Presbyterian Religion, Historiography and Ulster Scots Identity, c. 1800 to 1914

The links between Presbyterians in Scotland and the north of Ireland are obvious but have been largely ignored by historians of the nineteenth century. This article addresses this gap by showing how Ulster Presbyterians considered their relationship with their Scottish co-religionists and how they used the interplay of religious and ethnic considerations this entailed to articulate an Ulster Scots identity. For Presbyterians in Ireland, their Scottish origins and identity represented a collection of ideas that could be deployed at certain times for specific reasons – theological orthodoxy, civil and religious liberty, and certain character traits such as hard work, courage, and soberness. Ideas about the Scottish identity of Presbyterianism were reawakened for a more general audience in the first half of the nineteenth century, during the campaign for religious reform and revival within the Irish church, and were expressed through a distinctive denominational historiography inaugurated by James Seaton Reid. The formulation of a coherent narrative of Presbyterian religion and the improvement of Ulster laid the religious foundations of a distinct Ulster Scots identity and its utilization by unionist opponents of Home Rule between 1885 and 1914.

On the way to 'duende' (through Lorca's 'Elogio de Antonia Merce, 'la Argentina', 1930)

This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). ‘Duende’ crystallizes around 1929/1930 when the poet explicitly takes into account the art of the dancer in performance. Three aspects of performance are singled out and systematically traced through Lorca's evolving reflections on popular art and the struggle of the modern artist to create the new – from his first lecture on the cante jondo in 1922 to the Arquitectura del cante jondo (1930) and finally Juego y teoría del duende (1933). The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.