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Course Criteria
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1.50 Credits
The literature, philosophy, and practice of literary magazines.
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1.50 Credits
A review of the current state of literary publishing in the U.S. and abroad.
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0.00 Credits
Selected topics in Old and Middle English Literature.
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0.00 Credits
Selected topics in Renaissance Literature.
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0.00 Credits
Selected topics in 18th Century Literature.
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0.00 Credits
Selected topics in 19th Century Literature.
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0.00 Credits
Selected topics in 20th Century British Literature.
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0.00 Credits
Selected topics in American Literature.
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3.00 Credits
The theme for the IRISH SEMINAR 2007 is Classics of Irish Studies. The Seminar is interdisciplinary, open to all faculty and graduate students in Irish Studies, and cross-listed with the Department of English. Graduate students opting to take the IRISH SEMINAR for three (3) credits will be assessed on the basis of participation. While a guaranteed number of places will be reserved for University of Notre Dame, Trinity College and University College Dublin students, all applicants will be assessed on the basis of their academic record and recommendations. The deadline for application to the IRISH SEMINAR is 1 April 2007. Places fill quickly, so an early application is recommended. Applications will be evaluated and admissions announced on a rolling basis from 1 April, with the final roster completed by 1 May 2007.
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3.00 Credits
The Irish Revival emerged out of the Parnell fiasco, after which a generation turned away from politics towards cultural activities. At this time, in Yeats's famous swords, Ireland was like 'wax' and cultural activists sought to impress their vision of a new Ireland on it. An extraordinary surge of cultural creativity ensued, embracing diverse movements - literary, dramatic, sporting, economic, linguistic... which are summarised under the heading the Irish Revival. These activities crossed class, party, and sectarian cleavages: they did not involve a clear-cut severance of [high-minded] culture from [grubby] politics. There was no conflict of civilisations - of a Protestant Anglo-Ireland representing high culture against a Catholic Gaelic middle class or peasant culture. Neither was the Revival a backward-looking, nostalgic, anti-modern and anti-materialist movement. Cultural self-belief was its bedrock issue: it underpinned the struggle for national independence, for economic advances, for cultural autonomy. The Revival sought an alternative route to modernity. The spirit of self-reliance was the spirit of Sinn Féin ['Ourselves'], and all these ostensibly different activities formed a common programme to generate a revitalised citizenship and redefined public sphere, a new civic nationalism based on republicanism. The period also witnessed a growing realisation that a Home Rule parliament on College Green meant little if there was not a distinctive Irish nationality to be nurtured by it. The Irish Revival was not just a dreamy drift of writers and mystics looking backwards to a Celtic past. It was a progressive movement, featuring self-help groups focussed on local modes of production - economic and cultural - the Gaelic Athletic Association, the Gaelic League, the Irish Literary Revival, the Abbey Theatre, the Co-Operative movement. They became the backbone of the emerging political movement. The Irish Revival offered a spectacular efflorescence of cultural and political energies. The generation born during or just after the Famine who came to maturity between 1880 and 1920 - including Michael Davitt, Michael Cusack, Douglas Hyde, Patrick Pearse, W. B. Yeats, J. M. Synge, Lady Gregory, James Joyce, Daniel Corkery - pioneered a remarkably experimental culture, that was much admired outside Ireland. The Harlem Renaissance of the 1920s was modelled on the Revival's experiment with Hiberno-English speech. Ireland occupied a disproportionate space in the 1929 surrealist map of the world by Andre Frank. Seamus Heaney has commented that 'The Ireland I now inhabit is one that these Irish contemporaries have helped to imagine'.
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