The songs of the beloved Irish poet Maire Bhui Ni Laeire (Yellow Mary O'Leary) explore themes of colonial subjection, oppression and injustice, representing an integral contribution to the development of anti-colonial thought in Ireland. Singing Ideas explores the significance of her work, and the immense power of her chosen medium.
The songs of the beloved Irish poet Maire Bhui Ni Laeire (Yellow Mary O'Leary) explore themes of colonial subjection, oppression and injustice, representing an integral contribution to the development of anti-colonial thought in Ireland. Singing Ideas explores the significance of her work, and the immense power of her chosen medium.
Tríona Ní Shíocháin is a whistle-player, singer and interdisciplinary scholar specializing in performance theory, oral theory and Irish-language song and poetry. She is Lecturer in Irish Traditional Music at University College, Cork, and was previously Lecturer in Irish Language and Literature at the University of Limerick. She is author of Bláth's Craobh na nÚdar: Amhráin Mháire Bhuí (2012).
Inhaltsangabe
Chapter 1. Singing Ideas: An Alternative History of Thought * (Un)doing History: The Authority of Literacy and the Performativity of Thought * Oral Trouble and Women's Voices: Searching for Intellectual * Traditions Beyond the Written Word * Singing Politics and Power in Society: Some Comparative Examples * Seizing Agency: Women of Song * Beyond the Limits of Textuality: Performing the Past and Performing Thought Chapter 2. 'Where Everything Trembles in the Balance': Song as a Liminal Ludic Space * The Theory of Liminality * Performing Liminality: Poetry as a Symbolic Marker for Liminality in the Irish Tradition * A Journey to the Sacred and Back: The Liminality of the Aisling (Vision) * Song and Oral Poetic Performance as Ritual * Separating from the Profane: Ekstasis and Song * Moments of Potentiality: The Antistructure of Melody and Verse in the Irish Tradition * The Ritual Powers of (Song) Poetry: Satire, Insult and Fearlessness * The Potentiality of the Play-Sphere: The Challenging Discourse of Song * The Singer of Ideas as 'Seer of Communitas': The Liminality of Song and the Generation of Ideas Chapter 3. Singing Parrhesia: Máire Bhuí Ní Laeire, Song Performance and Politics in Nineteenth-Century Ireland * Máire Bhuí Ní Laeire: Nineteenth-Century Song Poet * Irish-Language Song-Making: Poetry as Performance and the Aesthetics of Orality * Multiformity and Oral Formulaic Techniques * Local Agrarian Agitation and the Creation of the Poetic Radical * Crisis and Charisma: The Song Poet as Prophet and Truth-Teller * Identity and the Aesthetics of Orality: New Ideas and the Narrative of Belonging * Framing the Revolution: Performing Antistructure and the Vision of the Revolution through Song * From Generation to Generation to Regeneration: The Legacy of Ideas through Song Conclusion: Singing Ideas in Society: Experience, Song and 'Passing Through' Appendix of Songs and Lore Bibliography Index
Chapter 1. Singing Ideas: An Alternative History of Thought * (Un)doing History: The Authority of Literacy and the Performativity of Thought * Oral Trouble and Women's Voices: Searching for Intellectual * Traditions Beyond the Written Word * Singing Politics and Power in Society: Some Comparative Examples * Seizing Agency: Women of Song * Beyond the Limits of Textuality: Performing the Past and Performing Thought Chapter 2. 'Where Everything Trembles in the Balance': Song as a Liminal Ludic Space * The Theory of Liminality * Performing Liminality: Poetry as a Symbolic Marker for Liminality in the Irish Tradition * A Journey to the Sacred and Back: The Liminality of the Aisling (Vision) * Song and Oral Poetic Performance as Ritual * Separating from the Profane: Ekstasis and Song * Moments of Potentiality: The Antistructure of Melody and Verse in the Irish Tradition * The Ritual Powers of (Song) Poetry: Satire, Insult and Fearlessness * The Potentiality of the Play-Sphere: The Challenging Discourse of Song * The Singer of Ideas as 'Seer of Communitas': The Liminality of Song and the Generation of Ideas Chapter 3. Singing Parrhesia: Máire Bhuí Ní Laeire, Song Performance and Politics in Nineteenth-Century Ireland * Máire Bhuí Ní Laeire: Nineteenth-Century Song Poet * Irish-Language Song-Making: Poetry as Performance and the Aesthetics of Orality * Multiformity and Oral Formulaic Techniques * Local Agrarian Agitation and the Creation of the Poetic Radical * Crisis and Charisma: The Song Poet as Prophet and Truth-Teller * Identity and the Aesthetics of Orality: New Ideas and the Narrative of Belonging * Framing the Revolution: Performing Antistructure and the Vision of the Revolution through Song * From Generation to Generation to Regeneration: The Legacy of Ideas through Song Conclusion: Singing Ideas in Society: Experience, Song and 'Passing Through' Appendix of Songs and Lore Bibliography Index
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