This volume offers a comprehensive overview of the range of varieties of English spoken on the island of Ireland, featuring information on their historical background, structural features, and sociolinguistic considerations. The first part of the volume explores English and Irish in their historical framework as well as current issues of contact and bilingualism. Chapters in Part II and Part III investigate the structures and use of Irish English today, from pronunciation and grammar to discourse-pragmatic markers and politeness strategies, alongside studies of specific varieties such as Urban English in Northern Ireland and the Irish English spoken in Dublin, Galway, and Cork. Part IV focuses on the Irish diaspora, with chapters covering topics including Newfoundland Irish English and Irish influence on Australian English, while the final part looks at the wider context, such as the language of Irish Travellers and Irish Sign Language. The handbook also features a detailed glossary of key terms, and will be of interest to a wide range of readers interested in varieties of English, Irish studies, sociolinguistics, and social and cultural history.

This volume offers a comprehensive overview of the range of varieties of English spoken on the island of Ireland. It explores the historical background and structural features of Irish English, alongside sociolinguistic considerations, and will be of interest to readers in fields of varieties of English, Irish studies, and sociolinguistics.

This Handbook offers an authoritative and up-to-date collection of original essays bringing together ground breaking research into the development of contemporary poetry in Britain and Ireland.

Draws from a wide range of disciplines to bring together 36 leading scholars writing about 400 years of modern Irish history

Forty chapters, written by leading scholars across the world, describe the latest thinking on modern Irish poetry. The Handbook begins with a consideration of Yeats's early work, and the legacy of the 19th century. The broadly chronological areas which follow, covering the period from the 1910s through to the 21st century, allow scope for coverage of key poetic voices in Ireland in their historical and political context. From the experimentalism of Beckett, MacGreevy, and others of the modernist generation, to the refashioning of Yeats's Ireland on the part of poets such as MacNeice, Kavanagh, and Clarke mid-century, through to the controversially titled post-1969 'Northern Renaissance' of poetry, this volume will provide extensive coverage of the key movements of the modern period. The Handbook covers the work of, among others, Paul Durcan, Thomas Kinsella, Brendan Kennelly, Seamus Heaney, Paul Muldoon, Michael Longley, Medbh McGuckian, and Ciaran Carson. The thematic sections interspersed throughout - chapters on women's poetry, religion, translation, painting, music, stylistics - allow for comparative studies of poets north and south across the century. Central to the guiding spirit of this project is the Handbook's consideration of poetic forms, and a number of essays explore the generic diversity of poetry in Ireland, its various manipulations, reinventions and sometimes repudiations of traditional forms. The last essays in the book examine the work of a 'new' generation of poets from Ireland, concentrating on work published in the last two decades by Justin Quinn, Leontia Flynn, Sinead Morrissey, David Wheatley, Vona Groarke, and others.

The Oxford Handbook of Modern Irish Theatre provides the single most comprehensive survey of the field to be found in a single volume. Drawing on more than forty contributors from around the world, the book addresses a full range of topics relating to modern Irish theatre from the late nineteenth-century theatre to the most recent works of postdramatic devised theatre. Ireland has long had an importance in the world of theatre out of all proportion to the size of the country, and has been home to four Nobel Laureates (Yeats, Shaw, and Beckett; Seamus Heaney, while primarily a poet, also wrote for the stage). This collection begins with the influence of melodrama, looks at arguably the first modern Irish playwright, Oscar Wilde, before moving into a series of considerations of the Abbey Theatre, and Irish modernism. Arranged chronologically, it explores areas such as women in theatre, Irish-language theatre, and alternative theatres, before reaching the major writers of more recent Irish theatre, including Brian Friel and Tom Murphy, and their successors. There are also individual chapters focusing on Beckett and Shaw, as well as a series of chapters looking at design, acting and theatre architecture. The book concludes with an extended survey of the critical literature on the field. In each chapter, the author does not simply rehearse accepted wisdom; all of the authors push the boundaries of their respective fields, so that each chapter is a significant contribution to scholarship in its own right.

Thirty-seven chapters, written by leading literary critics from across the world, describe the latest thinking about twentieth-century war poetry. The book maps both the uniqueness of each war and the continuities between poets of different wars, while the interconnections between the literatures of war and peacetime, and between combatant and civilian poets, are fully considered. The focus is on Britain and Ireland, but links are drawn with the poetry of the United States and continental Europe. The Oxford Handbook feeds a growing interest in war poetry and offers, in toto, a definitive survey of the terrain. It is intended for a broad audience, made up of specialists and also graduates and undergraduates, and is an essential resource for both scholars of particular poets and for those interested in wider debates about modern poetry. This scholarly and readable assessment of the field will provide an important point of reference for decades to come.