The “Hibernicising” of George Farquhar’s Plays after Irish Independence by DAVID CLARE

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Who has the Last Word? The Dead and their Lively Humour in Máirtín Ó Cadhain’s Cré na Cille by Roxana Doncu

“…The speaking dead stand for the Gaelic rural communities whose language the political activist Ó Cadhain’s taught and promoted as the real repository of the idea of an Irish independent nation. The particular dialogic form of the novel, though seemingly experimental and difficult to comprehend, represents Ó Cadhain’s effort to establish democracy (lacking in the real post-independence Irish state), through the multiplicity of voice polyphony implies, at least at literary level. …”
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Irish Nationalism as an Inspiration for American Zionists in the Early Twentieth Century: As exemplified by Boston Lawyer Louis D. Brandeis’s Speeches and Writings by Armin Langer

“…An article on this particular aspect of the intersection of Irish and Jewish history might be especially helpful since today the Irish independence movement is usually compared to the Palestinian resistance movement rather than to early Zionism.…”
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The Globalization of Guinness: Marketing Taste, Transferring Technology by Pilcher Jeffrey M.

“…Such alliances were not entirely unexpected, for with its headquarters in a former British colony, Guinness was ideally situated to blend the global and the local, just as the company had successfully bridged the bloody divide of Irish independence, remaining as beloved in Belfast, loyalist heartland of Northern Ireland, as in Dublin, capital of the Irish Republic.…”
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Shadow Lives: Disrupting Gender Patterns in Kate O’Brien’s Mary Lavelle and Maeve Brennan’s The Visitor by Edward O’Rourke

“…The decades that followed Irish independence witnessed a doubling down of efforts to reinforce established gender roles and conservative systems of power in the fledgling state. …”
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