For more on Matthews' article and the latest issue of the IUR, see the following link: www.euppublishing.com/doi/10.3366/...

This article discusses Jones’s vital presence in poetry from Northern Ireland during the period, focusing on the technical solutions and coterminous historical stances adopted in several of its most telling works – Montague’s own The Rough Field (1972) and Seamus Heaney’s North (1975).

Jones’s unique experiments with a hybrid style that operates between prose and poetry, and his ‘archaeological’ approaches to the history and numinous legacy of ‘these isles’, influenced poetry from Britain and Ireland at this time.

In the latest IUR, Steven Matthews argues that the publication of John Montague’s ‘The Great Bell’, a poetic sequence about his encounters with the Anglo-Welsh poet David Jones, serves as a reminder of the significance of Jones’s work for writers in the late 1960s & 1970s

Yeats's 1930s Vision of India: A Revision of Hegelian Construction | Irish University Review The relationship between the East and the West interested W. B. Yeats throughout his long and variegated life and career. Of the different Easts that attracted him, India held a special place, keeping...

For more on this article and this issue of the IUR, see the following link: www.euppublishing.com/doi/10.3366/...

Yeats's deep investment in certain aspects of Indian thought inspired him to challenge Hegel's philosophical ethnocentrism & Eurocentric historiography. Dutta argues that Yeats occasionally employed Honoré de Balzac as a representative of alternative perspectives on the East-West relationship

A study of Yeats's introductory essays, written for collaborative publications by the poet and Swami, reveal how he revised some earlier assumptions about India/Indian spirituality in that decade

This essay focuses on Yeats's 1930s engagement with Indian religious thoughts & practices by exploring the poet’s sustained encounter with an Indian monk named Shri Purohit Swami.

In the latest IUR, Ashim Dutta discusses W. B. Yeats's interest in the relationship between the East and West. Of the different Easts that attracted him, India, Dutta argues, held a special place, keeping him invested in its religion and philosophy, literature & mythology.

‘The Greatest Enemy We Have is the Spirit of Jazz’: Agricultural Modernism in Patrick Kavanagh’s The Great Hunger | Irish University Review Building upon two interconnected twenty-first century developments in Irish studies and modernist studies, this essay revisits the critical debate concerning Patrick Kavanagh’s engagement with aesthet...

For more on Matthew Fogarty's article & the latest issue of the IUR, follow this link! www.euppublishing.com/doi/10.3366/...

This essay examines how The Great Hunger draws dynamism from the jazz aesthetic & related modes of cultural resistance embodied in this aesthetic form, analysing how African American art & thought provides a critical framework to explore dynamics of power/oppression in other cultural contexts.

Moving away from European comparisons, this essay discusses the formal techniques & thematic preoccupations used by African American modernist writers, such as Sterling A. Brown & Langston Hughes

In the latest issue of the IUR, Matthew Fogarty builds upon 2 interconnected 21st-century developments in Irish & modernist studies, revisiting the critical debate concerning Patrick Kavanagh’s engagement with aesthetic modernism in The Great Hunger.

It featured contributions making innovative use of non-textual sources/methods, as well as research on various cultural practices (visual, material, aural, emotional/sensory, embodied, multi-medial, etc.) which themselves disrupt assumptions about the nation and the epistemologies of ‘Irishness’

The issue invited contributors to ‘make a mess’ of the boundaries of Irish Studies, seeking new work/perspectives that go ‘beyond the text’.

Irish Studies: Beyond the Text YouTube video by QUB Irish Studies

The IUR's May 2025 special issue was dedicated to ‘Irish Studies beyond the Text’ (guest editors Emily Mark-FitzGerald & Emma Radley). Check out the link below to Radley & contributor Daithí Kearney's discussion of this interdisciplinary issue at Queen's last Autumn!
www.youtube.com/watch?v=9fN1...

‘Did I Ever Leave You?’: Site-Responsive Scenography in Druid's Waiting for Godot (2016) | Irish University Review Focusing on the case study of Druid's Unusual Rural Tour of Samuel Beckett's Waiting for Godot (2016), this article explores how Druid use site-responsive scenography to engage the histories and cultu...

For more on this article and issue of the IUR, see the following link: www.euppublishing.com/doi/10.3366/...

Themes of class & starvation in Godot are recontextualised within the barren performance site, creating allusions to the Irish Potato Famine. This use of site, as audience questionnaires attest, invites audiences to bring their own memories, knowledge & feelings to the meaning-making process

Focusing on the case study of Druid's Unusual Rural Tour of Samuel Beckett's Waiting for Godot (2016), Chloé Duane explores how Druid use site-responsive scenography to engage the histories and cultural legacies of the Inis Meáin landscape.

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For more on this article and the newest issue of the IUR, see the following link: www.euppublishing.com/journal/iur

Curran traces the archival presences of these photographs, which documented Sullivan's interventions into abandoned cottages on Great Blasket & argues for their historical, material & affective dimensions, foregrounding the complex & distributed dynamics of affect that circulate around/through them

According to Curran, Sullivan (1923– ) is relatively unknown outside of her native Québec and Canada, but in an exceptionally long and experimental career, has made work as a painter, dancer, sculptor, performance artist and conceptual artist.

Ann Curran explores Québécoise artist Françoise Sullivan's 1978 visit to the Blasket Islands, the series of performances for camera she developed during her time there & the complex relationship between photography & performances.

A Choreographic Archive of Ireland's Recent Pasts: Iterative Contemporaneity in CoisCéim Dance Theatre's Palimpsest (2024) | Irish University Review Staged as part of Dublin's St Patrick's Day celebration 2024, CoisCéim Dance Theatre's Palimpsest weaves together an embodied assortment of Ireland's recent pasts. From the War of Independence and wom...

For more on this article and the newest issue of the IUR, see the following link: www.euppublishing.com/doi/10.3366/...

The essay explores how choreographic movements & the dancers’ embodiment foster a kinaesthetically empathetic co-presence between the performers and audience, and injects liveness into the archive.

Yang examines how the narrative episodes create contact zones between the historical and the contemporary. Motifs of gender, religion, emigration/immigration & social class, among others, oscillate intersectionally via the dancers’ bodies, which disturb cultural inscriptions & generate new meanings

Huayu Yang argues that Palimpsest, CoisCéim Dance Theatre's performance that took place during Dublin's 2024 St Patrick's Day celebration, stages the 'iterative' contemporaneity of Ireland, where the past continues to frame present experiences and the present is incessantly conflated with the past

‘Only a Canvas Between You and the Sea’: The Currach in Irish Feminist and Ecocritical Art Practice | Irish University Review A currach (or curragh) is a small boat, traditionally made of skin or canvas stretched over wooden ribs and rowed with oars. In The Aran Islands (1907), J. M. Synge described ‘moving away from civiliz...

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Gillett also points to one of the currach's current places in ecocritical art practice: as a mediator between human and sea, and a locus for an embodied experience – not of heroism, but of powerlessness.

Gillett considers the currach's transition from a symbol of 'authentic' Irish identity and masculine heroism to a tool for the critique of essentialised Irish identity as well as gendered and environmental issues in the Irish context