successfully completing 120 CATS points from taught modules or a Postgraduate Certificate by successfully completing 60 CATS points from taught modules. Compulsory Modules It has been said that the notion of an "Irish modernism" is challenged by the number of Irish writers who did not fully engage with modernist experiments, an apathy noted by Irish, continental and Anglo-American critics. There were still key experimental writers in Ireland during the 1930s ( Kate O’Brien, Elizabeth Bowen and others) whose work was marked by aesthetic self-consciousness and self-reflexiveness, but it could also be argued that much Irish writing was part of an international reaction against modernism. [11] The best-known Irish poet to draw upon Irish themes in the first half of the 19th century was probably Thomas Moore (1779–1852), although he had no knowledge of, and little respect for, the Irish language. He attended Trinity College Dublin at the same time as the revolutionary Robert Emmet, who was executed in 1803. Moore's most enduring work, Irish Melodies, was popular with English readers. They contain stereotyped images but helped in the development of a distinctive English-language poetic tradition in Ireland. Dublin’s 'informal poet laureate', Paula Meehan, is the second woman to become Ireland's Professor of Poetry, set up in 1998 after the late Seamus Heaney won the Nobel prize for literature. Cúirt International Festival of Literature, Galway city: Cúirt is renowned for its great atmosphere and is one of Ireland’s largest, with around Irish and international 60 authors appearing annually.

Its three short quatrains tell about the speaker’s desire for the silence and tranquility of Innisfree, an uninhabited island in County Sligo, Ireland, near where the poet spent many summers as a child.The major theme in the poem is the conflict between nature and civilization. Irish fiction became largely concentrated in a newly embraced national genre after independence: the short story. Frank O’Connor and Sean O’Faolain, both from Cork, had been pupils of the nationalist writer Daniel Corkery, whose account of 18th-century Irish literary history, The Hidden Ireland (1925), was a key moment in the development of a native Irish literary criticism. O’Connor and O’Faolain, however, rejected their early affinities with republicanism and nationalism and began to produce stories that dealt squarely and realistically with the contemporary condition of their country. O’Faolain also founded a literary magazine, The Bell, in 1940, and it remained a crucial outlet for the best Irish writers, particularly during World War II, when Ireland’s neutrality isolated it even further from wider European literary currents. Work in the short story similar to that of O’Connor and O’Faolain was done by Liam O’Flaherty, Michael McLaverty, and Mary Lavin. McLaverty was for a time the lone Roman Catholic literary voice in Protestant and unionist-dominated Northern Ireland, while Lavin, born in the United States, made middle-class domestic life her subject. Elizabeth Bowen, who was born in Dublin but spent much of her adult life in London, began publishing volumes of short stories in the 1920s. Antoine Ó Raifteiri (Anthony Raftery) (1784–1835) is a recognized Irish-language folk poet of the pre-Famine period. But the tradition of literate composition persisted. The Kerry poet Tomás Rua Ó Súilleabháin (1785-1848) was a schoolmaster and dancing master; the Cork poet Mícheál Óg Ó Longáin (1766-1837) was a well-known copier of manuscripts. Throughout his long career in literature, W. B. Yeats often penned about politics in Ireland and its history.a republic consisting of 26 of 32 counties comprising the island of Ireland; achieved independence from the United Kingdom in 1921

Inspired by the original ‘Belfast Group’ workshops, attended by both poets and critics, this module provides the opportunity for students to analyse and evaluate new and established writing (by themselves, or by others as appropriate) and in the process to engage with different approaches to the reading, writing, and analysis of poetry. The module also involves consideration of the poet-as-critic, through study of critical writings on poetry by range of Irish, British and American poets such as Yeats, Eliot, Auden, Stevens, Pound, Kavanagh, and Heaney, and of the poem itself as a vehicle for criticism. Learning OutcomesIt explores the speaker’s awareness of the land, his sense of both attachment and detachment, and his connection to the earth. O’Casey’s was very much an urban drama. His ear for Dublin street language and his strong, resilient, funny characters—particularly female ones—made O’Casey’s plays fresh and natural, especially when read against the older work of another great Abbey playwright, Synge. In O’Casey’s three major plays, the violence of the public world, which happens offstage, is set alongside a private domestic universe (usually Dublin tenement rooms) in which humans attempt to survive and make sense of the violence. The pieties of revolutionary nationalism do not come off well in these plays. In 1926, with the fourth performance of The Plough and the Stars, O’Casey gave the Abbey its second great set of riots; Yeats confronted the audience and, reminding them of the Playboy riots of 1907, famously declared: “You have disgraced yourselves again.” Charles Jones, The Edinburgh History of the Scots Language p594ff (Edinburgh: Edinburgh University Press, 1997) Students, whether creatively or critically focused, research and discuss the different demands made on the work of the poet by a range of relevant archival, critical, and creative contexts. Awareness of a range of issues pertinent to the production of, and critical reaction to, poetry is developed through analyses of the format and production of a collection, the transition from manuscript to publication, processes of authorial revision, the anthologisation of poems, the formation of creative and critical schools, and relevant critical and methodological contexts. Learning Outcomes

a b Francis Hutton-Williams, "Against Irish Modernism: Towards an Analysis of Experimental Irish Poetry," Irish University Review 46.1 (2016): 20–37: https://www.euppublishing.com/doi/pdfplus/10.3366/iur.2016.0198Basil Payne (1923) was born in Dublin on June 23, 1923. His published work amounts to three slim volumes, and numerous inclusions in anthologies of Irish poetry. Then Go Beyond the Reach of Road: An Evening with Poet Peter Fallon [ permanent dead link] Poetry reading at Boston University, video, March 30, 2009 Upon completion of the module, students will have: the ability to situate Irish poetry in its complex historical and political contexts; an understanding of the debates surrounding the politics of form in Irish poetry from Yeats to the present day; a refined and heightened grasp of the forms and themes of poetry; an awareness of the workings of literary influence in the Irish tradition; an understanding of the critical debates surrounding the reception of Irish poetry. Skills