Some stylistic features of twentieth century American poems : with particular reference to ambiguity

SIGLEAvailable from British Library Document Supply Centre- DSC:D51939/84 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Elizabeth Vesey and the Art of Educating Oneself, Between London and Lucan

A 1926 publication describes the Library of Mrs. Elizabeth Vesey (1715- 1791), a Bluestocking and the wife, by second marriage, of Agmondisham Vesey, a member of the Irish Parliament. The essay examines the books that refer to the cultural background and critical abilities of an Irish literary lady who transmitted but a small record of her literary competence to posterity. The excursus points to her historical, philosophical, and theological formation as the daughter of the Bishop of Ossory, besides her acquaintance with foreign literatures (most prominently the Italian one) and her ideological involvement with the question of the American colonies that she only briefly hints at in a letter to her friend Mrs. Montague in order not to trespass the borders of the public sphere. Vesey’s portrait would be mostly imperfect if this collection was ignored.

Memory and Performance in Dublin’s Art Scenario: Brian O’Doherty and Sebastian Barry

In 2008 Brian O’Doherty buried his alter ego, Patrick Ireland, in Dublin, as a consequence of peace having been restored in Northern Ireland. “We are burying hate”, said the New York artist of Irish origin, “it’s not often you get the chance to do that”. With Patrick’s masked effigy lain in a coffin the memory of past tragic times was spectacularized, and paved the way to a more luminous future. In the previous summer the staging of Sebastian Barry’s The Pride of Parnell Street focuses on a episode of domestic violence by a Dublin fellow on the occasion of “Italia ’90” world cup. By staging the anxieties and confronting the fears of the two protagonists, man and wife, who have since then lived separately, in a one-to-one dialogue disguised as a monologue, both the woman and the man end up recovering one’s freedom and one’s pride, respectively. Through the analysis of O’Doherty’s and Barry’s performance, the essay shows how the contemporary artistic and multicultural global ferments, and the new ethnic dimension since the rising of the Celtic Tiger have brought changes to the social texture of a nation marred by forced emigration. Also, a 2007 film directed by John Carney, Once, proposes, through the story of an Irish Guy and a Czech migrant Girl, a social cross section that could work in Dublin as well as, thanks to the new global cultural flows, in any other of today’s ethnoscapes and ideoscapes

Geographical and temporal distribution of SARS-CoV-2 clades in the WHO European Region, January to June 2020

We show the distribution of severe acute respiratory syndrome coronavirus-2 (SARS-CoV-2) genetic clades over time and between countries and outline potential genomic surveillance objectives. We applied three genomic nomenclature systems to all sequence data from the World Health Organization European Region available until 10 July 2020. We highlight the importance of real-time sequencing and data dissemination in a pandemic situation, compare the nomenclatures and lay a foundation for future European genomic surveillance of SARS-CoV-2

Tullio Pericoli: The Exhibition as a Field of Inquiry ,Oscar Wilde House, Merrion Square, Dublin

Catalogo dei ritratti di Beckett di Tullio Pericoli, preceduti da breve introduzione.A Catalogue of Tullio Pericoli's Portaits of Beckett, with a brief introduction

Performing Gender and Violence in Contemporary Transnational Contexts

An extraordinary complexity characterizes the encounter between theatre, mythology, and human rights when gender-based violence is on the platform. Another encounter enhances the cross-disciplinary and transnational dynamics in this book: the one between the scholar and the playwright, who exchange views to pursue a theme demanding due attention at an emergence that needs being explored to be understood and combated, and finally turned into a priority action. Through the analysis of a repertoire of contemporary plays and performance practices from English-speaking countries, the contributors explore in detail the asymmetrical relations that exist between men and women, the crimes involved, and the ways in which the protagonists' minds work differently. The unconventional format adopted for the five central sections that follow two papers centered on Marina Carr’s theatre in comparison with two noteworthy British playwrights’, and that forerun the final stringent remarks about woman’s (like man’s) fundamental right to speak and need for words, offers not just single chapters, however provocative, on an aspect of the theme, but a tripartite session boasting a critical inquiry into the text, the playwright’s response to criticism, and a sample of the author’s creative expression. What emerges is a prismatic, complex, and visceral vision of the plays offered to the public for further elaboration and critique. Beside Carr, those involved are Raquel Almazan, Van Badham, Carolyn Gage and Erin Shields – all of them champions of today’s feminist commitment to denounce, through their art, violence against women

"Margaret Fuller on the Stage"

"Margaret Fuller on the Stage" considera la presenza di Fuller come personaggio del dramma di Susan Sontag, "Alice in Bed" (1993), in cui la protagonista Alice James si intrattiene -- nella scena della propria mente -- con importanti donne di lettere come Emily Dickinson e la Fuller oltre a due personaggi di fantasia, al fine di ricavarne consigli e insegnamenti. Di Fuller il saggio mette in rilievo la personalità incline al "role-playing" e all'auto-drammatizzazione conducendo così a un giro di vite sul problema dell'identità dell'autrice di "Woman in the Nineenth-century" pesantemente manipolata, alla sua morte, dai grandi Maestri del trascendentalismo, come Emerson e Hawthorne, oltre a eminenti scrittori come Higginson, Poe e James che ne fornirono all'unisono un ritratto poco rispondente al carattere di donna trasgressiva che condivide parzialmente con le altre figure invocate nella scena del dramma di Sontag. Citazioni dai sei volumi di lettere della scrittrice raccolte da Robert Hudspeth e analogie tra la situazione "nonsensical" della scena con l'assurda situazione in cui viene a trovarsi il personaggio Alice creato da Lewis Carroll quando attraversa la soglia tra veglia e sonno sono messe a confronto con il dramma pirandelliano "Come tu mi vuoi", perchè il lettore possa valutare appieno il ruolo della "maschera" -- una ricerca condotta a suo tempo da Pirandello e riproposta da Sontag -- nell'auto-costruzione del sè. In pieno possesso del suo personaggio, Sontag crea, con Fuller, la propria complice e il proprio doppio, facendo di lei, come fu fatto a suo tempo di Sontag stessa da Norman Mailer, una "Dark Lady". Il ricco apparato di note ha il merito di ricongiungere la puntuale ricerca delle femministe Sandra Gilbert e Susan Gubar che data al 1979 con l'aggiornata interpretazione teatrale delle tre principali scrittrici da parte dell'intellettuale Sontag."Margaret Fuller on the Stage” focuses on the presence of Fuller as a character in Susan Sontag’s play "Alice in Bed" (1993), where Alice, the protagonist, entertains – in the scene of her own mind – important women of letters, such as Emily Dickinson and Fuller besides two fictional characters, with the aim of obtaining advice and counseling. The essay is devoted to Fuller’s persona – mostly, her inkling towards role-playing and self-dramatization –- and leads to a turning point that revolves around the problem of identity of the author of "Woman in the Nineenth-Century." It also focuses on the question of the manipulation of Margaret Fuller on the part of the great Transcendentalist Masters such as Emerson and Hawthorne, besides eminent writers like Higginson, Poe and Henry James, who portrayed her as a different woman from the transgressive figure who shares the features of the other women of letters evoked in Sontag’s drama. Quotations from the six volumes of the writer’s letters, gathered by Robert Hudspeth, and analogies between the "nonsensical" situation of the scene with the absurd situation where Lewis Carroll’s Alice falls into when she crosses the threshold between wake and sleep, are compared with Pirandello’s play, 'As You Desire Me', in order for the reader to evaluate the role of the “mask ". That is a research concerning the construction of the self that was undertaken also by Pirandello and was then re-proposed by Sontag. Well in possession of her main character in Scene 5 of the play, Sontag sees in Fuller her own accomplice and turns her – as Norman Mailer did with Sontag herself – into a "Dark Lady". The rich and extensive reference apparatus links up the work of feminist critics Sandra Gilbert and Susan Gubar (dating to 1979) with intellectual Sontag’s updated theatrical interpretation of the three main characters

"Tullio Pericoli's Beckettian 'Facescapes'"

In occasione della mostra dei numerosi ritratti di Beckett di Tullio Pericoli alla casa di Oscar Wilde in Dublino l'autrice, che ha anche allestito la mostra, fa un'analisi comparata del gioco di illusione e realtà che caratterizza l'interpretazione di Beckett da parte di T. Pericoli con il bufalo istoriato sulla moneta di incerto valore creata dal drammaturgo David Mamet, uno dei più seri ammiratori di Beckett.On the occasion of the exhibition of Tullio Pericoli's "Becketts" at Oscar Wilde house in Dublin, the author (who has also put up the exhibition) compares the ambiguous game of appearance and reality going on in Pericoli's interpretation of Beckett to the uncertain value of the buffalo-headed coin of playwright David Mamet, one of Beckett's most serious admirers