Show Less

Back to the Future of Irish Studies

Festschrift for Tadhg Foley

Series:

Edited By Maureen O'Connor

This Festschrift for Professor Tadhg Foley of the National University of Ireland, Galway, who retired in 2009, gathers together international contributors in the fields of poetry, politics and academia to honour this great man’s life and work. Professor Foley has not only been central in the development of Irish Studies and Colonial/Postcolonial Studies in Ireland and in the United States, but he has also enjoyed a long career as convivial host in his thatched cottage in Salthill, Galway. He remains one of the most popular and beloved figures in Irish academia. Among the eminent scholars included in the volume are Terry Eagleton, Robert Young, Penny Boumelha, David Lloyd, Luke Gibbons, Joep Leerssen and Maud Ellmann. The book is further enriched by poets Bernard O’Donoghue, Louis de Paor, Rita Ann Higgins, Michael D. Higgins and Tom Duddy. This collection is a rare and distinctive gathering of true and resonant voices, offering a unique portrait of late twentieth-century Irish literary and academic culture and its interplay with the United States.

Prices

Show Summary Details
Restricted access

The Stage-Irishman Represented through Spain: The Castle of Andalusia (1782) by John O’Keeffe (1744–1833) Asier Altuna-García de Salazar 191

Extract

The Stage-Irishman Represented through Spain: The Castle of Andalusia (1782) by John O’Keeffe (1744–1833) Asier Altuna-García de Salazar The theatrical representation of the Catholic Irish picturesque personality and character in the Anglo-Irish literary discourse of the late-eighteenth and early nineteenth centuries proved a constant both on the Irish and English stages. Many a Protestant Anglo-Irish writer saw in this deroga- tory representation of the native Irish not only an open door to success and recognition on the London stage, but also the circulation of social energy in their depiction of the continuous re-creation of the colonial exploitation Ireland was suffering. Indeed, this farcical, albeit fierce, representation of the native Irish – widely enjoyed by the English and Anglo-Irish audiences of the time – was an exemplar of the social, economic, religious, and literary negotiations the Irish discourse at large was undertaking: a clear instance of the politics of the theatre at the hands of colonialism at the end of the eighteenth century. However, the depiction of the stage-Irishman should not be consid- ered from the side of Protestant writers exclusively. There existed many Catholic Irish writers who approached the stage-Irishman in a similar way. The Dublin-born John O’Keeffe (1747–1833) descended from old Catholic stock, which had lost importance under the introduction of the Penal Laws, and, in the O’Keeffes’ case, because of a family devotion to the Stuart cause. He received a Jesuit education and attempted his first comedy at the early age of fifteen. Around 1780 he moved...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.