Lámhscríbhinní gaeilge i leabharlanna sa tuaisceart

Accepted Version

Edmund Burke and the heritage of oral culture

The dissertation proposes that one of the more fruitful ways of interpreting Burke's work is to evaluate him as an oral performer rather than a literary practitioner and it argues that in his voice can be heard the modulations of the genres and conventions of oral composition of eighteenth-century Gaelic Ireland. The first chapter situates Burke in the milieu of the Gaelic landed class of eighteenth-century Ireland. The next chapter examines how the rich oral culture of the Munster Gaelic gentry, where Burke spent his childhood days, was to provide a lasting influence on the form and content of Burke's work. His speeches on the British constitution are read in the context of the historical and literary culture of the Jacobites, specifically the speculum principis, Párliament na mBán. The third chapter surveys the tradition of Anglo-Irish theoretical writings on oratory and discusses how Burke is aligned with this school. The focus is on how Burke's thought and practice, his 'idioms', might be understood as being mediated through the criterion of orality rather than literature. The remaining chapters discuss Burke's politics and performance in the light of Gaelic cultural practices such as the rituals of the courts of poetry, the Warrant Poems or Barántas; the performance of funeral laments and elegies, Caoineadh, the laments for the fallen nobility, Marbhna na daoine uaisle, the satires and the political vision allegories of Munster, Aislingí na Mumhan; to show how they provide us with a remarkable context for discussing Burke's poetical-political performance. In hearing Burke's voice through the body of Gaelic culture our understanding of Burke's position in the wider world of the eighteenth century (and hence his meaning) is profoundly affected.

History, revolution and the British popular novel: historical fiction in the romantic age

“History, Revolution and the British Popular Novel” takes as its focus the significant role which historical fiction played within the French Revolution debate and its aftermath. Examining the complex intersection of the genre with the political and historical dialogue generated by the French Revolution crisis, the thesis contends that contemporary fascination with the historical episode of the Revolution, and the fundamental importance of history to the disputes which raged about questions of tradition and change, and the meaning of the British national past, led to the emergence of increasingly complex forms of fictional historical narrative during the “war of ideas.” Considering the varying ways in which novelists such as Charlotte Smith, William Godwin, Mary Robinson, Helen Craik, Clara Reeve, John Moore, Edward Sayer, Mary Charlton, Ann Thomas, George Walker and Jane West engaged with the historical contexts of the Revolution debate, my discussion juxtaposes the manner in which English Jacobin novelists inserted the radical critique of the Jacobin novel into the wider arena of history with anti-Jacobin deployments of the historical to combat the revolutionary threat and internal moves for socio-political restructuring. I argue that the use of imaginative historical narrative to contribute to the ongoing dialogue surrounding the Revolution, and offer political and historical guidance to readers, represented a significant element within the literature of the Revolution crisis. The thesis also identifies the diverse body of historical fiction which materialised amidst the Revolution controversy as a key context within which to understand the emergence of Scott’s national historical novel in 1814, and the broader field of historical fiction in the era of Waterloo. Tracing the continued engagement with revolutionary and political concerns evident in the early Waverley novels, Frances Burney’s The Wanderer (1814), William Godwin’s Mandeville (1816), and Mary Shelley’s Valperga (1823), my discussion concludes by arguing that Godwin’s and Shelley’s extension of the mode of historical fiction initially envisioned by Godwin in the revolutionary decade, and their shared endeavour to retrieve the possibility enshrined within the republican past, appeared as a significant counter to the model of history and fiction developed by Walter Scott in the post-revolutionary epoch.

Mícheál Coimín agus a shaothar

Is é a chuirim romham a dhéanamh sa tráchtas seo ná eagar a chur ar shaothar liteartha Mhíchíl Coimín; file agus údar próis a bhí ag saothrú na litríochta i gCill Chorcoráin, Contae an Chláir san ochtú haois déag. D’éag sé sa bhliain 1760 nuair a bhí sé beagnach 90 bliain d’aois. Is féidir a rá go bhfuil an Coimíneach, ó thaobh chanóin litríocht na Gaeilge de i measc na mionscríbhneoirí, agus níl aon dabht faoi ach go bhfuil an-chuid de léitheoirí na Gaeilge sa lá atá inniu ann dall ar a chuid scríbhneoireachta. Tá cáil air mar údar ‘Laoi Oisín i dTír na n-Óg’ ach mar a léireofar sa tráchtas seo, tá gach cuma ar an scéal nárbh é a scríobh. Tá againn óna pheann dornán beag dánta agus dhá scéal rómánsaíochta (‘Eachtra Thoroilbh Mhic Stairn’ agus ‘Eachtra a Thriúr Mac’) a scríobh sé nuair a bhí an traidisiún sin próis ar an dé deiridh. Níl aon chuid dá shaothar ar fáil in eagráin a shásódh léitheoirí an lae inniu ná na critéir scolártha atá i bhfeidhm anois. Níor tháinig aon lámhscríbhinn, i lámh an Choimínigh, anuas chugainn agus dá bhrí sin bhí dúshlán áirithe ag baint leis an bpróiseas eagarthóireachta. Sa tráchtas rinne mé an suirbhé is iomláine go dtí seo ar a shaothar i dtraidisiún na lámhscríbhinní agus ar na scríobhaithe a rinne é a sheachadadh. Bhí sé mar aidhm agam teacht ar na lámhscríbhinní is údarásaí sa traidisiún d’fhonn eagráin a réiteach a bheadh dílis dá bhunshaothar. Chomh maith leis sin tabharfar cuntas ar a bheatha agus ar a chúlra liteartha, agus déanfar iniúchadh criticiúil ar a shaothar próis agus fileata.

Phase II Archaeological Excavations at 99 Main Street, 18AP21 (Sign of the Whale), Annapolis, Maryland

Historical Annapolis Foundation (HAF) conducted terrestrial archaeological investigations at site 18AP21 in the city of Annapolis, Maryland. Excavations were carried out at this National Register site ostensibly as a Phase II project to evaluate the site and assess the need for further work. The site is at 99 Main Street in the center of downtown Annapolis, near the Annapolis waterfront. The project was carried out as part of the advanced work for the Annapolis History Center project, to be built in the adjoining buildings of 99 Main and 196 Green Streets. The buildings are the property of the Historic Annapolis Foundation and located in Maryland Research Unit 7. The excavations were undertaken by HAF, and funded by HAFF. The work was conducted for HAF and MHT, who holds an archaeological easement on the property. This preliminary phase of work included stratigraphic excavation of two testpit units. These two units revealed that the site of the existing 99 Main Street building was the location of three previous constructions. The current building at 99 Main Street, built in 1791, was preceded by an earlier brick dwelling, evidenced by a stout pier of bricks, which was attached to a wooden-sided structure that stood on a foundation of brick and stone. Ceramics indicate that these buildings date to the early-middle of the 18th century. A third structure of post-in-ground construction, evidenced by recovery of burned posts and wood fragments, likely existed prior to these, but evidence was scant. These excavations reveal that the site of 18AP21 holds potential for understanding Annapolis's early cultural developments, especially in the area of initial settlement and the origins of waterfront commerce. The assemblage of artifacts recovered includes a broad sample of common 18th century pottery such as creamware and Chinese export porcelain, and also includes some early colonial types such as tin-glazed earthenware and various red-bodied slipwares. The excavations do not provide conclusive evidence of the construction sequence. Consultation with MHT representatives indicates that further work at the site will likely be needed before modifications to the floor of the building can progress.

Limited Excavations at the Gassaway-Feldmeyer House, 18AP49, 194 Prince George Street, Annapolis, Maryland

194 Prince George Street, known as the Gassaway-Feldmeyer house, was excavated in April of 1988. The property, in residential use from the 19th century, is owned by Historic Annapolis Foundation. Excavators found evidence of some intact 19th century levels and no trace of the 18th century. Unfortunately, parts of the site were disturbed by 20th century gardening activities. Further excavation is recommended since the Gassaway-Feldmeyer house may provide valuable information about residences in the 19th century.

"It is Quietly Chaotic. It Confuses Time"*: Final Report of Excavations at the Bordley-Randall Site in Annapolis, Maryland, 1993-1995 (18AP50)

*This extract is from Gay P. Crowther's description of the Randall Court pathway (Cowther 1985).

Archaeological Testing at the John Brice II (Jennings-Brice) House, 18AP53, 195 Prince George Street, Annapolis, Maryland

In the fall of 1989, emergency excavation was undertaken in conjunction with restoration work at the John Brice II (Jennings-Brice) House, 18AP53. The exact date of construction for this brick home is problematic, and it was hoped that archaeological investigation could provide conclusive evidence to firmly establish the structure's date of construction. Excavation of one 5 X 5 ft. unit revealed the presence of 10 separate soil layers and four features of note, described in detail below. Unfortunately, no builders trench or similar feature by which we might date the house's construction was recovered. Future plans and possibilities for excavation at the property are outlined with the hopes of performing subsequent work at this rich site. We anticipate a focus on the arrangement and changes in use of the houselot, amassing evidence to support the presence of a vernacular garden on the property during the 18th century, as well as researching refuse disposal patterns, and clues to changing lifeways through the 18th century.

Archaeological Investigation at Slayton House, 18AP74, Annapolis, Maryland

Archaeological investigation at the Slayton House site in Annapolis revealed evidence of occupation of the lot since the early 18th century. The intact late 18th century ground surfaces on which John Ridout built the row houses, and subsequent changes in the landscape and use of the yard as work space in the 19th century were discovered. There was ample visible evidence of the early 20th century landscape and use of the yard as a pleasure garden when excavation was started. Deposits inside the house were quite disturbed, but there was evidence of the work done by the African Americans who lived there. A number of artifacts were found which may indicate the slaves and free African Americans were practicing African-related folk beliefs. No further investigations are recommended for the site. However, if severe or deep ground-disturbing activities were to take place on the property, they should be monitored by a qualified archaeologist.

Archaeological Excavations at the Sands House (18AP47)

The Sands House (18AP47) is located at 130 Prince George Street in Annapolis, Maryland. Historical documentation notes that a house stood on the property at least by 1706 (Liber W.T. 2, 1706: 402). Archaeological evidence indicates that an earthfast structure was built in about 1700. This building has been modified and renovated extensively. In the 1720's a fieldstone foundation was put under the house and in the late 18th century an addition was made to the west side of the house. In 1904 an addition was put on the rear of the house and the entire structure was raised. Archaeological excavations were conducted inside and outside the Sands House in 1988 by Archaeology in Annapolis. This work was sponsored by Historic Annapolis Foundation and the University of Maryland, College Park. This volume is the final site report for the archaeological investigations at the Sands House.

Site Report for Phase III Archaeological Investigations at Reynolds Tavern (18AP23), 4 Church Circle, Annapolis, Maryland. 1982-1984

This report details the archaeology completed at Reynolds Tavern in the years 1982,1983, and 1984. It was completed in 2013, nearly 30 years after the excavation took place, using archival materials such as the draft interim reports, unit summary forms, original notes and photographs which are currently stored in the University Archives at Hornbake Library, at the University of Maryland, College Park. This report has been a collaboration across time and space, drawing from preliminary reports written by Anne Yenstch and Susan Mira in 1982 and Joe Dent and Beth Ford in 1983, as well as original notes from students of the field schools held there during those years, various analyses by scholars from many universities (including the University of Maryland, University of Georgia, and the College of William and Mary), and historical research by Nancy Baker. Thomas Cuddy began the writing of this report in 2002, completing the first three chapters in addition to the artifact analysis that led to the postexcavation identification of the African bundles in the Reynolds Tavern basement. This remarkable discovery was made along with Mark Leone of the University of Maryland, founder and director of Archaeology in Annapolis, who also served as the Principle Investigator during all three years of the Reynolds Tavern excavations. Dr. Leone contributed the fifth and final chapter to this report, the Conclusions and Recommendations, during its final compilation in 2013. The final report, including the fourth chapter on the archaeology itself, was written in part and compiled by Patricia Markert of the University of Maryland in the spring of 2013. Reynolds Tavern has been part of the landscape of Annapolis for two-hundred and fifty five years (at the time of the publication of this report). It sits on Church Circle facing St. Anne’s Church, and is a beautiful example of 18th century Georgian architecture as well one of the defining features of Historic Annapolis today. It currently operates as a popular restaurant and pub, but has served variously as a hat shop, a tavern, an inn, a library and a bank over time, among other things. Its long history contributes to its significance as an archaeological site, and also as a historic marker in present day Annapolis. The archaeology conducted at Reynolds Tavern shed light on life in 18th and 19th century Annapolis, illuminating details of the occupants’ lives through the material traces they left behind. These include an 18th century cobblestone road that ran diagonally through the Tavern’s yard, telling of the movement through early Annapolis; a large and intact well, which was found ii to contain a 19 foot wooden pipe; a large, ovular privy containing many of the objects used on a day to day basis at the Tavern or the structures around it; a subterranean brick storage feature in the basement of the Tavern, which may have been used by Reynolds during his days operating a hat shop; and also in the basement, two African caches of objects, providing a glimpse into West African spiritual practices alive in historic Annapolis and the presence of African American individuals at the Tavern in the 18th and 19th centuries. The purpose of this report is to detail these archaeological investigations and their findings, so that a public record will be available and the archaeology completed at Reynolds Tavern can continue to contribute to the history of Annapolis.

The Legacy of Oboist and Master Teacher, Robert Bloom

Robert Bloom (1908-1994) was legendary in the education and performance world. Often hailed as one of the last performers of the Golden Era of classical music and a favorite of conductors ranging from Stokowski to Stravinsky to Shaw, Bloom was an orchestral oboist and English hornist, oboe soloist, chamber musician, teacher (Eastman, Yale, Hartt, Manhattan School of Music, Juilliard and Philadelphia's University of the Arts), composer, conductor, editor of masterworks of the 18th century, and, as a founding member of the Bach Aria group, a seminal influence in the post-WWII revival of Baroque music in America. In The Robert Bloom Collection and the Art of Robert Bloom CD and video archives, we see what his musical ideals were in 1)18th-century performance practices, 2) writing new music for the instrument and commissioning new works, and 3) and transcribing music for the oboe and English horn. As an oboist, I believe it is important that Bloom's teachings, historical performance practices and ideas for expanding repertoire are propagated. Therefore, the works chosen for this dissertation illustrated this legacy. My recitals included 1) some of Bloom's published 18th-century baroque elaborations (his term for ornamentation), as well Baroque works which I have elaborated, 2) works written by him and by other oboists/composers (Labate, Roseman) as well as a flute/oboe duo that I commissioned by Dr. Marcus Maroney and 3) transcriptions by both Bloom and myself (Bach, Donizetti, Mendelssohn, Mozart, Handel, Schumann and Telemann). In these three dissertation recitals, I hope to have illustrated some of Robert Bloom's lasting contributions and impact on the oboe world, and to have demonstrated the potential for carrying forward this legacy by studying his teaching and emulating his example.

Pädagogisches Wissen in Bildern. Zum Bildprogramm der französischen Ausgaben des 18. Jahrhunderts von Rousseaus "Émile"

Aus Anlass der 250. Wiederkehr der Erstauflage von Rousseaus Werk "Émile oder über die Erziehung" widmet sich der Text der Analyse seiner Illustrationen. Die französischen Ausgaben des 18. Jahrhunderts wurden mit Kupferstichen von unterschiedlichen Künstlern gestaltet. Dabei war das Bildprogramm der Erstausgabe des Jahres 1762 noch von Rousseau autorisiert, während die posthumen Auflagen dies nicht mehr waren und einen vollständigen Wechsel des Bildprogramms vollziehen. Diese beiden unterschiedlichen Bildprogramme werden analysiert und in den Kontext ihrer Druckgeschichte gestellt. Dabei zeigt sich, auf welche Art das pädagogische Hauptwerk Rousseaus bildlich illustriert wird. (DIPF/Orig.)

The vague, the viral, the parasitic: Piranesi's metropolis

In mid-18th century Giovanni Battista Piranesi’s etchings systematically document the old and new monuments, decrepit buildings and broken down infrastructures of a Rome that continues to inhabit and reinvent its past. His views of Rome offer a devastating account of the blurring of distinctions and articulations that time, use and neglect have imposed on the old differentiations of the urban and the rural, the public and the private, the monumental and the domestic in the 18th century city. Rome becomes for Piranesi the laboratory for a questioning of architecture that places his work well beyond the debate on style and on the origin that dominated the architectural discourse of his time. This paper suggests that Piranesi’s images anticipate the dispersion and sprawl of the city of today, in which the ‘vague’, the ‘viral’ and the ‘parasitic’ become modes of inhabitation and of transient negotiated definition. In the Antichità di Roma, ancient buildings are represented not only in their large scale and magnificence, but also in their decay and reversal to a state of naturalness. These works, together with the acute observations of the Vedute di Roma, provide the materials that are then dislocated, manipulated, cloned and endlessly mutated by Piranesi in the synthesis of the Campo Marzio dell’Antica Roma, in which the historical city is almost entirely dissolved and replaced by an extraordinary congestion of fragments. When they are re-examined on the grounds of contemporary architectural and urban theory, the sites of Piranesi's views reveal anticipations of phenomena that affect the metropolis of today. Political, social and economic conditions have changed dramatically, but the questions asked of architecture in and by these sites challenge the definition of an architecture of style, forms and boundaries - in the 18th century as well as in the 21st -in favour of an architecture of change.

Un episodio en la recepción cultural dieciochesca de lo exótico: la llegada del elefante a Madrid en 1773

At the end of 1773 an Indian elephant, brought for the royal ménagerie at Aranjuez, was shown in the streets of Madrid. The resulting public fascination provoked by the intrusion of this exotic animal can be traced through poems (Tomás de Iriarte), short plays (Ramón de la Cruz), articles in the periodical press, popular and scientific prints representing the animal, and even in the costumbrista pastels of Lorenzo Tiepolo. The mythic and premodern knowledge of animal nature collides in a debate with the new scientific observation. In the final decades of the 18th century, the image of the captive elephant acquired in Europe a new symbolic meaning linked with the political fight against slavery. All these very different elements converge in Goya's Disparate de bestia.