An túrscéal iar-nua-aoiseach sa Ghaeilge

Is éard atá curtha romham agam sa tráchtas seo ná an t-úrscéal iar-nua-aoiseach sa Ghaeilge a phlé; chun aitheantas a thabhairt don seánra mar rud ar leith; chun a fhréamhacha a aimsiú agus a thréithe sainiúla a léiriú. Féachaim anseo lena léiriú go bhfuil baint shainiúil ag an úrscéal iar-nua-aoiseach sa Ghaeilge le stair shochteangeolaíoch agus liteartha na hÉireann. Chruthaigh scríbhneoirí Béarla na hÉireann, ar nós Joyce, Beckett agus Flann O’Brien (Brian Ó Nualláin), cur chuige liteartha a raibh toradh ollmhór aige ar chúrsaí liteartha an domhain – go háirithe sa chomhthéacs (iar)-nua-aoiseach. Léireoidh mé gur tháinig an cur chuige seo chun cinn de bharr an choibhnis shainiúil atá ag muintir na hÉireann le teanga – coibhneas atá ginte i nguagacht faoin rud is teanga féin ann. Áitím gur eascair an ghuagacht seo as an athrú stádais – ó phríomhtheanga go mionteanga – a tharla don Ghaeilge. Áitím gur cruthaíodh feasacht ar fholús i bhféiniúlacht na tíre nuair a tharla an t-athrú sin agus go raibh tionchar ag an bhfeasacht seo ar litríocht na hÉireann – idir Ghaeilge agus Bhéarla. Is minic a fhéachann an túrscéal iar-nua-aoiseach, i ngach teanga ina gcleachtar a leithéid, le staidéar a dhéanamh ar na slite ina gcruthaítear brí sa saol trí theanga agus trí reacaireacht. Murab ionann is a mbíonn i gceist san úrscéal ‘traidisiúnta’ – an t-úrscéal ‘réadach’ mar a tuigtear leis – glacann iar-nua-aoiseachas leis go bhfuil solúbthacht agus saorgacht i ngach léiriú ar an mbrí seo. Léiríonn na húrscéalta atá faoi chaibidil sa tráchtas seo an-doimhneacht liteartha. Is saothair fhéinchomhfhiosacha agus mheitificseanúla iad a thaispeánann éiginnteacht i leith brí absalóidigh. Oibríonn siad mar léiriú ar fheidhm na teanga sa saol agus ar na slite ina gcruthaíonn gach reacaireacht a fírinne féin. Cé gur tréithe iar-nua-aoiseacha iad siúd, is tréithe iad chomh maith a bhaineann le stádas na mionteanga.

Talk and silence: instantiations and articulations

This paper considers the desire for unity, reconciliation and consensus underpinning three models of talking – namely, 'the meeting', 'the dyadic love relationship', and 'the psychoanalytic session'. We highlight the three domains’ shared intellectual and historical heritage wherein talk is seen as a mode of achieving unity (of the group, of the dyad, or of the self) and conversely 'silence' is seen as pathology. Through looking at the role of silence in the works of Lacan, Joyce, and Beckett, we then examine how conversations with a collective, an Other, the self, etc. can all be enriched by ambivalence, antagonism and, in particular, silence. In contrast to the conventional understanding, silence is not the 'end' of understanding, but rather a new beginning. From this perspective, silence can be the basis upon which we can begin to imagine a principled relationship with the Other.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.