tag:blogger.com,1999:blog-13631637339445806692024-03-13T10:06:46.508+00:00Archives and Special Collections - University of Galway LibraryUniversity of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.comBlogger367125tag:blogger.com,1999:blog-1363163733944580669.post-28331507561586157692023-07-17T16:47:00.003+01:002023-07-17T16:53:14.858+01:00The Galway International Arts Festival Archive - Out of the Western World<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AUFGCCZ-3qhWRXhtMdm9dNBS5Udd8repN1FYSa0m5ec8elieWHHD3zwGtMbhw3SD7OXUfv4ifNhWip1NLuI4PZjAfWdozNzatixk5816bJtMp2wyUsdLHKHP2EwW6Da380CkE3kFCwwP0dh-EkjiHGzWhohwlL5nInBKmHvvWCyqHg4QZNVEqPCgB--F/s1431/Big%20Top.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="874" data-original-width="1431" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AUFGCCZ-3qhWRXhtMdm9dNBS5Udd8repN1FYSa0m5ec8elieWHHD3zwGtMbhw3SD7OXUfv4ifNhWip1NLuI4PZjAfWdozNzatixk5816bJtMp2wyUsdLHKHP2EwW6Da380CkE3kFCwwP0dh-EkjiHGzWhohwlL5nInBKmHvvWCyqHg4QZNVEqPCgB--F/w400-h244/Big%20Top.PNG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Festival Big Top.</td></tr></tbody></table><br />The last two weeks of July means that the Galway International Arts Festival is once again spilling through the streets of Galway. A programme of events of theatre, music, spectacle, visual arts, talks, and more brings together a collision of culture throughout the city. Since the festival was founded in 1978, leading local, national, and international artists have come to Galway, enthralling audiences and contributing to the Festival becoming one of the biggest festivals in Europe. </p><p>The Galway International Arts Festival (GIAF) archive is part of the collections at University of Galway Library. Consisting of more than fifty boxes of materials, and hundreds of outsize posters and ephemera, the GIAF archive is treasure trove of festival memories. Comprising photographs, festival programmes, posters, flyers, press files, early administration and correspondence, the GIAF archive builds a record of the growth of the festival, as well as a record of the acts, artists and others who have captivated audiences for over four decades. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Y66V5Ls8jnBo_E5tykwfbFy31kVkAdMhKToMlOVy3IH1qemF0-JrgCHBPzPIX8i9zigBI1IoyF4RrFKX9Def12xAov2CboYcGl7mHbPiigzVhu5gYYmGG7dm3ZQgjZ7JGvN4wYjkPW2-AchpFM4owDJ5sjum3Ka_p4dER4xDloYr34Pe6uNYb1A2KKsn/s1278/GIAF.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="864" data-original-width="1278" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Y66V5Ls8jnBo_E5tykwfbFy31kVkAdMhKToMlOVy3IH1qemF0-JrgCHBPzPIX8i9zigBI1IoyF4RrFKX9Def12xAov2CboYcGl7mHbPiigzVhu5gYYmGG7dm3ZQgjZ7JGvN4wYjkPW2-AchpFM4owDJ5sjum3Ka_p4dER4xDloYr34Pe6uNYb1A2KKsn/s320/GIAF.PNG" width="320" /></a></div><br /><p></p><p>The first festival took place at a different time of year - in April of 1978. That first festival featured acts, musicians, writers and artists such as De Danann, Team Theatre Company, John McGahern, Seamus Coleman, Gerry Dawe, Druid Theatre Company, among many others. The iconic Galway Arts Festival poster became a fixture from the beginning. The first festival poster was designed a food menu, offering 'starters', samplings and other delectables for audiences to try. As the Festival continued, posters were designed by artist Joe Boske, blending images in forms from collage to pop art and creating a unique poster design each year that became synonymous in people's memory as a festival memory in itself. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-GvAZH3A73xATEjvi9AfK58pnti9UkSiMWr429WiFg5s_XDwWOdNFxVzjBA34tD0utX64hQuHZZgyIH2qDDy7P99UC7Ny1cXu8FenWP1Bj1fpcI9AE9xu_qJ0db4X9K1gJZDQSGB5Y6FHXFQHpd6IqGQFxWrCXvxjRFEmF332u6XQTmPyjducSbLz_PAg/s667/GIAF_1985_Official_Festival_Poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="667" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-GvAZH3A73xATEjvi9AfK58pnti9UkSiMWr429WiFg5s_XDwWOdNFxVzjBA34tD0utX64hQuHZZgyIH2qDDy7P99UC7Ny1cXu8FenWP1Bj1fpcI9AE9xu_qJ0db4X9K1gJZDQSGB5Y6FHXFQHpd6IqGQFxWrCXvxjRFEmF332u6XQTmPyjducSbLz_PAg/w300-h400/GIAF_1985_Official_Festival_Poster.jpg" width="300" /></a></div><br /><p></p><p>Like the poster, the acts, and artists that drew audiences to the festival, new venues became established part of the Galway cultural landscape, The festival Big Top at Fisheries Field is for many one of the first signs the festival has arrived. Its canopy rises above Fisheries Field and can be seen from across Salmon Weir bridge. The earliest reference of a gig at the Big Top from the GIAF archive is from 28 July 1989 and a performance by El Gran Circo Theatro, from Chile, who presented 'La Negra Ester' at the Big Top. The earliest photos of acts at the Big Top include Mary Black in 1993 and visiting group, 'Circque Gosh', who performed in 1994. Photographs in the archive show the Big Top from across the cityscape of Galway. </p><p>A reminder of the concerts and events can be seen in the archival ephemera, such as tickets, flyers and press cuttings, where photos of festival goers at various events provide a visual record of GIAF audiences, as well as the acts they are going to see. Exhibition catalogues from visual arts exhibitions also give an important record of past art exhibitions, which cannot be so easily re-encountered as much as a playscript can give the text of a play, or an album can allow you to listen to a band's music. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5cN8ynw6cgFSdTegNYNQrJkuyqfwbD6oTePjSx_ffGt-DPhN5OTPLk14qtGqcn73k558aAdkUozcNaHvNUU7xJaC7wgXmChkUgsnraHhwRf-l0XhbPbAfwz0sTrNy0sMU4IeTyase3JJT8FO7EAzLF85OEIuxqU8U78hk1nz7IMGQbn903vMx1S8bGOk/s1914/IMG20230626165943.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1914" data-original-width="1124" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5cN8ynw6cgFSdTegNYNQrJkuyqfwbD6oTePjSx_ffGt-DPhN5OTPLk14qtGqcn73k558aAdkUozcNaHvNUU7xJaC7wgXmChkUgsnraHhwRf-l0XhbPbAfwz0sTrNy0sMU4IeTyase3JJT8FO7EAzLF85OEIuxqU8U78hk1nz7IMGQbn903vMx1S8bGOk/s320/IMG20230626165943.jpg" width="188" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Flyer from Footsbarn Theatre Company at GIAF</td></tr></tbody></table><br /><br /><p>The GIAF archive is unique resource that allows access to years and decades of festival memories and objects which can remind us all of the first events we went to as Festival audiences, prompt memories of those we attended with and of our favourite acts. As another installment of the Galway International Arts Festival arrives, more events, acts, and memories will be add to over forty years of festival memories and to the archive of the festival and the archive of festival-going. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpH8Qvx0BX9OyDztuXIoyjSWzFb7BB18a_RiWdnlqLAN1jd3NORRq_oEp3ytPiEZ9j14T2qzbI9vqoaZyz009wb7vjYawPEk9nS8OIUtn4eSB8w4bgdOl09l1nSqMddSWoATH1Vc1cmJ_vzkz7K6udp03Vvqr4fyfwZMCqtFhCfwZv7RrxBTMoLeqjSQGg/s5074/T5_3_0027_0001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5074" data-original-width="4755" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpH8Qvx0BX9OyDztuXIoyjSWzFb7BB18a_RiWdnlqLAN1jd3NORRq_oEp3ytPiEZ9j14T2qzbI9vqoaZyz009wb7vjYawPEk9nS8OIUtn4eSB8w4bgdOl09l1nSqMddSWoATH1Vc1cmJ_vzkz7K6udp03Vvqr4fyfwZMCqtFhCfwZv7RrxBTMoLeqjSQGg/s320/T5_3_0027_0001.jpg" width="300" /></a></div><p><br /></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsty6Fw4HVsndcTamiVGR5gflQmKYiDhkd87ePOdfQj9DCIFvMcaHB4Olf_bnzkHh7ywzq0TdRRSfC8AHbNVOyFwdouYlgcIcCpddW-eJpf-1Kf8bl6oNfXIQzUP_Fytx_JqoHHa6NwgoDce_LpUbORZc2XnzKZzFTDffeXzeYGaUW5IMfTqovokP5zao0/s2000/IMG20230626165821.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsty6Fw4HVsndcTamiVGR5gflQmKYiDhkd87ePOdfQj9DCIFvMcaHB4Olf_bnzkHh7ywzq0TdRRSfC8AHbNVOyFwdouYlgcIcCpddW-eJpf-1Kf8bl6oNfXIQzUP_Fytx_JqoHHa6NwgoDce_LpUbORZc2XnzKZzFTDffeXzeYGaUW5IMfTqovokP5zao0/w300-h400/IMG20230626165821.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Assorted Tickets from early GIAF events</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit-_hfENSYet4DSXi96hVwwMJ6_EZu3e7Fv6EIkZnAEtKqEHabq2etAasYV_FM6fsx3Dk1fXOswv-qjddhJvSZvIASjWfRjNLOeRDNhA4tpf7SJDCd_blsH3yFR8CzrWp7EgRkzWtx9POq7nlYAN7WWZja4lna_0IE53a4iS7Xj2Pm3OJzaxKyko0_nrAU/s1910/BT2.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="1910" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit-_hfENSYet4DSXi96hVwwMJ6_EZu3e7Fv6EIkZnAEtKqEHabq2etAasYV_FM6fsx3Dk1fXOswv-qjddhJvSZvIASjWfRjNLOeRDNhA4tpf7SJDCd_blsH3yFR8CzrWp7EgRkzWtx9POq7nlYAN7WWZja4lna_0IE53a4iS7Xj2Pm3OJzaxKyko0_nrAU/w640-h230/BT2.PNG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Festival Big Top viewable across Salmon Weir Bridge</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_1OXS1mhQV5LgnXJLcT1fML164J09Vx-rugMvBV-0PtHB03D1SEIHWHD5SzeLnyWb00GVQ3yZ4FVqj4wGAKfaBhqsM3y_eUOo_2bfc9rWL9Mj-J94plBs114K67J6Dhb3CAr1pe6ctmUbgzJ38ZrtS0wwiMxfC4QhW7Z2VOsmSs0Ci9r62qrdagh_3bY/s2000/IMG20230626170410.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="2000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_1OXS1mhQV5LgnXJLcT1fML164J09Vx-rugMvBV-0PtHB03D1SEIHWHD5SzeLnyWb00GVQ3yZ4FVqj4wGAKfaBhqsM3y_eUOo_2bfc9rWL9Mj-J94plBs114K67J6Dhb3CAr1pe6ctmUbgzJ38ZrtS0wwiMxfC4QhW7Z2VOsmSs0Ci9r62qrdagh_3bY/s320/IMG20230626170410.jpg" width="320" /></a></div><br />University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-54895367316910253072023-07-14T15:00:00.002+01:002023-07-14T15:00:17.428+01:00The First Galway Film Fleadh Summer in Galway is never complete without a series of cultural festivals. From theatre to visual arts, music and more, streets and venues across the city become busy with festival goers enjoying the atmosphere and events. The Galway Film Fleadh has another packed programme, from shorts to feature films, new Irish documentaries and international offerings. For over three decades, the Film Fleadh has celebrated the best of film and brought many famous faces, local or otherwise, to the city. <div><br /></div><div>The first Galway Film Fleadh took place in 1989. Materials within the archives of Galway University Library show some of the original ephemera from that very first Film Fleadh. </div><div><br /></div><div>'Stop Press!' ran the headline of the press release announcing the screening of <i>Venus Peter</i>, the first screening by the Fleadh. Also the Irish premiere of the film, it was the last film to feature Ray McAnally. Set on the Orkney Islands, the film was directed by Ian Seller and also starred Sinéad Cusack and Peter Caffrey. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRxhJaLmRdEhqoMXUhWug71L4l4IrKwgl3fyf8N_gsvB6dpXuA0k9Tn67B6sjy75IlHkQlEygOWrBAHn_m3Um8Am5TTpmrj9S0IkmBw-AS9okm7-TrAdCyyqNFVLqX6kOVXCIkFDJw27EG9P8X_ojSOHFoeLZC6S-CRsZivEn2mQtsb5b39o88r-yayfEs/s2000/IMG20230626170506.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRxhJaLmRdEhqoMXUhWug71L4l4IrKwgl3fyf8N_gsvB6dpXuA0k9Tn67B6sjy75IlHkQlEygOWrBAHn_m3Um8Am5TTpmrj9S0IkmBw-AS9okm7-TrAdCyyqNFVLqX6kOVXCIkFDJw27EG9P8X_ojSOHFoeLZC6S-CRsZivEn2mQtsb5b39o88r-yayfEs/w300-h400/IMG20230626170506.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Announcement of the first Galway Film Fleadh<br />1989. <br /><br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqDt3w8139OKDnBaXRqxBtvQg3Smm7QIN9PE57RmV6b_MKmddHNJ7yKRf0nadmR9oUOa3SxaD9xkXI29LVvGMG2EiYE2JpX-US9GQSSyRY_YJ3TtfcOf4an6l-IF4v7GdBH5ccE7ta4LRYHOd4PlDXn5JzbMmeryU-gxORtS068D_jnog5OC-l-rwjIvW/s2000/IMG20230626170525.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1163" data-original-width="2000" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqDt3w8139OKDnBaXRqxBtvQg3Smm7QIN9PE57RmV6b_MKmddHNJ7yKRf0nadmR9oUOa3SxaD9xkXI29LVvGMG2EiYE2JpX-US9GQSSyRY_YJ3TtfcOf4an6l-IF4v7GdBH5ccE7ta4LRYHOd4PlDXn5JzbMmeryU-gxORtS068D_jnog5OC-l-rwjIvW/w640-h372/IMG20230626170525.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Invitation to the Gala Irish Premiere of <i>Venus Peter</i> as part of the first Galway Film Fleadh. 1989</td></tr></tbody></table><br /><div><br /></div><div>The Film Fleadh team consisted of Lelia Doolan, Miriam Allen, Bob Quinn, Joe McMahon, and Steve Woods, running from 19-24 July in association with the Galway Arts Festival. <i>Venus Peter </i> was screened at the Claddgh Picture Palace. Speaking ahead of the opening of the Film Fleadh, Lelia Doolan stated that the Fleadh would feature a mix of Irish and European films, would focus on the issue of funding for film and would also include a first-time gathering of animators in Ireland, and a showing of their work. <br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibfxkPnXu6cw_zyttKEodebAMcJOyvkp-jiQki6wgLiSfu9Q42Yf5yHmPHYOjhhghnKAu6gbEvXId2lzAsMKiOqkCqISTxkXxQ9HpWKoKdzxmWmT4qbWa6IBLX2miQXHbl8SDkP3dNbWgLIz91djqjWSQh6HKrk8gLCy9_QulHQMqnk9UoiaO6_lTubx4O/s2000/IMG20230626170536.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibfxkPnXu6cw_zyttKEodebAMcJOyvkp-jiQki6wgLiSfu9Q42Yf5yHmPHYOjhhghnKAu6gbEvXId2lzAsMKiOqkCqISTxkXxQ9HpWKoKdzxmWmT4qbWa6IBLX2miQXHbl8SDkP3dNbWgLIz91djqjWSQh6HKrk8gLCy9_QulHQMqnk9UoiaO6_lTubx4O/w480-h640/IMG20230626170536.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Press Release from the First Galway Film Fleadh. 1989. </td></tr></tbody></table><br /><div><br /></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-9122290182934096332023-06-29T10:41:00.006+01:002023-06-29T10:43:00.281+01:00JFK in Galway 1963 - Looking West from Galway to Boston<p>On the 19th June, 1963, the streets of Galway were filled with young and old making their way to Eyre Square. The occasion was a special one - the visit to Ireland and to Galway of President of the United States, John FitzGerald Kennedy. The descendent of Irish emigrants in the 19th century, the story of the Kennedy's ascent to the highest political office in the world, and as the first Catholic president of the United States, captivated Ireland and the world. The crowd assembled in Eyre Square had gathered in a jubilant atmosphere for a 'homecoming' of sorts for President Kennedy. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRw8Pg89wvy5cLmgUv6fkTTioRzmFJO7hT57grfa2fHEwIC7MghHpZ-26otFTr0li9WtGB2i1bcZnyMhTpUQfudZ0IzbpQFzwzbsVyiPuvKbbUFRfqc5MVbdJ93aV4owD6p3c-7R-ZgcIm4b72bLVK-QZgKnYSdbNiMY7XVLG4fwoNAgfHcgk4RdJ4yBFP/s2000/IMG20230628172642.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="2000" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRw8Pg89wvy5cLmgUv6fkTTioRzmFJO7hT57grfa2fHEwIC7MghHpZ-26otFTr0li9WtGB2i1bcZnyMhTpUQfudZ0IzbpQFzwzbsVyiPuvKbbUFRfqc5MVbdJ93aV4owD6p3c-7R-ZgcIm4b72bLVK-QZgKnYSdbNiMY7XVLG4fwoNAgfHcgk4RdJ4yBFP/w640-h480/IMG20230628172642.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Material from Special Collections marking JFK's visit to Galway, 1963</td></tr></tbody></table><p>In his address to the crowd, President Kennedy spoke of Ireland's past and still recent history of emigration to the United States, as well as his personal links to Ireland, which had been to the fore along his journey, stating, "I must say that though other days may not be so bright, as we look toward the future, that the brightest days will continue to be those we spent with you here in Ireland."</p><p>He added "If the day was clear enough, and you went down to the bay, and you looked west, and your sight was good enough, you would see Boston, Massachusetts. And if you did, you would see working down on the docks there some Doughtertys and Flahertys and Ryans and cousins of yours who have gone to Boston and made good."</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8anxYkQNaqTOnc3-YnLnk6jvYikUPF9epNkB2y_6bdWaT45Emz8hGLMi8D60lhzOzPSFpxI5RUJu38CC1Fit7_lBLmAYYdU3dz15IY9EIZN5DWeqfW9lS1IweiDr1FI__0aVgY9pTV4O1oNjazeKcSfoTKCfFHfHf0TdlwDR5RK0YB_w3cFRFDTaF2JQ/s2000/IMG20230628172649.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="2000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8anxYkQNaqTOnc3-YnLnk6jvYikUPF9epNkB2y_6bdWaT45Emz8hGLMi8D60lhzOzPSFpxI5RUJu38CC1Fit7_lBLmAYYdU3dz15IY9EIZN5DWeqfW9lS1IweiDr1FI__0aVgY9pTV4O1oNjazeKcSfoTKCfFHfHf0TdlwDR5RK0YB_w3cFRFDTaF2JQ/w400-h300/IMG20230628172649.jpg" width="400" /></a></div><p>To mark this anniversary, a selection of material relating to Kennedy's visit to Galway in 1963 has been selected by Marie Boran and is on display in the foyer of the Hardiman Building. There you will see photographs of the visit, later coverage and writings about the visit, as well as an original issue of Time magazine from June 1963, featuring a cover illustration of the Kennedys. </p><p>Other sources of interest include the Kennedy Presidential Library in Boston who has <a href="https://www.jfklibrary.org/asset-viewer/archives/JFKWHP/1963/Month%2006/Day%2029/JFKWHP-1963-06-29-C" target="_blank">digitised photographs of the speech on Eyre Square online</a>. </p><div class="x_elementToProof x_ContentPasted0" style="background-color: white; border: 0px; font-family: Calibri, Helvetica, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">A film in the IFI archives, made by the Columban Fathers in 1963, more details at <a data-auth="NotApplicable" data-linkindex="0" href="https://ifiarchiveplayer.ie/president-kennedy-in-ireland/" id="LPNoLPOWALinkPreview" rel="noopener noreferrer" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">https://ifiarchiveplayer.ie/president-kennedy-in-ireland/</a>. </div><div class="x_elementToProof x_ContentPasted0" style="background-color: white; border: 0px; font-family: Calibri, Helvetica, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br aria-hidden="true" /></div><div class="x_elementToProof x_ContentPasted0 x_ContentPasted1" style="background-color: white; border: 0px; font-family: Calibri, Helvetica, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Galway City Council commissioned documentary JFK: the three miles, will be screened at Galway City Museum, during Thursday 29 June, see <a data-auth="NotApplicable" data-linkindex="1" href="https://galwaycitymuseum.ie/event/jfk-in-galway/" id="LPNoLPOWALinkPreview_1" rel="noopener noreferrer" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">https://galwaycitymuseum.ie/event/jfk-in-galway/</a></div><div class="x_elementToProof x_ContentPasted0 x_ContentPasted1" style="background-color: white; border: 0px; font-family: Calibri, Helvetica, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br aria-hidden="true" /></div><div class="x_elementToProof x_ContentPasted0 x_ContentPasted1 x_ContentPasted2" style="background-color: white; border: 0px; font-family: Calibri, Helvetica, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Tom Kenny did one of his Old Galway columns on the visit and it's available in the Advertiser archive at <a data-auth="NotApplicable" data-linkindex="2" href="https://www.advertiser.ie/galway/article/33352/president-kennedy-in-galway" id="LPNoLPOWALinkPreview_2" rel="noopener noreferrer" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">https://www.advertiser.ie/galway/article/33352/president-kennedy-in-galway</a></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-1500330742837641332023-06-13T17:53:00.002+01:002023-06-13T17:54:06.806+01:00W.B Yeats, Mary O'Malley, and the Lyric Theatre - "Look Up in the Sun's Eye"<p><br /></p><p class="MsoNormal" style="line-height: 150%;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">'Yeats Day' on the 13 June annually has become a day of celebration of the works and life of Ireland's Nobel-Prize winning poet, W.B. Yeats. It is also a timely opportunity to reflect on others who have made important contributions to the engagement, study, and interpretation of Yeats' works, including the considerable body of plays written by Yeats. One key person in this regard is Mary O'Malley. Born in Cork in 1920 and later the founder of the Lyric Players Theatre in Belfast, along with her husband Pearse, the production and direction records of O'Malley, combined within other series of files within the O'Malley/Lyric Archive at University of Galway Library, provides a vital insight into Mary O'Malley's artistic vision as well as into her own work and processes as a director of Yeats' plays.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCy-xeB5HrY46iPRY9gwOG1wtVmDBHH6yvleKZt8t2olUT_llrUc50K_CLjdbpTNDdq6AL1SlUMUPNQ29XZ5rkyLJb0woMsFY4Ks-3O4NbcXqK-E-dAAxoW1fJFMQmAby3YP37NZoQvUMhBVD4_cKPRAlFSFlFe7cTr7EuJ4n8UF1EJReg0RQoz7Y_ww/s4160/IMG_20221201_173723.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="3120" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCy-xeB5HrY46iPRY9gwOG1wtVmDBHH6yvleKZt8t2olUT_llrUc50K_CLjdbpTNDdq6AL1SlUMUPNQ29XZ5rkyLJb0woMsFY4Ks-3O4NbcXqK-E-dAAxoW1fJFMQmAby3YP37NZoQvUMhBVD4_cKPRAlFSFlFe7cTr7EuJ4n8UF1EJReg0RQoz7Y_ww/w300-h400/IMG_20221201_173723.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mary O'Malley at Yeats' grave, Sligo. c. 1960</td></tr></tbody></table></p><p class="MsoNormal" style="line-height: 150%;">The first production of the Lyric Players Theatre took place in March 1951 and included a production of W.B. Yeats’ <i>At the Hawk’s Well</i> at Ulsterville House. With the O’Malley family soon moving house to a premises on Derryvolgie Avenue, it afforded the emerging group a new beginning. Space on the grounds of the house that lay over a converted hay loft were divided into two rooms which became the theatre site for the Lyric Players.</p><p class="MsoNormal" style="line-height: 150%;">Already greatly influenced by W.B. Yeats
and poetic theatre (such as that by Austin Clarke and his earlier Dublin-based
Lyric Theatre Company, where O’Malley had attended performances previously),
she was a committed producer and director of Yeats’ plays at her theatre in
Belfast. In combining the visual, the aesthetic, as much as the lyrical, Yeats’
plays found a invigoration home of experiment and form at the Lyric, through
Mary O’Malley, and with a host of important contributions in acting, design, choreography,
music, and form, while keeping the poetic theatre at the heart of Yeats’
original vision to the fore. Mary O’Malley recounted that the first production
of Yeats in 1951 was an important touchstone for the development of the
artistic vision, policy, and repertoire of the Lyric Players and later its
later theatre:<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">The stage was
set and we endeavored to create a style suitable for dramatic poetry. This
work and experimentation still goes on. Artistic activity attracts like the
enchanted waters of the Hawk’s Well – the ultimate, always elusive. This, then,
was the reason for beginning: a handful of people interested in the theatre,
poetry and the arts, inspired by the legendary Ulster hero, ignored all
obstacles and founded a Poet’s Theatre”. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSWK2LJzVMhMy9uJRDNn9KqNzxk_QEBPwGWAjv9bG3EcjVcXm7lSe9T8wX2CAESu6gdJ2TSlthH3PYHlTOU55OE46Pj0C2XxFephsmv2YP8u0aj3JhrKa0q6YtxB8wpxpGKMFG32gQn6K3KyHrAZkh4Qt1d3mVk4ktqDux8Yjgk3knkjpqAsIc8SvxA/s2048/t4_0617_0005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1587" data-original-width="2048" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSWK2LJzVMhMy9uJRDNn9KqNzxk_QEBPwGWAjv9bG3EcjVcXm7lSe9T8wX2CAESu6gdJ2TSlthH3PYHlTOU55OE46Pj0C2XxFephsmv2YP8u0aj3JhrKa0q6YtxB8wpxpGKMFG32gQn6K3KyHrAZkh4Qt1d3mVk4ktqDux8Yjgk3knkjpqAsIc8SvxA/w400-h310/t4_0617_0005.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The studio theatre, DerryvolgieAvenue, 1960s<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKQAiijAGoBcm5fyrgW3Imk-IJowoaaqKrtgFpZl56r5aHb3bYlr9-y8CNpPi2iT17VsFiO1rkI875yKwVopw1k25dyFa11iWPgujuij4yqy4JHe8tJJUXzp63z_lJqR0n17ZYzQQy-sqg-vK2hZXMCUphGSV0VbHg4UAVUJyBSvV9RVG2QWnnizqkQQ/s800/Dance%20Calvery%201954.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="625" data-original-width="800" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKQAiijAGoBcm5fyrgW3Imk-IJowoaaqKrtgFpZl56r5aHb3bYlr9-y8CNpPi2iT17VsFiO1rkI875yKwVopw1k25dyFa11iWPgujuij4yqy4JHe8tJJUXzp63z_lJqR0n17ZYzQQy-sqg-vK2hZXMCUphGSV0VbHg4UAVUJyBSvV9RVG2QWnnizqkQQ/w400-h313/Dance%20Calvery%201954.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Music score from 'Calvary', Lyric Players, 1954</td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;"><br /></p>
<p class="MsoNormal" style="line-height: 150%;">The archive of the O’Malley/Lyric
Theatre Belfast contains a vast record of the growth and development of the
Lyric Theatre, the tireless work of Mary O’Malley and of her husband, Pearse O’Malley,
in ensuring the theatre’s artistic and cultural expansion. The Lyric was more
Arts Centre that ‘just’ a theatre as at various times in the 1960s and 1970s
its ran an art gallery, music and drama school, craft shop, as well as
publishing a highly significant literary journal, <i style="mso-bidi-font-style: normal;">Threshold</i>, which ran until its final issue in 1990. The Lyric
Archive is also an indispensable source of information on the study of and
production of Yeats’ plays. The archive has detailed records of numerous
productions of Yeats’ plays from the 1950s onwards. <o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">One remarkable archive item is <a href="http://www.calmhosting01.com/NUIG/CalmView/Record.aspx?src=CalmView.Catalog&id=T4%2f1%2f1%2f53%2f469&pos=32" target="_blank">Mary
O’Malley’s personal copy of </a><i style="mso-bidi-font-style: normal;"><a href="http://www.calmhosting01.com/NUIG/CalmView/Record.aspx?src=CalmView.Catalog&id=T4%2f1%2f1%2f53%2f469&pos=32" target="_blank">The Plays of
W.B. Yeat</a>s</i>. Every page of the volume is filled with detailed annotation,
production notes, direction comments, as well as sketches and drawings of stage
designs. The item presents itself as a handbook for the director interested in
engaging with the vision and task of staging Yeats’ often experimental form. In
discussing the directing of Yeats’ O’Malley once commented on the importance of
voice to the actor when interpreting Yeats’ theatre: “Only those well-disciplined
in speech and movement can be utilised . .<span style="mso-spacerun: yes;">
</span>. lines must be clearly and unselfconsciously delivered.”<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCx4My66Ft-MBp4a6TjfDoIP2_MofQey95ZQNK0cftP7gpanh-oIEK50N0TylftGm1u6LB3QUEKbpvDPeG_HWOMNVVaoRY7gO_6qu9EamkI0ETUWIqyF-V2Sd7qkzE4wCYWplq9ClEifQuIBv_VZODbwIuX6y6FKK8oAmky5aBaljn1wik7xE6fSn05w/s2000/IMG20230607165629.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCx4My66Ft-MBp4a6TjfDoIP2_MofQey95ZQNK0cftP7gpanh-oIEK50N0TylftGm1u6LB3QUEKbpvDPeG_HWOMNVVaoRY7gO_6qu9EamkI0ETUWIqyF-V2Sd7qkzE4wCYWplq9ClEifQuIBv_VZODbwIuX6y6FKK8oAmky5aBaljn1wik7xE6fSn05w/w300-h400/IMG20230607165629.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mary O'Malley's annotated edition of <br />"The Complete Plays of W.B. Yeats".</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbnY4BiGc3sEtXr6hB56bwqrJBcUEXRd4a3jXHPalSZgkRFn1-kOyYPyYCve9cIBgar74i6rS2RXAm8LLdSt3S7QW7PityW5FvI3dW1rHOS10bgCTxhmy1PFhtNEWMh-Fe1fHkdDe6rE80HPpm6vnNJQPHlAFE5WPUPYsICa5SV8D73HQCdNblex9ZA/s2000/IMG20230607165647.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="2000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbnY4BiGc3sEtXr6hB56bwqrJBcUEXRd4a3jXHPalSZgkRFn1-kOyYPyYCve9cIBgar74i6rS2RXAm8LLdSt3S7QW7PityW5FvI3dW1rHOS10bgCTxhmy1PFhtNEWMh-Fe1fHkdDe6rE80HPpm6vnNJQPHlAFE5WPUPYsICa5SV8D73HQCdNblex9ZA/w400-h300/IMG20230607165647.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mary O'Malley's annotated edition of<br />"The Complete Plays of W.B. Yeats".</td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%;"><br /></p>
<p class="MsoNormal" style="line-height: 150%;">Throughout the archive are detailed
production records, including annotated production and design notes, musical
scores, designs, photographs, programmes and posters from numerous Yeats
productions at the Lyric. Design was also an important factor with artists like
Alice Berger-Hammarschlag and Louis Le Brocquy all designing Yeats plays at the
Lyric. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYkgD2Q0zCuOW2YrQOR9etwfF9YnuBu-l34F-Q0GvHR_tMGDLOMLUytAqA2NwXn_yEmllXv5LNvvRoretlqIpxgsgxGXdrSScJ6J6C06MPaYugjRu7ODpKBLsLWU0NoRhsdz69JKSgZwhBrPeYY-V_llYlfILw-n1KaLUEn5c8gdW9gZ0kLDT0vmPpg/s2048/At%20the%20Hawks%20Well%201960.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1431" data-original-width="2048" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYkgD2Q0zCuOW2YrQOR9etwfF9YnuBu-l34F-Q0GvHR_tMGDLOMLUytAqA2NwXn_yEmllXv5LNvvRoretlqIpxgsgxGXdrSScJ6J6C06MPaYugjRu7ODpKBLsLWU0NoRhsdz69JKSgZwhBrPeYY-V_llYlfILw-n1KaLUEn5c8gdW9gZ0kLDT0vmPpg/w400-h280/At%20the%20Hawks%20Well%201960.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"At the Hawk's Well", Lyric Players Theatre, 1960</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAsG3wSNh_fcxgUydJeb9ze5RlicTTWFCAA5ITiUdjy4vaEOvuCwOLWV7aDOnP9lkWbbtrj26xozB37lSrRSsA1dGBT4flK_4nBx4rMuve3Tt3UaDQlcFV53Xb_BEzHoaah3mMs0urivc3rUN6K-7h5aXHw2vHG3czsokkPZEMlnKI0H7qvTBrj36bIA/s2048/Handwritten%20note%20on%20the%20Death%20of%20Cuchulain's%20music%20and%20dance%20sets%201959.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1610" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAsG3wSNh_fcxgUydJeb9ze5RlicTTWFCAA5ITiUdjy4vaEOvuCwOLWV7aDOnP9lkWbbtrj26xozB37lSrRSsA1dGBT4flK_4nBx4rMuve3Tt3UaDQlcFV53Xb_BEzHoaah3mMs0urivc3rUN6K-7h5aXHw2vHG3czsokkPZEMlnKI0H7qvTBrj36bIA/w315-h400/Handwritten%20note%20on%20the%20Death%20of%20Cuchulain's%20music%20and%20dance%20sets%201959.jpg" width="315" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Handwritten note on the 'Death of Cuchulain' music and<br /> dance sets, Lyric Players Theatre, 1959,</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZsb0_E1ak9UPASYX2s_n_IEZ121_Ox-U4PNdD0a9f9wGL1GtQRo8Urlvkf4HlQy0xNLm5Fnq8oEWBuPo79t_nKVJZJdT2OdRQDvpvGWq3MsZeuq-F9tjCevRo5u8DDdr8n8ur1G8PP2AjCEllkWbAwpdhEaTddVrRrDHyjMyrp2WbFyoN4ze-knR2Qg/s2048/t4_450_0002_0005_1968.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1466" data-original-width="2048" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZsb0_E1ak9UPASYX2s_n_IEZ121_Ox-U4PNdD0a9f9wGL1GtQRo8Urlvkf4HlQy0xNLm5Fnq8oEWBuPo79t_nKVJZJdT2OdRQDvpvGWq3MsZeuq-F9tjCevRo5u8DDdr8n8ur1G8PP2AjCEllkWbAwpdhEaTddVrRrDHyjMyrp2WbFyoN4ze-knR2Qg/w400-h286/t4_450_0002_0005_1968.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Cuchulainn Cycle performed by the Lyric Players, 1978<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7TC7Ncn0v18NWo2UfsmxI_0JGyPKnwniAudSAMFwZuVKQ_WIEFfgDjpKNb07plOV7h6LJw_0bUNH32N2NMZ-_9U0TuX5wAexig_1DDARcO3Rsvs24ghWGNcaBNB4eRVVUF2QNUnsvu5Js9DlZPIJecU8QLnaxFhRZ7XrmGiSxDWYK3bDsaPU-jYeL0A/s800/cuchulainn.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="541" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7TC7Ncn0v18NWo2UfsmxI_0JGyPKnwniAudSAMFwZuVKQ_WIEFfgDjpKNb07plOV7h6LJw_0bUNH32N2NMZ-_9U0TuX5wAexig_1DDARcO3Rsvs24ghWGNcaBNB4eRVVUF2QNUnsvu5Js9DlZPIJecU8QLnaxFhRZ7XrmGiSxDWYK3bDsaPU-jYeL0A/w270-h400/cuchulainn.jpg" width="270" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Programme from the 10th Anniversary <br />Cuchulain Cycle by the Lyric Players, 1978.</td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%;"><br /></p>
<p class="MsoNormal" style="line-height: 150%;">The literary journal, <i style="mso-bidi-font-style: normal;">Threshold</i>, of which Mary O’Malley was
the founding editor provided more fertile ground for the exploration and
discussion of the themes of W.B. Yeats’ plays and poems. The first issue of <i style="mso-bidi-font-style: normal;">Threshold</i>, edited by O’Malley, and all subsequent
issues, carried a quotation on its inside cover from W.B. Yeats’ <i style="mso-bidi-font-style: normal;">The King’s Threshold</i>:<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Cry
out that not a man alive<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Would
ride among the arrows with high heart,<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Or
scatter with an open hand, had not <o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="mso-tab-count: 1;"> </span>Our
heady craft commended wasteful virtues.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">In her foreword to the first issue
in 1957, O’Malley wrote:<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">The history of
Irish periodicals is not encouraging. Despite high literacy standards and imaginative
presentation of general topics, few have survived. No one, however, would deny
the value of their contribution to creative writing and objective criticism. It
is hoped that Threshold will provide a medium for a further contribution.<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOchJ19z7gjgm-0FW_jtkc0e7MB2ebcMxZip7zk_ULEi4zoW-WLYFFzB_tJViTFIAculuYIZv6HaO8opQOsFumDQU9htUMPQ0RbEfvPvBOhQnEa_A-_JJOtOLaMEXut1HRBqhRC2qd_KACA4Kz9GDJpMnAnbiUdICfuho8ZPSbEV9KNjSJRPcQTgksg/s800/Yeats.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="364" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOchJ19z7gjgm-0FW_jtkc0e7MB2ebcMxZip7zk_ULEi4zoW-WLYFFzB_tJViTFIAculuYIZv6HaO8opQOsFumDQU9htUMPQ0RbEfvPvBOhQnEa_A-_JJOtOLaMEXut1HRBqhRC2qd_KACA4Kz9GDJpMnAnbiUdICfuho8ZPSbEV9KNjSJRPcQTgksg/w183-h400/Yeats.jpg" width="183" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Centenary flyer from <br />Lyric Platers' Centenary <br />Celebration of W.B. Yeats.</td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;"><br /></p>
<p class="MsoNormal" style="line-height: 150%;">In a later editorial for <i style="mso-bidi-font-style: normal;">Threshold</i> in 1958, O’Malley again
outlined for artistic vision which straddles the poet and the theatre as a dual
form of complementary expression, stating that: “The theatre links the writer
and artist with the craftsman and ordinary citizen more intimately than any
other medium.”. In the centenary year of the birth of W.B. Yeats in 1965, Roger
McHugh guest edited a special issue of <i style="mso-bidi-font-style: normal;">Threshold</i>
which was dedicated to the work and life of W.B. Yeats and to which Mary
O’Malley contributed an essay on the plays of W.B. Yeats. A full run of the
journal, as well as its administrative correspondence are all collected within
the Lyric Archive.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">The Lyric Theatre also has a long
association with the Yeats Summer School is Sligo. The group performed at the inaugural
summer school in 1960. The archive has play programmes, photographs from that
visiting production to Sligo in 1960 and files of correspondence between the
Lyric and the Summer School through subsequent decades. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgpBX7R8KtRi3ED00a4_ZqrvhWsb5cIGc5RK498sLt8fi5hrF7Tugg_21TCJTzt3IpgQSVZmU8gRGrn4a21AVJA60gfxLExoz3P3HzjhajIyDR9uQs1R4Cdc2HGBxPLU9gqKsw6BSkEMGNED9PdKeXlgr4QVfQcNgSgofchgIveq5Jtt64JB1Nmz9N6Q/s600/Yeats%20first%20Summer%20School.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgpBX7R8KtRi3ED00a4_ZqrvhWsb5cIGc5RK498sLt8fi5hrF7Tugg_21TCJTzt3IpgQSVZmU8gRGrn4a21AVJA60gfxLExoz3P3HzjhajIyDR9uQs1R4Cdc2HGBxPLU9gqKsw6BSkEMGNED9PdKeXlgr4QVfQcNgSgofchgIveq5Jtt64JB1Nmz9N6Q/w400-h400/Yeats%20first%20Summer%20School.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Lyric Players performing at the first Yeats Summer School, <br />Sligo, 1960. </td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%;"><br /></p>
<p class="MsoNormal" style="line-height: 150%;">The first dedicated biography of
O’Malley, entitled “Fierce Love”, was recently published by former journalist
and writer Bernard Adams. In his description of his subject, Adams wrote that:<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">Mary O’Malley
wanted to change the world. In 1947 she came up from the South of Ireland to
live in a place which badly needed changing – the Unionist-dominated statelet
of Northern Ireland. She wanted to transform her Belfast world, politically and
culturally.</p>
<p class="MsoNormal" style="line-height: 150%;">The many legacies of Mary O'Malley, and of her work with the Lyric Theatre lives on through the Lyric in Belfast today, as well as through the Lyric archive at University of Galway. The archive material relating to W.B. Yeats is indispensable to the study of how Yeats's work for the theatre was produced and directed by one of modern Ireland's greatest Yeatsians, Mary O'Malley. </p><p class="MsoNormal" style="line-height: 150%;">The O’Malley/Lyric Theatre <a href="http://www.calmhosting01.com/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=T4" target="_blank">Archive catalogue can be searched here</a>.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">An selection of <a href="https://digital.library.universityofgalway.ie/p/ms/categories?collection=563&q=" target="_blank">digitised material from the Lyric Archive can be viewed online here</a>. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilfN-T98Ic0OeenF9OweIeTGXNRwf5jpO5P6mDsVJRQOHewVpBgfHwJ75BBIFyb9v7OiOQANNRBDUw8bJKv2Zdyqf67WxUJqSuiQXHSdYfy7jAFmSlomrgYym6HoeiXsIFpifE1GMr9tDiyw3pz8aowsk5-xSVUSKN2GBxt2SHuDDbcKWa5Cf1_SAyQQ/s1600/Mary%20O%20M.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilfN-T98Ic0OeenF9OweIeTGXNRwf5jpO5P6mDsVJRQOHewVpBgfHwJ75BBIFyb9v7OiOQANNRBDUw8bJKv2Zdyqf67WxUJqSuiQXHSdYfy7jAFmSlomrgYym6HoeiXsIFpifE1GMr9tDiyw3pz8aowsk5-xSVUSKN2GBxt2SHuDDbcKWa5Cf1_SAyQQ/w400-h225/Mary%20O%20M.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mary O'Malley, pictured at the Lyric Theatre on Ridgeway Street<br />c. late 1960s. Lyric Archive. </td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%;"><br /></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-12633402954240778552023-04-13T10:39:00.008+01:002023-04-18T10:39:39.491+01:00Presidents Robinson, Biden and the Ballina connection<br />The visit of President Joe Biden to Ireland has understandably brought great excitement, nowhere more so than Ballina, County Mayo, his ancestral home in the West. The town has not one, but two presidential claims to fame – it is also where Mary Robinson, President of Ireland from 1990-1997, was born and raised. The University of Galway, also on the West coast, is proud to house the Mary Robinson archive, and to have a strong link with Ballina through its partnership with the Mary Robinson Centre. Her recently restored and extended childhood home, beautifully situated on the River Moy, the Centre is due to open within a year and through this partnership plans to use her archive as a catalyst to inspire others to address the causes she has championed in her career. <br /><br />This immensely rich archive consists of material relating to Mary Robinson’s work from 1967 to the present and includes material covering her time as a barrister, legislator, senator, professor, President of Ireland, United Nations (UN) High Commissioner of Human Rights, UN Special Envoy for the Great Lakes, UN Special Envoy for Climate Change and El Niño, Chair of the Elders, founder of Realizing Rights - The Ethical Globalization Initiative, and founder of the Mary Robinson Foundation - Climate Justice. <br /><br />While that task of cataloguing the archive continues, it seems an opportune time to share a selection of items from the archive, some of which have a strong US connection.<br /><br />
<h3 style="text-align: left;"><b><span style="font-size: medium;">Student to Senator</span></b></h3>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 11.25pt; margin-left: 0cm; margin-right: 30.0pt; margin-top: 0cm; margin: 0cm 30pt 11.25pt 0cm;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiekwUXm0-bDvAdd72IFw40NHo86_m1uG2VYgx-w9DClwCgAfRGVDcXH4l2caDXCyJ4Z2PAuMyT_phZ8kQhGDp_f2qcc1a0V3s1191KiWK2vIdMmbnSDXyhIM6k3LiEBreBNhso1tyI29QSMVEDgTcTjhLgU1SmwEaRpx88GtPmMu5ypiXHHN2D4WlGEA/s1236/Senate%20Election%20flyer%201981%20Pg1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1236" data-original-width="828" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiekwUXm0-bDvAdd72IFw40NHo86_m1uG2VYgx-w9DClwCgAfRGVDcXH4l2caDXCyJ4Z2PAuMyT_phZ8kQhGDp_f2qcc1a0V3s1191KiWK2vIdMmbnSDXyhIM6k3LiEBreBNhso1tyI29QSMVEDgTcTjhLgU1SmwEaRpx88GtPmMu5ypiXHHN2D4WlGEA/w429-h640/Senate%20Election%20flyer%201981%20Pg1.jpg" width="429" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1981 Seanad election flyer</i></td></tr></tbody></table><p></p><p class="MsoNormal" dir="rtl" style="background: white; line-height: normal; margin: 0cm 30pt 11.25pt 0cm; text-align: right;"><span style="font-size: medium;"><span style="color: #333333;"><br /></span></span></p>Mary Robinson is perhaps best known in Ireland for her role as its first female President (1990-97), but she was breaking records and making waves well before that. In 1967 she became the first female auditor of the Dublin University Law Society at Trinity College (TCD). During her maiden address she advocated removing the prohibition of divorce from the Irish Constitution, eliminating the ban on the use of contraceptives, and decriminalizing homosexuality and suicide. She was awarded a fellowship to attend Harvard Law School, receiving an LL.M [Master of Laws] in 1968. It was an incredible year which influenced her thinking and her character immensely - Martin Luther King and Robert Kennedy were both assassinated, and American students were trying to avoid being drafted, were criticising the Vietnam war and many were becoming more radical. She left Dublin, in her own words “a shy girl”, and returned an "impatient one" – impatient to start changing the law.<div><br />At the age of 25, in 1969, she became Ireland’s youngest professor of law, when she was appointed Reid Professor of Constitutional and Criminal Law, at TCD. In the same year she was elected to Seanad Éireann [Ireland’s Senate] as an independent candidate and served as Senator for twenty years, during which time many of the issues she raised and campaigned to reform saw some success - contraception had been legalized, women could now serve on juries and the marriage bar on women in the civil service had been lifted.</div><div><br />
<h3 style="text-align: left;"><b><span style="background: white;"><span style="font-size: medium;">President</span></span></b></h3>
<p class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 11.25pt 30pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5XLyXYir7ziRErxzof03Hp46O1AtAWQHPfBTNQUGEl5WmNu-cxGxHiAN8Nh5L7NpWllbUbpUdajbGLpT85iaJkLXfHtzZAL0UoQFAvbHwIKmQqA5t9uKUhmwlOPH8zfdjXgWqn5MljpLNKt1WGbkILEP_Q3RR4W6juEOjE8M61azL4jwUD8jxGPaOHA/s8672/Inauguration%20PG1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="8672" data-original-width="6010" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5XLyXYir7ziRErxzof03Hp46O1AtAWQHPfBTNQUGEl5WmNu-cxGxHiAN8Nh5L7NpWllbUbpUdajbGLpT85iaJkLXfHtzZAL0UoQFAvbHwIKmQqA5t9uKUhmwlOPH8zfdjXgWqn5MljpLNKt1WGbkILEP_Q3RR4W6juEOjE8M61azL4jwUD8jxGPaOHA/w444-h640/Inauguration%20PG1.jpeg" width="444" /></a></div><br />In 1990, Mary became the first female President of Ireland, and the youngest president at that time. She is widely seen as having revolutionised the role of the Presidency, broadening its scope through her knowledge of constitutional law, developing new political, cultural, and economic links with other countries, reaching out to local communities at home and abroad, and using her platform to bring attention to the suffering of others such as her visit to Somalia in 1992.</div><div><b style="font-size: large;"><br /></b></div><h3 style="text-align: left;"><span style="font-size: medium;"><b>Great Britain and <o:p></o:p></b><b>Northern Ireland </b></span></h3><div><div>Her visit to Great Britain in 1993 where she met Queen Elizabeth II at Buckingham Palace was historic and paved the way for a reciprocal visit hosted by Mary’s successor President McAleese. Equally her numerous visits to Northern Ireland where she reached out to communities on the ground, and politicians of all hues were hailed by people on all sides as vital in the search for Peace.</div><p class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 11.25pt 30pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lTum_EAuVY9M8nJBk3YfU4VfDvArLwcu1XQvaBZAztpqDgPzETY6zC1ltmdwrgbYSge9aaREl8eQJCWT2xxx_wm4GWbnf61SvyDrmc76Bv8iGvSLD9nAcFQpwk1yPVfzIKBzPq-r_YiOVgTs_SwZm_a6OKLFgG74esq2z0lem8za7v0UqW2V9QizXw/s5350/Bill%20Clinton%20re%20visit%20and%20MR's%20work%20re%20North.tif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5350" data-original-width="3983" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lTum_EAuVY9M8nJBk3YfU4VfDvArLwcu1XQvaBZAztpqDgPzETY6zC1ltmdwrgbYSge9aaREl8eQJCWT2xxx_wm4GWbnf61SvyDrmc76Bv8iGvSLD9nAcFQpwk1yPVfzIKBzPq-r_YiOVgTs_SwZm_a6OKLFgG74esq2z0lem8za7v0UqW2V9QizXw/w476-h640/Bill%20Clinton%20re%20visit%20and%20MR's%20work%20re%20North.tif" width="476" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>letter from US President Bill Clinton, in relation to Northern Ireland, 1995</i></td></tr></tbody></table><span style="color: #333333; font-size: 12pt;"><br /></span><p></p>
<h3 style="text-align: left;"><b><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;"><span style="font-size: medium;">U.S. Visit and the Irish Diaspora</span></span></b></h3>
<p class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 11.25pt 30pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1-TwXx_YK1b4wQz_CvZYn9vbB9-McNuawJ_BBbHjYwcU9Wwd8uD2pVotjwR1gcLSMUBQjZFkZnWTtIbmARbn7Ctd8_nasnVPmtJV24qRTPi7_oxZPAOfitrze14FzjlrJBPy9K9DSeG3XqyNsMS8C26idjFgAc9iZEBbtdh5yPnwySAsW_f_51vlsg/s7546/1996%20US%20visit.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="7546" data-original-width="6296" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU1-TwXx_YK1b4wQz_CvZYn9vbB9-McNuawJ_BBbHjYwcU9Wwd8uD2pVotjwR1gcLSMUBQjZFkZnWTtIbmARbn7Ctd8_nasnVPmtJV24qRTPi7_oxZPAOfitrze14FzjlrJBPy9K9DSeG3XqyNsMS8C26idjFgAc9iZEBbtdh5yPnwySAsW_f_51vlsg/w534-h640/1996%20US%20visit.jpg" width="534" /></a></div><br /><span style="color: #333333; font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-font-kerning: 0pt; mso-ligatures: none;"><br /></span><p></p>Traditionally seen as the “Taoiseach’s turf” [Taoiseach, meaning "Chieftain" is the term used for the Irish Prime Minister], Robinson became the first Irish President to make an official <b>State*</b> visit to the United States of America while in office, following a public invite from President Bill Clinton, during one of his own visits to these shores. It followed on from her address to the Houses of the Oireachtas [Irish houses of parliament] in 1995 in which she spoke of “Cherishing the Irish Diaspora”. The address, which was positively received by Irish diaspora around the world, was entered into the official Congressional Report of the United States, by Senator Edward Kennedy, brother of Robert and a proud member of the Irish diaspora.<p class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 11.25pt 30pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVsabxSjyjUGHBRxzP1yAWagn0Ob423ymBq7DnaOxawMWiBgFih1Eat-OHcXsVkAwQinZHy-Jg4omDb2RjiRnxgPMcXwwNAHCmwNxrcMZLmHxpq5e47Z6rtUwWXs9xcM83oGCDFdKKCOChdvl4bQLaOUfKRMfLiJX4SNi4eWA4QbDUFmfNHflpTivWyQ/s7560/Congressional%20record%20Pg1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="7560" data-original-width="5802" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVsabxSjyjUGHBRxzP1yAWagn0Ob423ymBq7DnaOxawMWiBgFih1Eat-OHcXsVkAwQinZHy-Jg4omDb2RjiRnxgPMcXwwNAHCmwNxrcMZLmHxpq5e47Z6rtUwWXs9xcM83oGCDFdKKCOChdvl4bQLaOUfKRMfLiJX4SNi4eWA4QbDUFmfNHflpTivWyQ/w492-h640/Congressional%20record%20Pg1.jpeg" width="492" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>President Robinson's Address "Cherishing the Diaspora" is entered into U.S. Congressional Report by US Senator Edward Kennedy, February 1995</i></td></tr></tbody></table><p></p>On the death of Rose Kennedy (née Fitzgerald), matriarch of the Kennedy clan and mother to Robert, Edward and another President, John Fitzgerald Kennedy, President Mary Robinson was one of many who sent condolences.<p class="MsoNormal" style="background: white; line-height: normal; margin: 0cm 0cm 11.25pt 30pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOsz_xnhJxQs1vM6JPXFSx5CI9u8VPxdK2O7cttzbVKeaAjQllP4RHNALjlImRPAh_z_hrMCw6-wrUC-Xjieh0nv1zlZ-CGtXC-0kV1FBkGhvOcjEhL6ZnDiFbsZfEWEUNBOjnfMa2EDHMnzadedupEAC9iGmEpPo5RDgQLGz0gpyrSNDwq9AHxG3Tzw/s5173/Kennedy%20Condolences.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5173" data-original-width="3737" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOsz_xnhJxQs1vM6JPXFSx5CI9u8VPxdK2O7cttzbVKeaAjQllP4RHNALjlImRPAh_z_hrMCw6-wrUC-Xjieh0nv1zlZ-CGtXC-0kV1FBkGhvOcjEhL6ZnDiFbsZfEWEUNBOjnfMa2EDHMnzadedupEAC9iGmEpPo5RDgQLGz0gpyrSNDwq9AHxG3Tzw/w462-h640/Kennedy%20Condolences.jpeg" width="462" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Senator Kennedy's response to condolences from President Robinson on the death of his mother, Kennedy matriarch Rose FitzGerald Kennedy, 10 February 1995</i></td></tr></tbody></table><span style="color: black; font-size: 12pt; mso-color-alt: windowtext;"><br /></span><p></p>
<h3 style="text-align: left;"><b><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;"><span style="font-size: medium;">Ireland and the Choctaw Nation</span></span></b></h3>
Mary Robinson received many awards throughout her presidency but perhaps none more poignant than that of “Honorary Chief of the Choctaw Nation”. The relationship between Ireland and the Choctaw Nation began in 1847, when the Choctaws collected $170 to support the Irish during the Famine. The gift was significant, considering the Choctaw people had recently been forced to walk the Trail of Tears between 1831 and 1833. Irish President Mary Robinson visited the Choctaw Nation in 1995 to rekindle and re-establish the friendship and thank Choctaws for their aid. In 2020, the Irish people once again honoured that gift, giving back to Native American tribes hardest hit by the COVID-19 pandemic, in memory of the Choctaw Nation’s act of generosity.<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSVXQ6RirVNmgfq6VITg1UGjMGIz1Qw7NfoV_-Zj1HjxmWRNGrHHPXN9ocXlHhiaxe3KvkxtYH-McpUwjZjkhvgNO0rNvz9KFTiOKUx5ZVdC7RKXC9Fvlmota6Y_VRuIEBeMf5DKuE_XbgFLgKVfUSdc1oGl1chedATjgyn6St1XF0nz5e1NDZ02wtA/s5931/MRob%2021.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4720" data-original-width="5931" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSVXQ6RirVNmgfq6VITg1UGjMGIz1Qw7NfoV_-Zj1HjxmWRNGrHHPXN9ocXlHhiaxe3KvkxtYH-McpUwjZjkhvgNO0rNvz9KFTiOKUx5ZVdC7RKXC9Fvlmota6Y_VRuIEBeMf5DKuE_XbgFLgKVfUSdc1oGl1chedATjgyn6St1XF0nz5e1NDZ02wtA/w640-h510/MRob%2021.jpeg" width="640" /></a></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
Robinson was an exceptionally popular president, and halfway through her term of office her popularity rating had reached an unprecedented 93%. She resigned from the presidency a few weeks shy of the end of one term to take up the role of UN High Commissioner of Human Rights and served until 2002. A tireless advocate for justice, she was president of Realizing Rights – the Ethical Globalization Initiative from 2002 to 2010.<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtTKryO8c6q2aHsW4dmFtAIuRZufkcOYzUzvfzO9zAmS5oMMFn2B0gDo1TyQ87Ne-bQHtAfmhyGSurKnV9ncZ3uMAR5_BAPMKqzR3_45tJhEDz9VVuhQLzdYjq36nwanvWoPpj8kHEUQY5-67XGUdRqPASvOR6lGv4iMuiXUDPP1W2dlrbfXPkGEATJQ/s7882/MR_0%20(25)%20(1).jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5453" data-original-width="7882" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtTKryO8c6q2aHsW4dmFtAIuRZufkcOYzUzvfzO9zAmS5oMMFn2B0gDo1TyQ87Ne-bQHtAfmhyGSurKnV9ncZ3uMAR5_BAPMKqzR3_45tJhEDz9VVuhQLzdYjq36nwanvWoPpj8kHEUQY5-67XGUdRqPASvOR6lGv4iMuiXUDPP1W2dlrbfXPkGEATJQ/w640-h442/MR_0%20(25)%20(1).jpeg" width="640" /></a></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<h3 style="text-align: left;"><b><span style="font-size: medium;">The Elders</span></b></h3><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmy-DTzzRavP8Shk4TCL7nJxWAYTsQT84PkNis7CiHQGZ22D4ydKIcZ_21L7b0Am-keylTy3bcQnRh8W6H3MhEXm3_uuZTPR2nsY-G1pbFvM24kFIW_4qyoi5qaJDAS7so200_g_lo71-ubvRtbcTjJz0NPtvO_Jl9bupbl8BNFFgDbhF4gthIGKjaBw/s4932/Elders_front.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3474" data-original-width="4932" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmy-DTzzRavP8Shk4TCL7nJxWAYTsQT84PkNis7CiHQGZ22D4ydKIcZ_21L7b0Am-keylTy3bcQnRh8W6H3MhEXm3_uuZTPR2nsY-G1pbFvM24kFIW_4qyoi5qaJDAS7so200_g_lo71-ubvRtbcTjJz0NPtvO_Jl9bupbl8BNFFgDbhF4gthIGKjaBw/w640-h450/Elders_front.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>"The Elders with founder and Honorary Elder Nelson Mandela in Johannesburg, May 2010. L-R: Graça Machel, Fernando H Cardoso, Desmond Tutu (Chair), Jimmy Carter, Mary Robinson, Kofi Annan, Gro Brundtland, Martty Ahtisaari, Ela Bhatt, Lakhdar Brahimi, Nelson Mandela (seated)"</i></td></tr></tbody></table><br /><div><br /></div>
Along with Nelson Mandela, Graça Machel, and Archbishop Desmond Tutu, and another former US President Jimmy Carter, Robinson was a founding member of "The Elders", a group of world leaders with a goal of contributing their wisdom to tackle some of the world's toughest problems. In 2010 she founded and was chair of the Mary Robinson Foundation-Climate Justice from 2010 until 2019 and continues to push to ensure the most vulnerable communities in the world do not disproportionately suffer from the effects of climate change.<br />
<h4 style="text-align: left;"><b><span style="font-size: medium;">Planet Pals</span></b></h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtpf0K-PZteraNLqCUKQ_l-Mr-hnoSIW2Ghb_wajxod-IfIaa4y3jSzf04AUaP9DiLYIu9lVV2Msz6uT1vJGeQnKRBkg2KxPlG0LofuGK58f_CdpB5MGH4-XkW1H86ip9lxctdAtOQVW6Q6v5hhoptB76IYg6JlqIXhNmTA_aOF_idD2iCxt07bpFw8w/s9916/AP%20Letter%20Pg1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="9916" data-original-width="7012" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtpf0K-PZteraNLqCUKQ_l-Mr-hnoSIW2Ghb_wajxod-IfIaa4y3jSzf04AUaP9DiLYIu9lVV2Msz6uT1vJGeQnKRBkg2KxPlG0LofuGK58f_CdpB5MGH4-XkW1H86ip9lxctdAtOQVW6Q6v5hhoptB76IYg6JlqIXhNmTA_aOF_idD2iCxt07bpFw8w/w452-h640/AP%20Letter%20Pg1.jpeg" width="452" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>letter from 10 year old Alicia Premkumar, 2013</i></td></tr></tbody></table><br />Some of the nicest items in the archive are letters and drawings from children which, it might surprise some, are carefully kept. In 2013 Mary received a letter from ten-year-old Alicia Premkumar, a pupil of Scoil Mhuire Gan Smál in Carlow, detailing how she had inspired Alicia to set up “Planet Pals” for which she subsequently won “Young Environmentalist of the Year” in the Super Junior Category. Many thanks to Alicia, now a student of Physiotherapy at the Royal College of Surgeons of Ireland, for allowing her letter and photograph to be reproduced. Her fellow planet pals were Meadhbh Broderick, Caragh O’Toole (not pictured) and Daniela Besleaga.</div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHX5IZpEo1WmuX8vDYKoENsTGX-9TDW0fnZFJ0GOCbJi0EPxmTei0kqajTeUuHFnCq2GN6xZuzNuFwmwGBVKQcCKE6tUUF2w94YKI3Pb9ouvPvWtlliD05lpXhOh-vrGfZgGLNAVCz-ukJxO58YsSqK6aMWT4LCAZMrGAcJJxJxCM-8cvpoGGzw242Yg/s5671/AP%20Photo%201.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5234" data-original-width="5671" height="590" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHX5IZpEo1WmuX8vDYKoENsTGX-9TDW0fnZFJ0GOCbJi0EPxmTei0kqajTeUuHFnCq2GN6xZuzNuFwmwGBVKQcCKE6tUUF2w94YKI3Pb9ouvPvWtlliD05lpXhOh-vrGfZgGLNAVCz-ukJxO58YsSqK6aMWT4LCAZMrGAcJJxJxCM-8cvpoGGzw242Yg/w640-h590/AP%20Photo%201.jpeg" width="640" /></a></div><p class="MsoNormal"><br /></p><p class="MsoNormal"><o:p></o:p></p>
<h3 style="text-align: left;"><b><span style="font-size: medium;">Arts</span></b></h3>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZu-P2N8yQ4ziBn1n-MhoNOGc9QqJflCxAkbdK4Ai25YCfjMT-kGALekDL0cEWvzE7Fg-tbOb8TYPJPzA6fpxAxyd0NHwuYUmrNiNdsRGE_5IZbT8sspeMKSeIrHzqGZ8tisiRWy1b5qaX42XmPFwdqlBkg7C4XQqRp6nU5xaydB09wuAIIE8fizR76Q/s2518/Boland.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1724" data-original-width="2518" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZu-P2N8yQ4ziBn1n-MhoNOGc9QqJflCxAkbdK4Ai25YCfjMT-kGALekDL0cEWvzE7Fg-tbOb8TYPJPzA6fpxAxyd0NHwuYUmrNiNdsRGE_5IZbT8sspeMKSeIrHzqGZ8tisiRWy1b5qaX42XmPFwdqlBkg7C4XQqRp6nU5xaydB09wuAIIE8fizR76Q/w640-h438/Boland.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Ticket stub, 1968</i></td></tr></tbody></table><p class="MsoNormal"><br /></p>Apart from the Ballina link, another Irish love connects both President Biden, and President Robinson – a love of Irish Arts, in particular poetry. The archive contains personal correspondence between Mary and several poets she considered friends including Séamus Heaney, Paul Durcan, Brendan Kennelly, and her friend from TCD, Eavan Boland. A lovely image springs to mind when looking at the ticket stub from 1968 of Mary listening to her friend Eavan, talking about fellow Irish poet Patrick Kavanagh, while in the beautiful surroundings of another Western county, County Sligo.<br /><br />
<h2><b><span style="font-size: medium;">Medal of Freedom</span><o:p></o:p></b></h2>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb0UjRkREPvtSWgLSKLvIKAUowtJsYGrxvWzM12c5XKMbUY9MJvXN57OErQWQr-7W5MpxhEORzWp9UeYWRHpyAMCHJhFGMblO1ZUtTarc_hhuZHICEToYYQ75uuDgLmO2GCEjKoC36PMENeN-KMDQ1VRS8TMy12MDuJD1SjzqCHzXe09Py_PfIDnAIig/s8511/MR_mof.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6646" data-original-width="8511" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb0UjRkREPvtSWgLSKLvIKAUowtJsYGrxvWzM12c5XKMbUY9MJvXN57OErQWQr-7W5MpxhEORzWp9UeYWRHpyAMCHJhFGMblO1ZUtTarc_hhuZHICEToYYQ75uuDgLmO2GCEjKoC36PMENeN-KMDQ1VRS8TMy12MDuJD1SjzqCHzXe09Py_PfIDnAIig/w640-h500/MR_mof.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Medal of Freedom awarded to President Robinson by President Barack Obama in 2009</i></td></tr></tbody></table><br />In July 2009, Mary was awarded the Presidential Medal of Freedom, the highest civilian honour awarded by the United States. Coincidentally, it was also awarded to fellow Elder Archbishop Tutu the same year, and to President Biden in 2017, while he was serving as Vice-President. On presenting her with the award, U.S. President Barack Obama said, </div><div><br /></div><div><i><b>"As a crusader for women and those without a voice in Ireland, Mary Robinson was the first woman elected President of Ireland…Today, as an advocate for the hungry and the hunted, the forgotten and the ignored, Mary Robinson has not only shone a light on human suffering but illuminated a better future for our world."</b></i><p class="MsoNormal"><i><b><br /></b></i></p><p class="MsoNormal"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5mLctplQoSbfaC39nhTQ3fykfMzszy8MfoK-_o-fUxyby_qgmwOGijcAqLwViA9DndGFzG1VMK4mz-YSMyio4QN3rMJkwdMW-SpjoruwbzE23FsankHL-eEqzdcKC_mlNRs6kk1p-R6wwQf4spsnaLza2BseBX2IourwxdzRi3lDWcmDTnuB4WrpVyA/s5941/MRob%2030.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4698" data-original-width="5941" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5mLctplQoSbfaC39nhTQ3fykfMzszy8MfoK-_o-fUxyby_qgmwOGijcAqLwViA9DndGFzG1VMK4mz-YSMyio4QN3rMJkwdMW-SpjoruwbzE23FsankHL-eEqzdcKC_mlNRs6kk1p-R6wwQf4spsnaLza2BseBX2IourwxdzRi3lDWcmDTnuB4WrpVyA/w640-h506/MRob%2030.jpeg" width="640" /></a></div><br /></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><p class="MsoNormal" style="text-align: justify;"><span style="text-align: left;"><i><b>* </b>President Seán T. O'Kelly was invited to the United States of America by President Eisenhower in 1959 and addressed the Joint Meeting of Congress, 18/03/1959. President de Valera attended President John F. Kennedy's funeral in 1963, and made an official visit in 1964 during which he also addressed Congress. President Robinson herself met President Clinton on a private visit in 1993, as did her successor President McAleese in 1998. </i></span></p></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><p class="MsoNormal"><i><span style="text-align: left;">President Robinson's 1996 visit was the only official State visit, however. </span>State visits to the United States are formal visits by the head of state from one country to the United States, during which the president of the United States acts as official host of the visitor. State visits are considered to be the highest expression of friendly bilateral relations between the United States and a foreign state and are, in general, characterised by an emphasis on official public ceremonies. State visits can only occur on the invitation of the president of the United States, acting in his capacity as head of the United States. (Official visits, in contrast, can also only occur on the invitation of the president of the United States, though are offered in the president's capacity as chief of the federal government of the United States.)</i></p></div></blockquote><div><p class="MsoNormal" style="text-align: center;"><b><i><span style="text-align: left;"><br /></span></i></b></p><p class="MsoNormal" style="text-align: center;"><b><i><span style="text-align: left;">For further information on the work being carried out to process, preserve and catalogue the Mary Robinson Archive, check out this </span><a href="https://nuigarchives.blogspot.com/2021/12/mary-robinson-archive-phase-1.html" style="text-align: left;" target="_blank">blog</a><span style="text-align: left;">.</span></i></b></p></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-67040016360807529452023-04-05T17:17:00.003+01:002023-04-05T17:17:40.678+01:00Kevin Boyle and the Good Friday Agreement - The Legal and Human Rights Perspective<p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx22YpaGNl-DnqchDTpI63pdYeYxjflkThVpmBMoj5NQmI7PyEvZhqU8xS20-gxvnc7pj2h3cSryzU8Tw056XVelodRtf3VkpQZmDRMuBkoVLYE7b7yqlg1pSBFIry7dGYA0nigIlTbpVpva1RX5h1DpX6s5najJ6ZHq7CCLUawdvpP2WJFIX-r6j9Eg/s1452/Kevin%20Boyle%20HS.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1452" data-original-width="990" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx22YpaGNl-DnqchDTpI63pdYeYxjflkThVpmBMoj5NQmI7PyEvZhqU8xS20-gxvnc7pj2h3cSryzU8Tw056XVelodRtf3VkpQZmDRMuBkoVLYE7b7yqlg1pSBFIry7dGYA0nigIlTbpVpva1RX5h1DpX6s5najJ6ZHq7CCLUawdvpP2WJFIX-r6j9Eg/s320/Kevin%20Boyle%20HS.jpg" width="218" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kevin Boyle. <br />University of <br />Galway Library Archives</td></tr></tbody></table><br />The archive of activist, human rights academic, and
barrister, Kevin Boyle, offers a decades-long insight into the long journey
towards peace in Northern Ireland. Born in Newry, Co. Down, in 1943, Boyle
attended Queen’s University Belfast in the mid-1960s and became active in the political
and activist campaigns of the time. A central member of the Northern Ireland
Civil Rights Association, as well as an active member of other similar groups,
such as People’s Democracy, Boyle had a front-line role in the civil rights
movement in Northern Ireland from the 1960s. Thoughout subsequent years Boyle worked as an academic and barrister
advocating for human rights-based perspectives and protections to help move
communities and society beyond the use violence in Northern Ireland, by both
Loyalist and Republican organisations.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">From the late 1970s Boyle was Professor of Law at then
University College Galway, before becoming the founding director of the
international NGO, Article 19, a decade later, advocating for freedom of expression and anti-censorship around the world. By the time of the Good Friday
Agreement in 1998, Boyle was working as Professor of Human Rights at University of Essex, U.K. </p><p class="MsoNormal">In the
years leading up the Good Friday Agreement and in its immediate aftermath,
Boyle closely monitored how the legal frameworks and various strands of the
Good Friday Agreement would affect the experience human rights for those in Northern
Ireland and in the Republic. Boyle researched and analysed the text of the agreement in his typical
methodical style, and was heavily invested in how the new proposed bodies to be
established under the agreement, including a Human Rights Commission for
Northern Ireland, and its southern counterpoint in the Republic, would
function, co-operate, communicate, and be a positive force for human rights
protection on the island. Often working with his long-time academic collaborator,
Professor Tom Hadden, Boyle’s archive at University of Galway Library, contains
Boyle’s detailed research files on the legal and human rights perspective on
the Good Friday Agreement.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmknfpY8aoPM-QyYXivlPEt8_CV8zixYr41aYnF8QcR7ZLtUaTLU3YJZcOSz57aP1fOdpnKfWr3NMoIqgr0eZW_Y_Z9tBrpZx4S-w14UahuMWMrShMAQasTiLgXTSm0GrYSlg5VaX2oZilLHhrJpzOrmnOvy9aACFY0DICC_C3fdxRvs5cfSa6ZnIusg/s5428/Boyle%20GFA1.tif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5428" data-original-width="3660" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmknfpY8aoPM-QyYXivlPEt8_CV8zixYr41aYnF8QcR7ZLtUaTLU3YJZcOSz57aP1fOdpnKfWr3NMoIqgr0eZW_Y_Z9tBrpZx4S-w14UahuMWMrShMAQasTiLgXTSm0GrYSlg5VaX2oZilLHhrJpzOrmnOvy9aACFY0DICC_C3fdxRvs5cfSa6ZnIusg/w432-h640/Boyle%20GFA1.tif" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Notes by Kevin Boyle on the Good Friday Agreement.<br />University of Galway Library Archives.<br /><br /></td></tr></tbody></table><br /> <o:p></o:p></p>
<p class="MsoNormal">Within the files are numerous documents in Boyle’s manuscript hand, with notes and thoughts
written directly at the time of the Agreement. One such set of notes, headed “Negotiating
Northern Ireland” document Boyle’s thinking and reactions of the time. Phrases
like “The fight for peace”, “George Mitchell – Making Peace”, followed by a
chronology of political flashpoints in Northern Ireland from the mid-1980s,
show the process of Boyle's thinking in building the picture of future directions in the North in the fall
out of the multi-party talks in April 1998. Ever the rational thinker on such matters, while writing a
list of key areas to focus on, from decommissioning of weapons to the new
Executive that would be set up, Boyle writes and underlines in pen the
reminder/warning: “Avoid Group Think”. </p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal">Also within the Boyle archive is a
typescript copy of “General Scheme of Human Rights Commission Bill”,
extensively annotated by Boyle. Other files also address “A Bill of Rights for
Northern Ireland”. The talks resulting in the Good Friday Agreement was the
culmination of years of complex and often fragile dialogue between various political
parties from across bitter sectarian divides, which often threatened to
irrevocably break down. The Good Friday Agreement was not the finish line for
human rights-based interests by Boyle on the future of peace in Northern
Ireland, or indeed on the island of Ireland. Rather, it was a starting point
from which to include and build a better and new future, inclusive and
reflective of a human rights perspective.</p><p class="MsoNormal"><o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIJTAfFXtRelNR_OFgF1t7TiDTf3SACniM0vGPRlFy6lcjlWai64RWNOyRSzco_sXtX8Ox3d51Gp7ThJifdf3uMaY_Ri5lQPcIj-Q-hKXOPFCkDcF6aMUJ8h1NsFFwPIzyGaueq4eSolP3GA1qaILm-zIablFccwawAji-_6LCLQJsZJu4YTcj3Uk8-g/s7018/Boyle%20GFA2.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="7018" data-original-width="5018" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIJTAfFXtRelNR_OFgF1t7TiDTf3SACniM0vGPRlFy6lcjlWai64RWNOyRSzco_sXtX8Ox3d51Gp7ThJifdf3uMaY_Ri5lQPcIj-Q-hKXOPFCkDcF6aMUJ8h1NsFFwPIzyGaueq4eSolP3GA1qaILm-zIablFccwawAji-_6LCLQJsZJu4YTcj3Uk8-g/w458-h640/Boyle%20GFA2.tif" width="458" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Notes by Kevin Boyle on the role of the British-Irish Council.<br />University of Galway Library Archives.</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-48482358242215870632023-04-04T12:27:00.004+01:002023-04-04T12:43:59.603+01:00Reading the Good Friday Agreement - Archives and the Public Record of the GFA<p> </p><p class="MsoNormal">Years of debate, talks, compromise and negotiation from
across broad political divides in Northern Ireland were distilled into a
document that became known by many names – “The Belfast Agreement”, “The
Stormont Agreement”, or more widely, “The Good Friday Agreement”. The
multi-party talks included representatives of the Ulster Union Party, led by
David Trimble, SDLP leader, John Hume, and Sinn Féin, led by Gerry Adams, among
others, who were complimented by other key stakeholders including Taoiseach
Bertie Ahern, Prime Minister Tony Blair, Secretary of State for Northern
Ireland, Mo Mowlam, and assisted by American Special Envoy to Northern Ireland,
Senator George Mitchell. <o:p></o:p></p>
<p class="MsoNormal">The tense talks which took place at Stormont Castle over
days and nights of early April 1998. The deadline for the talks, as set by Senator
Mitchell was actually Thursday 9 April, but the talks spilled over past the
mid-night deadline into the famous date of 10 April, Good Friday, and an
agreement was reached by all parties (except the DUP, whose leader Ian Paisley
protested outside Stormont and objected to the agreement, having previously refused
to join the talks).<o:p></o:p></p>
<p class="MsoNormal">As the terms of the agreement, from its various key strands
which set out a roadmap for governance, power-sharing, and security on the
island, as well the establishment of new cross-border bodies with roles and
functions as North-South Ministerial Council, as well as new departures for Anglo-Irish
relations and structures along an east-west axis through a British-Irish Council.
The changes proposed had to approved by referendum in Northern Ireland and in
the Republic as alterations to Articles 2 and 3 of the Irish constitution had
to be made to accommodate the terms of the agreement. <o:p></o:p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEzX5JRkXraglnao3xjbpX3gM3pergnB60s5Z0w6vUy6A4Xcidagl3xzkdQDElwlVcZ9EeyFfaidEZ7jlqulDKfbRdsvN3l0vL9E5tS2EnhuIQC_LEThqx-pSl__I8KSOp2_zhJHtlMM5HTi9MA9IO-GzFnzcoRoP22CxvQMcn2GA9F7vyxOB9sKzbg/s3931/GFA%20Doc.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3931" data-original-width="2877" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEzX5JRkXraglnao3xjbpX3gM3pergnB60s5Z0w6vUy6A4Xcidagl3xzkdQDElwlVcZ9EeyFfaidEZ7jlqulDKfbRdsvN3l0vL9E5tS2EnhuIQC_LEThqx-pSl__I8KSOp2_zhJHtlMM5HTi9MA9IO-GzFnzcoRoP22CxvQMcn2GA9F7vyxOB9sKzbg/w293-h400/GFA%20Doc.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cover page of "The Agreement"<br />University of Galway Library Archives</td></tr></tbody></table><p class="MsoNormal">A thirty-page document, a text of the Good Friday Agreement,
was printed and a copy circulated to every house in Northern Ireland. Its cover
featured a silhouetted family on a sun-set beach (an image which is uncredited
in the document) felt curiously at odds with the tone and importance of the
document and text of the agreement. More akin to a holiday brochure, the
pamphlet nevertheless was at pains to focus the reader on the text inside.
“This Agreement is About <u>Your</u> future. Please read it carefully”. Archives
of such landmark political moments also reveal the complexities of how such
events are documented. </p><p class="MsoNormal">The fact that the Agreement pamphlet is without any
context or information as to who produced the document, who published,
designed, or printed it, or who oversaw its distribution, is significant. Does
this make it a symptom of an oversight during a frenetic period following the
signing of the agreement, where civil servants or others worked to get the
document out into the community as fast as possible? Or was it a deliberate
action to keep the Agreement document as apolitical (if such a thing were
possible) as possible – not have it ascribed to one or other political party,
not endorsed by one faction’s opinion from Dublin, Belfast, or London, rather
to simply present the words of the agreement as they were, plain and clear, to
the reader.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Viewing the archival significance form another viewpoint, the
document further placed the emphasis and agency for change in the hands of the
reader and of the voter. “it’s <u>your</u> decision” it reiterated, boldly and
loudly from the front cover. It distanced the agreement from the parties and
personalities who brokered it and put its impetus and ultimately its lasting
effects onto the public. The resulting referendum votes took place on 18<sup>th</sup>
May 1998, comfortably passing in both the Republic and Northern Ireland. The
document includes the text of the “Declaration of Support” by the participants
in the multi-party talks”, the details of the constitutional changes, the many
minutiae of strands one, two, and three of the agreement, as well as the terms
of rights and safeguards, decommissioning, security, policing, justice, prisoners,
as well as validation, implementation and review. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUm4kseELVrsP1EgeZLybEPT6LQL7h5jDxQmRqwM2ZS3ALiglJeOA1KXfyky7lMYSlDII19BfB5BTe2FctvDwYWMEkZQ82zXXMAF2qIgCMyQhR-uItG2VbWGJC7Pku9DE3DEsbjtvlJHQoZG0M5jNU3p4SeFo2f_NqioTXGoCBgKUJIMvEynY2A1Tsng/s3868/GFA%20Contents.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2754" data-original-width="3868" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUm4kseELVrsP1EgeZLybEPT6LQL7h5jDxQmRqwM2ZS3ALiglJeOA1KXfyky7lMYSlDII19BfB5BTe2FctvDwYWMEkZQ82zXXMAF2qIgCMyQhR-uItG2VbWGJC7Pku9DE3DEsbjtvlJHQoZG0M5jNU3p4SeFo2f_NqioTXGoCBgKUJIMvEynY2A1Tsng/w640-h456/GFA%20Contents.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Contents and opening page of The Agreement pamphlet. <br />University of Galway Library Archives.</td></tr></tbody></table><p class="MsoNormal">As an ephemeral piece of archival memory of the Good Friday
Agreement, the document is a potent symbol of the rippling legacies and impacts
of the talks. It affected every person and household on the island of Ireland,
north and south, and following decades of conflict, sectarianism, pain, and
over three thousands deaths, a thirty-page pamphlet now held the possible if
not also fragile roadmap for a shared power and peaceful future.</p><p class="MsoNormal"><o:p></o:p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-63198250573682334812023-03-15T14:15:00.002+00:002023-03-16T10:52:58.221+00:00Digitising the Conradh na Gaeilge archive<p><i><span style="font-size: x-small;"> February 2023, Maeve O' Neill</span></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKatA8YOtcCIoXhrw1AVWPhJe5C8MLcwBgjgp30U84ECflIvUoqp7hX9_jJTkNz0Tjkco31xv2utLIa_GpQ6a8M5dJJ4ArUQfPFuvTJjcc_ETWHVNZ8aOYUxYv1H8Xmssp0dpI6U0mvgGUr9m0A5yzVsSki2LbjMaQbfUoQP4xPjccma-C7LPHKw_2Ow/s1965/Blog_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="893" data-original-width="1965" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKatA8YOtcCIoXhrw1AVWPhJe5C8MLcwBgjgp30U84ECflIvUoqp7hX9_jJTkNz0Tjkco31xv2utLIa_GpQ6a8M5dJJ4ArUQfPFuvTJjcc_ETWHVNZ8aOYUxYv1H8Xmssp0dpI6U0mvgGUr9m0A5yzVsSki2LbjMaQbfUoQP4xPjccma-C7LPHKw_2Ow/w500-h225/Blog_1.jpg" width="500" /></a></div><br /><p><span class="contentpasted3" style="text-align: justify;"><span lang="EN-GB">I was employed at the University of Galway in July </span></span><span class="msoins0" style="text-align: justify;"><span lang="EN-GB">2022<span style="color: teal;"> </span></span></span><span class="contentpasted3" style="text-align: justify;"><span lang="EN-GB">to digitise sections of the archive of Conradh
na Gaeilge</span></span><span class="contentpasted3" style="text-align: justify;"><span lang="EN-GB">. Prior to this I </span></span><span class="msoins0" style="text-align: justify;"><span lang="EN-GB">worked a</span></span><span class="contentpasted3" style="text-align: justify;"><span lang="EN-GB">t
the National Library </span></span><span class="msoins0" style="text-align: justify;"><span lang="EN-GB">of
Ireland </span></span><span class="contentpasted3" style="text-align: justify;"><span lang="EN-GB">(NLI), where
I </span></span><span class="msoins0" style="text-align: justify;"><span lang="EN-GB">was </span></span><span class="contentpasted3" style="text-align: justify;"><span lang="EN-GB">a digital photographer on the ‘Towards a
Republic’ Collection. </span></span><span class="msoins0" style="text-align: justify;"><span lang="EN-GB"> </span></span></p><p>
</p><p class="MsoNormal"><span lang="EN-GB">In Galway I work with a range of equipment
to digitise the collection. The digital project digitises key documents from the
Conradh na Gaeilge campaigns since the 1960s. Themes covered include Irish
language television and radio services, the status of Irish as an official EU
language, Irish in the education system, language legislation, the Gaeltacht
Civil Rights Movement, local governance for the Gaeltacht and Irish speakers in
Northern Ireland. When available to a broader public through digitisation, the
archive will greatly enrich our understanding of the process of state formation
in Ireland and the continuing use of the Irish language throughout the 20th
Century.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdrACSdhr_tp_Rsu9zPPRQSdtso1kyVgJBzrF-wpM3-4YHs5ClTsKTxEfI_6Af6Hu5YDwOwQdqJUx7fXToxYuzRTncUCv38eaUz8-LNY7pgpDQLy5glutrx4yLSKvBV0HTg0hZUowDSVVVjz16fdBjTYFJm-GVGc5jc58PwbVR9M6FL3lBTODk25aww/s2072/blog%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="2072" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdrACSdhr_tp_Rsu9zPPRQSdtso1kyVgJBzrF-wpM3-4YHs5ClTsKTxEfI_6Af6Hu5YDwOwQdqJUx7fXToxYuzRTncUCv38eaUz8-LNY7pgpDQLy5glutrx4yLSKvBV0HTg0hZUowDSVVVjz16fdBjTYFJm-GVGc5jc58PwbVR9M6FL3lBTODk25aww/w511-h185/blog%202.jpg" width="511" /></a></div><br /> <p></p>
<p class="MsoNormal"><span lang="EN-GB">Conradh was established in 1893 to preserve
and revive the Irish language, which was near extinction and spoken by only
approximately 3% of the Island’s population at the time. This collection
encompasses material from its founding in 1893 through to 2018, when the
collection was donated to the University of Galway. The Conradh archive is an
exciting one, particularly to see the effect that local effort and grassroot
activism can have in shaping a country, and seeing how numerous activist groups
worked together to, for example, found alternative media outlets and independent
schools - sometimes despite the best efforts of government. </span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlbWLYZznIOhdzPkqiv19RkNndJuLwPXTQ0MLNVkrJFALU3baddzZXbXOXvbb8QaBjnXtLyULKMLRgRQKb07CPwQsaq52RBWHst6idWONdePty1CZo_HFf0eh4Z0kyvyD4VfCaXs-KiOfbbU52vpLRnb9aLvFGuORa1tdkGnoIT661raz80AeQPJicw/s2061/blog%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="2061" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXlbWLYZznIOhdzPkqiv19RkNndJuLwPXTQ0MLNVkrJFALU3baddzZXbXOXvbb8QaBjnXtLyULKMLRgRQKb07CPwQsaq52RBWHst6idWONdePty1CZo_HFf0eh4Z0kyvyD4VfCaXs-KiOfbbU52vpLRnb9aLvFGuORa1tdkGnoIT661raz80AeQPJicw/w524-h195/blog%203.jpg" width="524" /></a></div><br /><span lang="EN-GB"><br /></span><p></p><p class="MsoNormal"><span lang="EN-GB">In archivist Niamh <span style="background: white; mso-highlight: white;">Ní</span> Charra’s words: <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB"><o:p> </o:p></span><i><span lang="EN-GB">‘Over the course of Conradh na Gailege’s
existence its staff were actively involved in promoting and observing the use of Irish across all aspects of
everyday activities, and as such this collection provides an unparalleled
insight into linguistic, cultural, social and political aspects of Ireland’s
past. [...] In the latter half of the 20th century Conradh na Gaeilge, along
with other organisations, was instrumental in community campaigns which led to
the creation of Irish language radio and television stations (Raidió na
Gaeltachta and TG4 respectively), to the enactment of the Official Languages
Act [14 July 2003], and to making Irish an official language of the European
Union [1 January 2007]. Campaign material in the collection also includes
documents relating to prisoners’ rights and civil rights in Northern Ireland,
in particular during the period of the Hunger Strikes [1980-1981].’ </span></i><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB"><br /></span></p>
<h2><span lang="EN-GB">Technical Specifications<o:p></o:p></span></h2>
<p class="MsoNormal"><span lang="EN-GB"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ie-PRgSs5CrH7-dDcQkxIXuyazbRD7MO55oPDoeRk_KbDPR5i3y1mDp5iRHaQ5WeHwoWtSurt9ZsktfN882LSVaCfwi53Mwkfi4lSo2zhCXC_gITmp0WnZQoYd-QrlLp2Uy4SrppWv51fzFoDGp3W8-E4bYymdwIChW0ns2UiLDpSyXS3zE-5Nys8Q/s2134/blog%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="2134" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ie-PRgSs5CrH7-dDcQkxIXuyazbRD7MO55oPDoeRk_KbDPR5i3y1mDp5iRHaQ5WeHwoWtSurt9ZsktfN882LSVaCfwi53Mwkfi4lSo2zhCXC_gITmp0WnZQoYd-QrlLp2Uy4SrppWv51fzFoDGp3W8-E4bYymdwIChW0ns2UiLDpSyXS3zE-5Nys8Q/w502-h195/blog%204.jpg" width="502" /></a></div><br /><p></p>
<p class="MsoNormal"><span lang="EN-GB">The majority of the material is digitised
on a Plustek OpticBook A300 Plus Photo Scanner, with Irfan Software. The
BookEye 5 was on hand for the oldest and most delicate publications. For the
photographic and large format material, a Guardian ICAM Floor Standing Modular
Copy Stand System is used with studio lighting and a PhaseOne XF 150MP Camera
System, Mamiya lenses, and Capture One Pro Software. Each image capture device
is set to 600dpi and saved as a 24-bit colour TIFF. File sizes vary based on
the size of material, but average at approximately 70MB. Over 44,000 images
have been digitised to date. With almost eight months completed of an overall
project time of approximately ten months, the digitisation of this part of the
archive is 80% complete.</span></p>
<p class="MsoNormal"><span lang="EN-GB">The most delicate material for digitisation
are the Oireachtas and Ard Fheis booklets from the late 1800s and up to the
1910s, when the books became more robust. These older documents require careful
handling and were digitised slowly to preserve the stability of the book spines
and avoid paper tearing. Many, many rusted metal staples had to be painstakingly
removed before the pages could be laid on the scanner surface or copystand
base.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCps4-ZF0Aiax3rYxbX-PJWIRrwzHzbpGi8RL7thEJ32hHgI-RyEQiFClW0rcCHhjbT2LQ2GaFwyGFbRebd3FP4uFu5X9zuA0ky0UuKvejvp_wI5R9xJ9QOeE-upS8SLZ4G867JoHT3CpJV_qavC5hn9sXZ-mvi6TyEMTOLjAYhp7JV7Z4Mix0tsdN2Q/s1885/blog%205.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="942" data-original-width="1885" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCps4-ZF0Aiax3rYxbX-PJWIRrwzHzbpGi8RL7thEJ32hHgI-RyEQiFClW0rcCHhjbT2LQ2GaFwyGFbRebd3FP4uFu5X9zuA0ky0UuKvejvp_wI5R9xJ9QOeE-upS8SLZ4G867JoHT3CpJV_qavC5hn9sXZ-mvi6TyEMTOLjAYhp7JV7Z4Mix0tsdN2Q/w528-h264/blog%205.jpg" width="528" /></a></div><br /><span lang="EN-GB"><br /></span><p></p>
<h2><span lang="EN-GB">Material<o:p></o:p></span></h2>
<p class="MsoNormal">The material selected for digitisation
covers the Oireachtas and Ard Fheis publications, as well as sections from
series on Media, Northern Ireland, Campaigns, Education, Comhaltas Uladh,
Political Parties, and Language Organisations. Over the decades, Conradh has
seen multiple governments come and go, and much correspondence with government
officials has been digitised. Most series contain internal reports, press
releases, correspondence, minutes, newspaper cuttings, brochures and informal
notes, appearing in Irish and English. There is also a range of material from
other countries with minority or suppressed languages, including Scots Gaelic,
Welsh, and Limburgish.</p>
<p class="MsoNormal">The physical collection can be accessed by
those interested in the Special Collections Reading Room by prior request, and
in future the digitised material will be accessible online.</p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcqNJ7E2F14qzahoXV_M6E5O6-TRa7nje1euqWf5iJWoN5To15Ad1I6WoqFeNlmdFa1nFYc7lgC0QwVHCST8gct_HGUCnrnXQvs_t-p35iHZ3LM5PBu7qVAIJsf2HKQL-71Nonb2PKsFd3nD79LGNf0DjREOPDoiEO_hFbgBb6VdsDB69i5D_urVVXA/s1951/blog%206.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="815" data-original-width="1951" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcqNJ7E2F14qzahoXV_M6E5O6-TRa7nje1euqWf5iJWoN5To15Ad1I6WoqFeNlmdFa1nFYc7lgC0QwVHCST8gct_HGUCnrnXQvs_t-p35iHZ3LM5PBu7qVAIJsf2HKQL-71Nonb2PKsFd3nD79LGNf0DjREOPDoiEO_hFbgBb6VdsDB69i5D_urVVXA/w530-h222/blog%206.jpg" width="530" /></a></div><br /><p class="MsoNormal"><br /></p>
<h2><span lang="EN-GB">Digital project team<o:p></o:p></span></h2>
<p class="MsoNormal"><span lang="EN-GB"><i><b>Digitisation:</b></i> Maeve O Neill</span></p><p class="MsoNormal"><span lang="EN-GB"><i><b>Digital archivists:</b></i> Catriona Cannon and Aisling Keane</span></p><p class="MsoNormal"><i><b>Archivist:</b></i> Niamh <span style="background: white;">Ní</span> Charra</p>
<p class="MsoNormal"><span lang="EN-GB"><i><b>Project manager:</b></i> Cillian Joy<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB"><i><b>Project sponsor:</b></i> John Walsh<o:p></o:p></span></p>
<h2><span lang="EN-GB">Author<o:p></o:p></span></h2>
<p class="MsoNormal"><span lang="EN-GB">This blog was written by Maeve O Neill,
digitisation professional for the Conradh na Gaeilge archive at the University
of Galway.<o:p></o:p></span></p>
<h2><span lang="EN-GB">More information<o:p></o:p></span></h2>
<p class="MsoNormal"><a href="https://archivesearch.library.universityofgalway.ie/Record.aspx?src=CalmView.Catalog&id=G60" target="_blank"><b>Conradh na Gaeilge archive listing</b></a></p>
<p class="MsoNormal"><span style="background-color: white;">A more detailed breakdown
of the archive series can be accessed <a href="https://exhibitions.library.universityofgalway.ie/s/cnag/page/series" target="_blank"><b>here</b></a> </span><span style="background-color: white;">which forms part of the <b><a href="https://exhibitions.library.nuigalway.ie/s/cnag/page/home" target="_blank">online digital exhibition</a>.</b></span></p>
<p class="MsoNormal">Blogs relating to the work of archivist
Niamh Ní Charra in processing this archive can be accessed here:</p>
<p style="background: white; margin: 0cm; vertical-align: baseline;"><span style="color: black; mso-color-alt: windowtext;"><b>Blog 1 <a href=" https://nuigarchives.blogspot.com/2018/09/conradh-na-gaeilge-archive-first-step.html" target="_blank">Conradh na Gaeilge archive - First step</a></b></span></p><p style="background: white; margin: 0cm; vertical-align: baseline;"><span style="color: black; mso-color-alt: windowtext;"><b>Blog 2 <a href="https://nuigarchives.blogspot.com/2018/11/conradh-na-gaeilge-archive-appraising.html" target="_blank">Appraising the Archive</a></b></span></p><p style="background: white; margin: 0cm; vertical-align: baseline;"><span style="color: black; mso-color-alt: windowtext;"><b>Blog 3 <a href="https://nuigarchives.blogspot.com/2019/10/conradh-na-gaeilge-archive-phase-2.html" target="_blank">Conradh na Gaeilge Phase Two</a></b></span></p><p style="background: white; margin: 0cm; vertical-align: baseline;"><span style="color: black; mso-color-alt: windowtext;"><b>Blog 4 <a href="https://nuigarchives.blogspot.com/2020/04/conradh-na-gaeilge-digital-exhibition.html" target="_blank">Conradh na Gaeilge Digitial Exhibition</a></b></span></p><p style="background: white; margin: 0cm; vertical-align: baseline;"><span style="color: black; mso-color-alt: windowtext;"><b>Blog 5 <a href="https://hardimanlibrary.blogspot.com/2022/02/conradh-na-gaeilge-archive-catalogued.html" target="_blank">Conradh na Gaeilge Archive catalogued</a></b></span></p><p style="background: white; margin: 0cm; vertical-align: baseline;"><span style="color: black; mso-color-alt: windowtext;"><b> </b></span><span style="color: #201f1e; font-family: "inherit", serif; font-size: 11.5pt;"><b> </b> </span></p>
<h2 style="background: white; margin: 0cm; text-align: left; vertical-align: baseline;"><span style="background-color: transparent; font-size: x-large;"><a href="https://nuigarchives.blogspot.com/2023/03/digitiu-chartlann-chonradh-na-gaeilge.html" target="_blank"><b>Leagan Gaeilge</b></a></span></h2><br /><p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-76788600698096672102023-03-15T14:15:00.001+00:002023-03-15T14:15:47.310+00:00Digitiú chartlann Chonradh na Gaeilge<p><i> Feabhra 2023, Maeve O' Neill</i></p><p></p><p class="MsoNormal" style="text-align: justify;"><span class="contentpasted3"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7aBnLVs2eo6hW6IBc2GTERSKk6XqSTV1kNrGK2UBF9_zYmY3AyTxxUy90mewP-MhErVTosUA1l61X3qunYFKcYGd-_68h8sX50v9xCnzkfTFLjyjOmVDRxQiRUkoJ_lbKgc8vASFQ3EacHKL3fozc103zIs_USUEDFTvenucFmePNHzP6QBtrFynobg/s1965/Blog_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="893" data-original-width="1965" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7aBnLVs2eo6hW6IBc2GTERSKk6XqSTV1kNrGK2UBF9_zYmY3AyTxxUy90mewP-MhErVTosUA1l61X3qunYFKcYGd-_68h8sX50v9xCnzkfTFLjyjOmVDRxQiRUkoJ_lbKgc8vASFQ3EacHKL3fozc103zIs_USUEDFTvenucFmePNHzP6QBtrFynobg/w513-h232/Blog_1.jpg" width="513" /></a></div><br /><span lang="GA"><br /></span><p></p><p class="MsoNormal" style="text-align: justify;"><span class="contentpasted3"><span lang="GA">Fostaíodh in Ollscoil na Gaillimhe mé i mí Iúil </span></span><span class="msoins0"><span lang="GA">2022<span style="color: teal;"> </span></span></span><span class="contentpasted3"><span lang="GA">chun codanna de chartlann Chonradh na
Gaeilge a dhigitiú. </span></span><span class="msoins0"><span lang="GA">D'oibrigh
mé roimhe seo</span></span><span lang="GA"> <span class="contentpasted3">i
Leabharlann Náisiúnta </span><span class="msoins0">na hÉireann </span><span class="contentpasted3">(NLI), áit a raibh mé </span><span class="msoins0">i mo </span><span class="contentpasted3">ghrianghrafadóir digiteach don Bhailiúchán ‘Towards a
Republic’. </span><span class="msoins0"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="GA">Bíonn raon trealaimh á úsáid agam i nGaillimh
chun an bailiúchán a dhigitiú. Déanann an tionscadal digiteach príomhcháipéisí
ó fheachtais Chonradh na Gaeilge ó na 1960idí i leith a dhigitiú. I measc
théamaí an bhailiúcháin tá seirbhísí teilifíse agus raidió Gaeilge, stádas na
Gaeilge mar theanga oifigiúil de chuid an AE, an Ghaeilge sa chóras oideachais,
reachtaíocht teanga, Gluaiseacht Chearta Sibhialta na Gaeltachta, rialachas
áitiúil don Ghaeltacht mar aon le cainteoirí Gaeilge i dTuaisceart Éireann. Ach
leagan digiteach den chartlann a bheith ar fáil don phobal níos leithne,
cuirfear go mór lenár dtuiscint ar an bpróiseas trínar cuireadh stát na
hÉireann ar bun, agus ar úsáid leanúnach na Gaeilge i rith an fhichiú haois.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="GA"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="GA"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ-wQAgtN7VT1tEo1Snd5MPiVJafil8MQJAxriZHoN_o3ESNWjloRbQ3gIyNZ0tF0cTJZBN0MVQJXLBtVF-u1EtM-yqQ2z1rbTYDlcJ8ccMb6WtSPhfujhmw4rb7HsICi7HjpOmRFUCCE4JPhHiPNPB5DeRIs6Mta7kslh01_zixR_7boAdKm95wjYEA/s2072/blog%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="2072" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ-wQAgtN7VT1tEo1Snd5MPiVJafil8MQJAxriZHoN_o3ESNWjloRbQ3gIyNZ0tF0cTJZBN0MVQJXLBtVF-u1EtM-yqQ2z1rbTYDlcJ8ccMb6WtSPhfujhmw4rb7HsICi7HjpOmRFUCCE4JPhHiPNPB5DeRIs6Mta7kslh01_zixR_7boAdKm95wjYEA/w515-h187/blog%202.jpg" width="515" /></a></span></div><span lang="GA"><br /></span><p></p>
<p class="MsoNormal"><span lang="GA">Bunaíodh Conradh na Gaeilge in 1893 chun an
Ghaeilge a chaomhnú agus a athbheochan. Bhí an chuma ar an nGaeilge an uair sin
gur ar an dé deiridh a bhí sí, agus gan ach tuairim is 3% de dhaonra na tíre á
labhairt ag an am. Cuimsítear leis an mbailiúchán seo ábhar ó bhliain a
bhunaithe in 1893 síos go dtí 2018, nuair a bronnadh an bailiúchán ar Ollscoil
na Gaillimhe. Cartlann ríspéisiúil is ea cartlann an Chonartha, agus díol
spéise ar leith is ea a éifeachtaí is a bhí feachtais áitiúla agus
gníomhaíochas an phobail chun an tír a athrú chun feabhais. Ábhar suntais chomh
maith is ea an chaoi ar oibrigh grúpaí gníomhaithe éagsúla le chéile chun, mar
shampla, nuachtáin agus scoileanna neamhspleácha a bhunú – uaireanta in
ainneoin an rialtas a bheith go mór ina n-aghaidh. </span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9UJk2PxVHE35pROY21KkZRbMU_VNkbYpBqawKb7FvsNa3tB5EuJaEQeInATbQtygBPpGAwv4g0n5Awf_kbnibmCP75IQTC6f-u_a2KAGJyQ6KQN0yl0tv0zh-iXYWSrKKlZ1lpYCMaz-GjRFqhURojla4tundD1leUcGqEI--u5nOQZKd_NBnkyS-hA/s2061/blog%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="2061" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9UJk2PxVHE35pROY21KkZRbMU_VNkbYpBqawKb7FvsNa3tB5EuJaEQeInATbQtygBPpGAwv4g0n5Awf_kbnibmCP75IQTC6f-u_a2KAGJyQ6KQN0yl0tv0zh-iXYWSrKKlZ1lpYCMaz-GjRFqhURojla4tundD1leUcGqEI--u5nOQZKd_NBnkyS-hA/w500-h186/blog%203.jpg" width="500" /></a></div><br /><span lang="GA"><br /></span><p></p><p class="MsoNormal"><span lang="GA">Seo mar a labhair an
cartlannaí, Niamh <span style="background: white; mso-highlight: white;">Ní</span>
Charra,<span style="mso-spacerun: yes;"> </span>maidir leis sin: <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="GA"><o:p> </o:p></span><i style="mso-bidi-font-style: normal;"><span lang="GA">‘Ón uair
a bunaíodh é, chuir Conradh na Gaeilge chuige úsáid na Gaeilge a chur chun cinn
i ngach gné de ghnáthimeachtaí an tsaoil, agus faireachán a dhéanamh ar an
úsáid sin. Tugann an cnuasach seo léargas faoi leith, mar sin, ar ghnéithe
teangeolaíocha, cultúrtha, sóisialta agus polaitiúla den saol in Éirinn san am
a caitheadh. [...] Bhí ról ríthábhachtach ag Conradh na Gaeilge, in éineacht le
heagraíochtaí eile, sa dara leath den fhichiú haois sna feachtais phobail a
raibh sé de thoradh orthu gur bunaíodh stáisiúin raidió agus teilifíse Gaeilge
(Raidió na Gaeltachta agus TG4), gur achtaíodh Acht na dTeangacha Oifigiúla [14
Iúil 2003], agus gur bhain an Ghaeilge amach stádas mar theanga oifigiúil de
chuid an Aontais Eorpaigh [1 Eanáir 2007]. Áirítear le hábhar feachtais an
bhailiúcháin chomh maith cáipéisí a bhaineann le cearta príosúnach agus cearta
sibhialta i dTuaisceart Éireann, go háirithe le linn thréimhse na Stailceanna
Ocrais [1980-1981].’ </span></i><span lang="GA"><span style="mso-spacerun: yes;"> </span></span></p>
<h2><span lang="GA">Sonraíochtaí Teicniúla<o:p></o:p></span></h2>
<p class="MsoNormal"><span lang="GA"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="GA"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQp04M3ywVScbPWB46xfYyJvxFgD19LKUNexM1uyv7qLN1--6DeVsWMhepxQszjuC-EcN1XuT4ktrJvCVTCXqm5TJXjMjyTywFFepkBIi-my-fpMk1AOgJzK4VicFUJK2Ix8fjYfW9aR5uRS4qntyLt0qfJKtJBkd_fTX03hZuhKLSlm2K0zrUAoCRbw/s2134/blog%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="2134" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQp04M3ywVScbPWB46xfYyJvxFgD19LKUNexM1uyv7qLN1--6DeVsWMhepxQszjuC-EcN1XuT4ktrJvCVTCXqm5TJXjMjyTywFFepkBIi-my-fpMk1AOgJzK4VicFUJK2Ix8fjYfW9aR5uRS4qntyLt0qfJKtJBkd_fTX03hZuhKLSlm2K0zrUAoCRbw/w503-h195/blog%204.jpg" width="503" /></a></span></div><span lang="GA"><br /></span><p></p>
<p class="MsoNormal"><span lang="GA">Déantar formhór an ábhair a dhigitiú le
bogearraí Irfan ar Scanóir Grianghraf Plustek OpticBook A300 Plus. Bhí an
scanóir leabhar BookEye 5 ar fáil do na foilseacháin is sine agus is íogaire.
Maidir leis an ábhar grianghrafadóireachta agus ábhar i bhformáid mhór,
úsáidtear Córas Seastán Cóipeála Modúlach Saorsheasaimh ICAM Guardian le
soilsiú stiúideo agus Córas Ceamara 150MP PhaseOne XF 150MP, lionsaí Mamiya,
agus bogearraí Capture One Pro. Déantar gach gléas gabhála íomhá a shocrú do
600dpi agus sábháiltear gach íomhá mar chomhad daite TIFF 24-giotán. Athraíonn
méideanna comhad de réir mhéid an ábhair atá i gceist, ach isteach is amach le
70MB a bhíonn i gceist go hiondúil. Rinneadh breis agus 44,000 íomhá a dhigitiú
go dtí seo. Tá beagnach ocht mí den deich mí, nó mar sin, a leagadh amach don
tionscadal caite anois agus tá 80% den digitiú a bhí le déanamh ar an sciar seo
den chartlann déanta. <o:p></o:p></span></p>
<p class="MsoNormal"><span lang="GA"><o:p> </o:p></span>Is é an t-ábhar is íogaire atá le digitiú
leabhráin an Oireachtais, agus na hArd-Fheise, ó dheireadh an naóú céad déag
suas go dtí na 1910idí, nuair a chuaigh na leabhair i dtéagar. Ní mór na
cáipéisí níos sine sin a láimhseáil go cúramach, agus rinneadh iad a dhigitiú
go mall chun cobhsaíocht na ndromanna a chaomhnú agus chun nach stróicfear na
bileoga. Bhí líon mór stáplaí miotail meirgeacha le baint as go cúramach sula
bhféadfaí na leathanaigh a leagan ar dhromchla an scanóra nó ar an seastán
cóipe.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghoOL7rc47ULru3fhm0edzLThJ_RkZN41_MIYKoTVaQ4kks3i9DSbnxhvq0k9shizJdAqnCXvJdisRaSp0Cp-Dw4-XKNGuxziYW2CXWW1aGPGtMKtaSSuf-Wic-1hBAQhStosquj3CViBJ9uuHlULY7GJ97V3zWK8YfexrkZ23oBVO5x2Us0hvxObhhw/s1885/blog%205.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="942" data-original-width="1885" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghoOL7rc47ULru3fhm0edzLThJ_RkZN41_MIYKoTVaQ4kks3i9DSbnxhvq0k9shizJdAqnCXvJdisRaSp0Cp-Dw4-XKNGuxziYW2CXWW1aGPGtMKtaSSuf-Wic-1hBAQhStosquj3CViBJ9uuHlULY7GJ97V3zWK8YfexrkZ23oBVO5x2Us0hvxObhhw/w504-h252/blog%205.jpg" width="504" /></a></div><p class="MsoNormal"><br /></p>
<h2><span lang="GA">Ábhar<o:p></o:p></span></h2>
<p class="MsoNormal">Is iad na hábhair a roghnaíodh le haghaidh a
ndigitithe foilseacháin an Oireachtais agus na hArd-Fheise, chomh maith le
míreanna ó shraitheanna ar na Meáin Chumarsáide, Tuaisceart Éireann, Feachtais,
Oideachas, Comhaltas Uladh, Páirtithe Polaitiúla agus Eagraíochtaí Teanga. Is
iomaí rialtais a tháinig i gcumhacht sa tréimhse atá i gceist, agus tá digitiú
déanta ar go leor den chomhfhreagras a bhí ag Conradh na Gaeilge le hoifigigh
rialtais. I measc na hábhair a bhíonn sa chuid is mó de na sraitheanna tá tuarascálacha
inmheánacha, preasráitis, comhfhreagras, miontuairiscí, gearrthóga nuachtáin,
bróisiúir agus nótaí neamhfhoirmiúla, i nGaeilge agus i mBéarla. Tá raon ábhar
ann freisin ó thíortha eile ina bhfuil mionteangacha nó teangacha faoi chois,
agus san áireamh leis sin tá Gaeilge na hAlban, Breatnais agus Liombuirgis.</p>
<p class="MsoNormal">Is féidir leo siúd ar spéis leo é rochtain a
fháil ar an mbailiúchán fisiciúil i Seomra Léitheoireachta na mBailiúchán
Speisialta ach iarratas a dhéanamh roimh ré, agus beidh fáil ar an ábhar digitithe
ar líne amach anseo.</p>
<p class="MsoNormal"><span lang="GA"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="GA"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUaaxmYRm8sz0ecSmPFQd-t3MbuGggaXDaKO70oJO7jkxRsSWCFowLMlFMyZm9b6YcmwZkwbcENCwXMXxCxEoyjeRgSNPULuLEwDTcKx7nDL6CSzBVUsLdZVxqgGBce8tABWcqLFH1ZV58n2p6WOukndjEOeL3r1FIvsIYn8ZhGTsRgD--v-uYwa_Wg/s1951/blog%206.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="815" data-original-width="1951" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUaaxmYRm8sz0ecSmPFQd-t3MbuGggaXDaKO70oJO7jkxRsSWCFowLMlFMyZm9b6YcmwZkwbcENCwXMXxCxEoyjeRgSNPULuLEwDTcKx7nDL6CSzBVUsLdZVxqgGBce8tABWcqLFH1ZV58n2p6WOukndjEOeL3r1FIvsIYn8ZhGTsRgD--v-uYwa_Wg/w514-h215/blog%206.jpg" width="514" /></a></span></div><span lang="GA"><br /> </span><p></p>
<p class="MsoNormal"><span lang="GA"><o:p> </o:p></span></p>
<h2><span lang="GA">Foireann an Tionscadail Dhigitigh<o:p></o:p></span></h2>
<p class="MsoNormal"><span lang="GA"><b><i>Digitiú:</i></b> Maeve O Neill</span></p><p class="MsoNormal"><i><b>Cartlannaithe digiteacha</b></i>: Catriona Cannon agus Aisling Keane</p><p class="MsoNormal"><i><b>Cartlannaí:</b></i> Niamh <span style="background: white; mso-highlight: white;">Ní</span> Charra</p>
<p class="MsoNormal"><span lang="GA"><i><b>Bainisteoir Tionscadail:</b> </i>Cillian Joy<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="GA"><i><b>Urra an Tionscadail:</b></i> John Walsh<o:p></o:p></span></p>
<h2><span lang="GA">Údar<o:p></o:p></span></h2>
<p class="MsoNormal"><span lang="GA">Is í Maeve O Neill a scríobh an blag seo, arb
í an gairmí digitithe do chartlann Chonradh na Gaeilge in Ollscoil na Gaillimhe
í.<o:p></o:p></span></p>
<h2><span lang="GA">Tuilleadh eolais<o:p></o:p></span></h2>
<p class="MsoNormal"><b><a href="https://archivesearch.library.universityofgalway.ie/Record.aspx?src=CalmView.Catalog&id=G60" target="_blank">Catalóg chartlann Chonradh na Gaeilge</a> </b></p>
<p class="MsoNormal"><span style="background-color: white;">Is féidir miondealú níos
mionsonraithe den tsraith cartlainne a fháil ar an leathanach gréasáin <a href="https://exhibitions.library.universityofgalway.ie/s/cnag/page/series" target="_blank"><b>seo</b></a> a
leanas </span><span style="background-color: white;">ar cuid den <a href="https://exhibitions.library.nuigalway.ie/s/cnag/page/home" target="_blank"><b>taispeántasdigiteach ar líne</b></a> é. </span></p>
<p class="MsoNormal">Is féidir teacht ar bhlaganna a bhaineann leis
an obair a rinne an cartlannaí Niamh Ní Charra chun an chartlann seo á
phróiseáil anseo:</p>
<p style="background: white; margin: 0cm;"><span face="Calibri, sans-serif" style="color: #201f1e;"><b>Blag 1 <a href="https://nuigarchives.blogspot.com/2018/09/cartlann-chonradh-na-gaeilge-chead-cheim.html" target="_blank">Cartlann Chonradh na Gaeilge - Chéad Chéim</a></b></span></p><p style="background: white; margin: 0cm;"><b><span face="Calibri, sans-serif" style="color: #201f1e;">Blag 2 </span><span style="background-color: transparent;"><a href="https://nuigarchives.blogspot.com/2018/11/cartlann-chonradh-na-gaeilge-chartlann.html" target="_blank">Cartlann Chonradh na Gaeilge - An Chartlann a Mheas</a></span></b></p><p style="background: white; margin: 0cm;"><b>Blag 3 <span style="background-color: transparent;"><a href="https://nuigarchives.blogspot.com/2019/10/cartlann-chonradh-na-gaeilge-ceim-2.html" target="_blank">Cartlann Chonradh na Gaeilge - Céim 2</a></span></b></p><p style="background: white; margin: 0cm;"><b>Blag 4 <span style="background-color: transparent;"><a href="https://nuigarchives.blogspot.com/2020/04/cartlann-chonradh-na-gaeilge.html" target="_blank">Cartlann Chonradh na Gaeilge - Taispeántas Digiteach Seolta</a></span></b></p><p style="background: white; margin: 0cm;"><b>Blag 5 <span style="background-color: transparent;"><a href="https://hardimanlibrary.blogspot.com/2022/02/catalogu-deanta-ar-chartlann-chonradh.html" target="_blank">Catalógú déanta ar chartlann Chonradh na Gaeilge</a></span></b></p><p style="background: white; margin: 0cm;"><b><br /></b></p><h2><span lang="GA" style="font-size: x-large;"><a href="https://nuigarchives.blogspot.com/2023/03/digitising-conradh-na-gaeilge-archive.html" target="_blank">English Version</a></span></h2><p class="MsoNormal" style="background: white; vertical-align: baseline;"><span face=""Calibri",sans-serif" lang="GA" style="color: #201f1e;"><o:p> <br /></o:p></span></p>
<p class="MsoNormal"><span lang="GA"><o:p> </o:p></span></p><i></i><p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-84461402154045710972023-02-01T11:48:00.001+00:002023-02-01T11:48:43.896+00:00The Archaeology of St. Brigid - From the Rynne Archive<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm7mmBwbQg8-JCUNSCaxz95hi_a-UxFdF5pwNutvHUT7818jiCsAt9lJczrJtYvez1TWp0s582tHRj1J7BfszXAUeUh712yjFcefbntei70qQVst-W2ld_7Mryd8gdhoFGo3iupRmfLwavqR7G51Z4Ht5OCdTcgtVX4EBLkRWAQfmnyqBiuQk8HxEuMg/s2080/IMG_20230201_113644.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2080" data-original-width="1560" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm7mmBwbQg8-JCUNSCaxz95hi_a-UxFdF5pwNutvHUT7818jiCsAt9lJczrJtYvez1TWp0s582tHRj1J7BfszXAUeUh712yjFcefbntei70qQVst-W2ld_7Mryd8gdhoFGo3iupRmfLwavqR7G51Z4Ht5OCdTcgtVX4EBLkRWAQfmnyqBiuQk8HxEuMg/w240-h320/IMG_20230201_113644.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pamphlet published by John Ryan S.J., <br />1978, Etienne Rynne Archive.</td></tr></tbody></table></p><p class="MsoNormal">The Feast day of Saint Brigid falls on the first of
February. Also known as Lá Fhéile Bríde, and also going back to the Pagan feast
of Imbolc, marking the arrival of Spring, the story of Brigid marks an
important point in the annual calendar. Within the archive of archaeologist
Etienne Rynne is a file of research dedicated to the archaeology, heritage, and
sites related to the life and story of Brigid both within Ireland and
internationally. <o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0JwoNLpcVYg1cYveq1kF9f6vWfbOZQCS_4QZ_WtndKRrr601jclj1kwrZ-GOZXXtl9XHZW57vJZaXViFZDmViTxNNOzTJ-_pEloyqS4z2SM0lQVQdlLhP2MDT_2OxAU82VZATcFLXohE6QgfaMRrcoYUX2oAoar2s_QEXiKpMnGOmHTrjHupIVfsx0A/s667/Brigid.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="572" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0JwoNLpcVYg1cYveq1kF9f6vWfbOZQCS_4QZ_WtndKRrr601jclj1kwrZ-GOZXXtl9XHZW57vJZaXViFZDmViTxNNOzTJ-_pEloyqS4z2SM0lQVQdlLhP2MDT_2OxAU82VZATcFLXohE6QgfaMRrcoYUX2oAoar2s_QEXiKpMnGOmHTrjHupIVfsx0A/w343-h400/Brigid.PNG" width="343" /></a></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal">Rynne read widely on the subject of Brigid’s life, and on
the Pre-Christian and later Christian history of the life of the saint.
Newspaper cuttings of articles, letters to the press debating aspects of Brigid’s
life and activities are documented, as are excerpts of scholarly articles.
Rynne’s own manuscript research is wide ranging and detailed. Rynne kept a
detailed series of notes and writings on a batch on index cards, charting
pieces of information on Brigid’s life, her birth, sites associated with her in
Ireland, such as wells and churches, miracles, sacred objects, and legacies of
Brigid’s story in Irish life today. <o:p></o:p></p>
<p class="MsoNormal">Some of those index cards note points including: “Brigid –
Irish Goddess – Rivers – the Brighid in Ireland, the Braint in Wales, the Brent
in England”; links to Goddess Minerva – both had a perpetual fire”.<o:p></o:p></p><p class="MsoNormal">The index cards note details of local and regional records
and stories of Brigid, from a visit made to St. Mel in Co. Longford and where
it is said he heard the confession of Brigid. Also listed are sites of interest
outside of Ireland – including at Glastonbury in Somerset, England, where it is
said Brigid visited in 488 and apparently gifted a bell to the Abbey in
Glastonbury.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu8PtcQlRnj1O27LB5QkW-x-BwZWQnJfz5yLkdWa7J-LLn9tHsniayeRg4Cgp0YUrR7WAB7tfHEZveiLTISBqqRAomTZg6RcJtaeSZqpkI2HOvTUQLiEnm78fqEefY-ZmEI-_5prS_rDqpBccAxx-iuHhrxxbPUe-ssIcXjf-pnkpZsjwuj5emJjjDGg/s667/Glasto_Bruges.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="555" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu8PtcQlRnj1O27LB5QkW-x-BwZWQnJfz5yLkdWa7J-LLn9tHsniayeRg4Cgp0YUrR7WAB7tfHEZveiLTISBqqRAomTZg6RcJtaeSZqpkI2HOvTUQLiEnm78fqEefY-ZmEI-_5prS_rDqpBccAxx-iuHhrxxbPUe-ssIcXjf-pnkpZsjwuj5emJjjDGg/w333-h400/Glasto_Bruges.PNG" width="333" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Notes by Etienne Rynne on St. Brigid in Glastonbury <br />and in Bruges.</td></tr></tbody></table><p class="MsoNormal">Another note card by Rynne discusses St. Brigid’s Mantle in
Bruges, Belgium, where a cloak she once wore is said to have been in the
possession of Gunelda, sister of Harold, last of the Anglo-Saxon Kings (who was
killed at the Battle of Hastings in 1066). When she fled to Belgium among the
valuables she had was Brigid’s cloak which was later willed to the Cathedral in
Bruges. A case of mistaken identity is also noted within Rynne’s research as he
mentioned a “little church in Brittany” where the Pastor replaced “an old badly
deteriorated statue of St. Brigid of Kildare with a nice new one that turned
out to be St. Bridget of Sweden instead!”</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">For more on the Rynne Family Archive, including the
archaeological papers of Etienne Rynne, the full <a href="http://www.calmhosting01.com/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=P133">catalogue
is searchable online here</a>. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhld7Bh5ZYvTrLF7AdnzN4BPWm3SeFA2DR2SmAyh9QP_Js3lfbwCh0cHshKcODzRQGwbWf3hNv5lFla7E79_TMmITD-Xr537XcGa5CJ8J0M3h6l4OIj1n2g2CBUNeZ9NK15SI3uIZXyC8cuZdP7IeDExA6fXvCdUfEeeL9vBV6mm1frmizuImxq6w4f4A/s836/Archaeo.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="836" data-original-width="568" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhld7Bh5ZYvTrLF7AdnzN4BPWm3SeFA2DR2SmAyh9QP_Js3lfbwCh0cHshKcODzRQGwbWf3hNv5lFla7E79_TMmITD-Xr537XcGa5CJ8J0M3h6l4OIj1n2g2CBUNeZ9NK15SI3uIZXyC8cuZdP7IeDExA6fXvCdUfEeeL9vBV6mm1frmizuImxq6w4f4A/w434-h640/Archaeo.PNG" width="434" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Archaeology of St. Brigid as compiled<br />by Etienne Rynne</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-79332136103360801242022-12-23T15:57:00.000+00:002022-12-23T15:57:20.679+00:00A Christmas Archive Miscellany - Festive Acts and Writings<p><span style="background-color: white; font-family: "Trebuchet MS", Trebuchet, sans-serif; font-size: 13px;">Christmas has inspired many personal stories and writings for so many of Ireland's writers. From playwrights to novelists, the story of Christmas and what it means, in comedy and tragedy, for many have found readers and audiences over many decades. A selection of such Christmas-themed writings can be found within various collections among University of Galway Library Archives.</span></p><div class="post-body entry-content" id="post-body-4414192275131139717" itemprop="description articleBody" style="background-color: white; font-family: "Trebuchet MS", Trebuchet, sans-serif; font-size: 13px; line-height: 1.4; position: relative; width: 690px;"><div class="MsoNormal"><o:p></o:p></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicAftUvLR9Ca_2LWqMRrlLs4qfJsQDNhTJCqVLXDNlXBxT4cfu1CR_UAooc6oTA8eMCGywvJNbDjhnmUK0t8DkVcUYfA6lKS0VyT80arwDZWMqOrrzgep1TmAh728U6g5WjHa1DjnKvLAp/s1600/P71_329.jpg" imageanchor="1" style="color: #150668; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="99" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicAftUvLR9Ca_2LWqMRrlLs4qfJsQDNhTJCqVLXDNlXBxT4cfu1CR_UAooc6oTA8eMCGywvJNbDjhnmUK0t8DkVcUYfA6lKS0VyT80arwDZWMqOrrzgep1TmAh728U6g5WjHa1DjnKvLAp/s640/P71_329.jpg" style="border: none; position: relative;" width="640" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.4px;">Draft of story, <i>Christmas</i>, by John McGahern</td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal">The novelist and short-story writer John McGahern explored this particular time of year in one of his short stories. How that story even came to be is a story in itself. <i>Christmas</i> is the story of the young boy deposited to a family at Christmas time from an orphanage. He rejects a gift he is given, that of a toy aeroplane and this act forms the </div><div class="MsoNormal">focus of McGahern's attention in the drafting of the story. The McGahern Archive contains numerous drafts of the story which was first published in the <i>Irish Press</i> in 1968. Numerous titles range from <i>Santa Claus</i>, <i>A Gift for Himself</i>, <i>The Aeroplane</i>, before finally being published as <i>Christmas </i>in the volume of short stories <i>Nightlines</i> in 1970.<o:p></o:p></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM4sJWEDAyfmiamXhZb91wL0tfl3Fq4q4QqEh6Cu75HzkDslTY9URTiyDn8cVJAT9flYdgZ4IrYvMpO3G54_2N4E-CCeqyCfB1yt_Fc1gRixmjHrayRUZmUSYR7gmM6Flk15mrZjCaUGH-/s1600/P71_322.jpg" imageanchor="1" style="color: #150668; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM4sJWEDAyfmiamXhZb91wL0tfl3Fq4q4QqEh6Cu75HzkDslTY9URTiyDn8cVJAT9flYdgZ4IrYvMpO3G54_2N4E-CCeqyCfB1yt_Fc1gRixmjHrayRUZmUSYR7gmM6Flk15mrZjCaUGH-/s640/P71_322.jpg" style="border: none; position: relative;" width="640" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.4px;">Draft of story, <i style="font-size: 12.8px;">Christmas</i><span style="font-size: 12.8px;">, by John McGahern</span></td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">The opening line of many of the drafts begin with "The thaw overhead in the bear branches had stopped the evening we filled the load for Mrs. Grey". This would imply that winter has passed and Christmas is over. Yet the published story opens with a different scene, one of a young boy being boarded onto a train, described as a "ward of State" and being sent to live with 'Moran' for the Christmas period. Moran is a recurring name within McGahern's work, also being the family name within his 1991 novel <i>Amongst Women</i>. The novel itself was nearly called <i>The Morans</i>, only to be changed very close to publication.<o:p></o:p></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Given so much effort of redrafting, editing and re-titling of the story is evident with McGahern's papers, it is clear this particular story meant quite a deal for the writer in the late 1960s. The variances in handwriting styles also show the revisions were carried out over a number of years, as McGahern's hand changed over the years.</div><div class="MsoNormal"><o:p></o:p></div><div class="MsoNormal"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-bottom: 0.5em; margin-right: 1em; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOFOqMhDC0MuK7curDcQiWjOskVUhdyRL78GGM3AhD3YIlo7tmzCfxiDoJPnVx5bESxyEVjgteiYrKJQU3865cZ0MaaQOY0tbD9u8Dl6p_5j2FhEeVVqbo9lkhOfYsMQG85OY8NvlaWpC/s1600/T4_281.jpg" imageanchor="1" style="clear: left; color: #150668; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOFOqMhDC0MuK7curDcQiWjOskVUhdyRL78GGM3AhD3YIlo7tmzCfxiDoJPnVx5bESxyEVjgteiYrKJQU3865cZ0MaaQOY0tbD9u8Dl6p_5j2FhEeVVqbo9lkhOfYsMQG85OY8NvlaWpC/s400/T4_281.jpg" style="border: none; position: relative;" width="296" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.4px; text-align: center;">Cover of <i>A Christmas Carol</i>, Lyric Theatre Archive, 1981</td></tr></tbody></table><div class="MsoNormal">Another traditional Christmas tale is that of the Dickens classic <i>A Christmas Carol</i>. In 1980, the Lyric theatre in Belfast staged a version by John Boyd. Boyd was a prolific playwright during the previous decade of the 1970s, writing some of the most important plays regarding the ongoing conflict in Northern Ireland with works such as <i>The Flats</i> in 1972 also presented by the Lyric Theatre. In his introduction to the play, Boyd writes of Dickens' story being linked to the plight of everyday life in Belfast at the time. The Lyric theatre founding director, Mary O'Malley, was so enthused with Christmas-themed drama that one of the very first productions by the Lyric players was a version of <i>The Nativity</i>, by Lady Augusta Gregory in November 1950. The script of this had to be procured from the Gate Theatre, Dublin, as seen in the letter here.<o:p></o:p></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ygL9aiH5wbOB3nALNQay6H3vczU-2EnDsyHYEeFd6jbc32ccQv-_gnYYDkwLW8WKBBACxlM_2TDgnlzAoULPbQFZnHHDrlXrdU2EJTGyb4fN7UIF2xFzH0dJPxv021QPj6WoJeRM5uYk/s1600/T4_1.jpg" imageanchor="1" style="color: #150668; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ygL9aiH5wbOB3nALNQay6H3vczU-2EnDsyHYEeFd6jbc32ccQv-_gnYYDkwLW8WKBBACxlM_2TDgnlzAoULPbQFZnHHDrlXrdU2EJTGyb4fN7UIF2xFzH0dJPxv021QPj6WoJeRM5uYk/s400/T4_1.jpg" style="border: none; position: relative;" width="400" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.4px;">Scene from <i>the Nativity</i> by Lady Gregory, Lyric Theatre Archive, 1950</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VIZxAtrX0CIF8hcE08zxyrzviXbUUO_LWyWuM8LekOYmiM-jNf0tKle0i0VNdlh1Pkl4l1tN68el-eYSA8i8WFORnx0sJFLDP7-Ea23MDoRGO1Ijn4l8ssz8_tjEctjAZonNcd4CrSPK/s1600/T4_868.jpg" imageanchor="1" style="color: #150668; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VIZxAtrX0CIF8hcE08zxyrzviXbUUO_LWyWuM8LekOYmiM-jNf0tKle0i0VNdlh1Pkl4l1tN68el-eYSA8i8WFORnx0sJFLDP7-Ea23MDoRGO1Ijn4l8ssz8_tjEctjAZonNcd4CrSPK/s640/T4_868.jpg" style="border: none; position: relative;" width="560" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.4px;">Letter from Gate Theatre sending script of <i>The Nativity</i> to the Lyric Theatre<br />Lyric Theatre Archive.</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;">At the Gate Theatre itself, the theatre staged a revival production of Micheál MacLiammóir's Christmas play, <i>Home for Christmas or A Grand Tour</i>. First staged in 1950, in the original programme note, reproduced in the 1976 revival programme, MacLiammóir recounts how he was prompted to write the play by Orsen Wells about an prosperous English family touring across Africa and Europe at a time of Victorian empire and exploration. MacLiammór took that advice but set the story among an wealthy Irish family who are returning from world travels to Ireland for Christmas.</div><div><br /></div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLFdpFZ35p2LJMjBbROtRyWKjEibxWrl-S-MtGM_jXo5BqnM93QteJd872Ae2N5X9OK4UVqvKtYgR2XWtRS3vXtB-Pn00rh3JkQvtKWvaiSN0eHnwcjlcpsLXBDEhztafdNHoIUPd9C2RO/s1600/Home+for+Christmas+1976.jpg" imageanchor="1" style="color: #150668; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLFdpFZ35p2LJMjBbROtRyWKjEibxWrl-S-MtGM_jXo5BqnM93QteJd872Ae2N5X9OK4UVqvKtYgR2XWtRS3vXtB-Pn00rh3JkQvtKWvaiSN0eHnwcjlcpsLXBDEhztafdNHoIUPd9C2RO/s640/Home+for+Christmas+1976.jpg" style="border: none; position: relative;" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-68824109542901892922022-12-22T15:24:00.007+00:002022-12-22T15:34:59.766+00:00Winter Solstice and Newgrange - Images from the Etienne Rynne Archive<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Qrr4qMQyWiqqSD8BTabv_fppJoAhlmUtmQd8ZBjlGGSmidJUI1Zo7XX0IRIJAaDtbioBBkCvLfbQDyrtH99wVqZeGxe1Y-F46ZoYykMLcjigrTYivKUaQ4R_TDCd-N0QkvakgCU6WF9ytIdewQfMbxfQqxjkFexb5pwzQC9nBFUuTPUbcqZhckZNCQ/s1551/rynne_0006.tif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1551" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Qrr4qMQyWiqqSD8BTabv_fppJoAhlmUtmQd8ZBjlGGSmidJUI1Zo7XX0IRIJAaDtbioBBkCvLfbQDyrtH99wVqZeGxe1Y-F46ZoYykMLcjigrTYivKUaQ4R_TDCd-N0QkvakgCU6WF9ytIdewQfMbxfQqxjkFexb5pwzQC9nBFUuTPUbcqZhckZNCQ/w400-h225/rynne_0006.tif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Entrance of Newgrange passage tomb - Rynne Archive</td></tr></tbody></table><p></p><p class="MsoNormal">The Winter solstice took place this week and included an annual
gathering of people at the historic site of Newgrange in Co. Meath, to witness the
sunrise and illumination of the inner chamber on the shortest day of the year, 21<sup>st</sup> December.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Within the archive of archaeologist Etienne Rynne at
University of Galway Library Archives are a number of records including
photographs, postcard images, some dating from the 1950s, and later research
files by Rynne into the history, archaeology, and culture of the site at
Newgrange. Etienne Rynne (1932–2012) took up work as a lecturer in Archaeology at then University College Galway in 1967, having previously worked at the National Museum of Ireland. Rynne retired as Professor of Celtic Archaeology at UCG in 1998 after thirty-one years. </p><p class="MsoNormal">Rynne's archive holds a wealth of material about many of Ireland's greatest archaeological sites and objects, including Newgrange. His research files include studies and analysis of the carved symbols and artworks on
numerous stones around the entranceway of the passage tomb on the site. The
images show the layout and condition of the site at the mid-point of the 20<sup>th</sup>
century but also interestingly show the appeal and interest, nationally and
internationally, about the site and its symbolism, as its image, such as the
famous carved stones at the entranceway to the tomb, were used and reproduced
on postcards which were available for purchase at the time of the 1950s. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIcQtY-TGp-OLZsbz8oJ-bkVYllMayAtNnKSSRjdPtX9r1_urXl7GtRhatyWtx7WZb6TH2CvSHKcVn57nkW2-kNm6-O14pJg8t3JzxHApqvDSo0oPVeGgke_z0tD5YyZvIsSXNphAzVLJ5cSsO_qWbzxPsqx1ZIw7I0H-1sIGFNd5U4M5T2Y_nwSD_w/s3455/rynne_0007.tif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2064" data-original-width="3455" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIcQtY-TGp-OLZsbz8oJ-bkVYllMayAtNnKSSRjdPtX9r1_urXl7GtRhatyWtx7WZb6TH2CvSHKcVn57nkW2-kNm6-O14pJg8t3JzxHApqvDSo0oPVeGgke_z0tD5YyZvIsSXNphAzVLJ5cSsO_qWbzxPsqx1ZIw7I0H-1sIGFNd5U4M5T2Y_nwSD_w/w640-h382/rynne_0007.tif" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Material relating to Newgrange Passage Tomb - Rynne Archive</td></tr></tbody></table><br /><p class="MsoNormal">An internationally renowned UNESCO world heritage site, the Brú na Bóinne complex, including Newgrange, and the
solstice lighting of the inner chamber of the passage grave, is a
spectacle to behold and the Rynne archive provides new insights into archaeological
record of Newgrange.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The wider Etienne Rynne archive (and Rynne family archive, comprising
of records of other members and branches of the Rynne family) is a hugely
detailed archive of Irish archaeological sites and objects, and a record of a
life’s research into Ireland’s early history and the discovery, recovery, and
care of its archaeological heritage through the twentieth century. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44ZClMaQQ3xG8smNH5kWt3Y5Cc8BHOcW5izD32uLjYEgYbkw4AIHFiZ16U-g6maiQYYoimM6Wu86bnbGUQiNusBm-xWOWcIoopT-zPy0WwE1TArNySGQWJTYOPJYbuOQ1zO74iSrnNlDB_7RNcwvssYUjdrJaS3a9xED4m-94h-u0rP6fOqTm2OFLPw/s1617/rynne_0002.tif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1617" data-original-width="997" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44ZClMaQQ3xG8smNH5kWt3Y5Cc8BHOcW5izD32uLjYEgYbkw4AIHFiZ16U-g6maiQYYoimM6Wu86bnbGUQiNusBm-xWOWcIoopT-zPy0WwE1TArNySGQWJTYOPJYbuOQ1zO74iSrnNlDB_7RNcwvssYUjdrJaS3a9xED4m-94h-u0rP6fOqTm2OFLPw/w394-h640/rynne_0002.tif" width="394" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Postcard with image taken at Newgrange - Rynne Archive</td></tr></tbody></table><br /><p class="MsoNormal">The full Rynne Archive catalogue<a href="http://www.calmhosting01.com/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=P133" target="_blank"> is available to searchonline here</a>.</p><p class="MsoNormal"><o:p></o:p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-73122701816785740042022-11-21T16:15:00.009+00:002022-12-07T12:03:05.580+00:00Pan Pan Theatre Company - Archive Launch and Digital Exhibition. <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9uUDIkq_7N1To6unX8lIHwsC0bVBsd8pJcGDJmRDPjsVlWtPMDTz_rskCCCJaYpl1jzfxTPMaZ04Ln3cthw6dX9DzRn-NrQM0SHgOtgf4kY2_U87ysmDlItMkiqQpZ3qubOBn4OlDe7KzOayDMO0aqVS6oSwhYFl9UBHULWEeyUJC8MvxkbO1SEKxcQ/s564/Pan%20Pan%20Logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="484" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9uUDIkq_7N1To6unX8lIHwsC0bVBsd8pJcGDJmRDPjsVlWtPMDTz_rskCCCJaYpl1jzfxTPMaZ04Ln3cthw6dX9DzRn-NrQM0SHgOtgf4kY2_U87ysmDlItMkiqQpZ3qubOBn4OlDe7KzOayDMO0aqVS6oSwhYFl9UBHULWEeyUJC8MvxkbO1SEKxcQ/s320/Pan%20Pan%20Logo.jpg" width="275" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p class="MsoNormal" style="text-align: center;"><b>Pan Pan Theatre
Company Archive and Digital Exhibition Launch<o:p></o:p></b></p><div class="separator" style="clear: both; text-align: center;">
<p class="MsoNormal"><b>29<sup>th</sup>
November 2022<o:p></o:p></b></p>
<p class="MsoNormal"><b>Location: ‘The Bridge
Room’, Hardiman Building, University of Galway</b><b> </b></p>
<p class="MsoNormal"><b><br /></b></p><p class="MsoNormal"><b>2pm Welcome and
Introductions:</b></p>
<p class="MsoNormal">Barry Houlihan, Archivist, Library Archives.<o:p></o:p></p><p class="MsoNormal">John Cox, University Librarian</p><p class="MsoNormal"> </p>
<p class="MsoNormal"><b>2.15 - 3.15pm: Panel
1: ‘A Theatre of Ideas’ - Pan Pan and Contemporary Irish Drama<o:p></o:p></b></p>
<p class="MsoNormal">Ian Walsh - Out of the dark: Pan Pan’s Staging of Beckett’s
Radio Plays, <i>All that Fall</i> and <i>Embers</i>. <o:p></o:p></p>
<p class="MsoNormal">Charlotte McIvor: "<o:p></o:p><span face="Calibri, Arial, Helvetica, sans-serif" style="background-color: white; font-size: 16px; text-align: start;">"Pan Pan's Conceptual Theatre of Rigour and International Lineages of Resonance."</span></p>
<p class="MsoNormal">Emer McHugh: ‘Playing [with] Shakespeare, <i>Playing the Dane’</i>.<o:p></o:p></p>
<p class="MsoNormal">Chair: Finian O’Gorman<o:p></o:p></p>
<p class="MsoNormal"><b> </b></p>
<p class="MsoNormal"><b>3.15pm - 4pm: Pan Pan
and the Archive - "Noise and People, People and Noise"<o:p></o:p></b></p>
<p class="MsoNormal"> Barry Houlihan<o:p></o:p></p>
<p class="MsoNormal"> Aafke
Van Pelt </p><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><b>Break: 4pm – 4.15pm </b><b> </b></p><p class="MsoNormal"><b><br /></b></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><b>4.15 - 5pm</b> Gavin
Quinn and Aedín Cosgrove in conversation, moderated by Patrick Lonergan<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>5pm Launch of Pan Pan
Archive and Digital Exhibition</b></p><p class="MsoNormal">Welcome and Introductions: Dan Carey, Director, Moore Institute.</p>
<p class="MsoNormal">Launched by Willie White, Artistic Director, Dublin Theatre Festival. <o:p></o:p></p><p class="MsoNormal">Refreshments provided. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitOTXxky91wTH61IfTxAhWRjdWZR3z88He2TIShHbxhFDh4A6ckpQ32ybivdJBUHyAWAw2_JDtILlnTrKxWenQrd-a3rrc0AdJoVFEAdV-CJpLcQteP2E6qApu5gTy0CeoVcZlK61wrhSl9gjsAFxsHHPx62yw_CJC4WfL7RKVqOhexZVAzSh469TBsA/s1500/T27_3_21_07_King%20Lear_Andrew%20Bennett_Judith%20Roddy_PIC%20Ros%20Kavanagh.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="999" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitOTXxky91wTH61IfTxAhWRjdWZR3z88He2TIShHbxhFDh4A6ckpQ32ybivdJBUHyAWAw2_JDtILlnTrKxWenQrd-a3rrc0AdJoVFEAdV-CJpLcQteP2E6qApu5gTy0CeoVcZlK61wrhSl9gjsAFxsHHPx62yw_CJC4WfL7RKVqOhexZVAzSh469TBsA/w640-h426/T27_3_21_07_King%20Lear_Andrew%20Bennett_Judith%20Roddy_PIC%20Ros%20Kavanagh.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Andrew Bennett and Judith Roddy, in <i>Everyone is King Lear in Their Own Home</i>, <br />Pan Pan Theatre Company, 2012. Photograph (c) Ros Kavanagh.</td></tr></tbody></table><br /><p class="MsoNormal"><b>Pan Pan Theatre
Company Archive and Digital Exhibition launched at University of Galway Library<o:p></o:p></b></p><p class="MsoNormal" style="text-align: left;">The archive of the award-winning Pan Pan Theatre Company has
been donated to the University of Galway Library Archives. Established in 1993
by Gavin Quinn and Aedín Cosgrove, Pan Pan Theatre Company have established
international recognition as one of Ireland’s premiere theatre companies,
touring throughout Ireland, Europe, the United States and from China to New
Zealand. The archive is fully catalogued and available to researchers at
University of Galway Library. A new digital online exhibition will share the
Pan Pan archive with a global audience. <o:p></o:p></p><p class="MsoNormal" style="text-align: left;">The Pan Pan archive consists of annotated scripts,
production notebooks, photographs, designs, programmes, posters, and a vast
collection of digital show recordings, spanning more than fifty boxes of
materials from the last thirty years. The papers document the early years and
development of the company led by Quinn and Cosgrove, who have directed and
designed the majority of Pan Pan productions. Pan Pan were established in 1993
as “Ireland’s first deaf ensemble”. Pan Pan produced work for and with deaf
practitioners and audiences, creating a new space of accessibility for Irish
theatre in the mid- and late-1990s. New original works by Pan Pan at this time <i>Tailors Requiem </i>(1996), <i>Cartoon</i> (1998), and <i>Standoffish</i> (2000). <o:p></o:p></p><p class="MsoNormal" style="text-align: left;">In later years Pan Pan adapted Irish and European classics
in new and innovate productions. <i>Oedipus
Loves You</i> by Simon Doyle and Gavin Quinn<i>
</i>(2006), which starred Ruth Negga, toured to international acclaim. <i>The Crumb Trail</i> by Gina Moxley (20009)
revisited the form of the fairy tale for a modern technology-driven society.
Pan Pan engaged with the works of Samuel Beckett and William Shakespeare across
a number of productions. Pan Pan produced Beckett’s radio plays, <i>All That Fall</i> in 2011, and <i>Embers </i>in 2013, and also Beckett’s <i>Quad</i> (2013) and <i>Endgame</i> (2019). Shakespeare’s works were explored in <i>Mac-beth 7</i> (2004) and <i>The Rehearsal: Playing the Dane</i> (2010),
a reworking of <i>Hamlet</i>. In 2006, Pan
Pan staged an all-Chinese cast production of J.M. Synge’s <i>The Playboy of the Western World</i> in Shanghai, translated into
Mandarin, setting the production in a contemporary hairdresser’s salon.<o:p></o:p></p><p class="MsoNormal" style="text-align: left;">Pan Pan are today producing new works and regularly touring
nationally and internationally. The recipients of many international awards as
well as <i>Irish Times</i> Irish Theatre
Awards, the Pan Pan archive documents a company that has always sought to
innovate, reinterpret, and connect Irish theatre and culture to the worldwide
audience. <o:p></o:p></p><p class="MsoNormal" style="text-align: left;">Dr. Barry Houlihan, Archivist, University of Galway,
commented that “working on the Pan Pan archive and cataloguing its vast array
of materials is a reminder of the immense contribution that Pan Pan have made
to contemporary Irish drama in Ireland and internationally. The archive will be
in an immersive and fascinating resource for anyone interesting in the company
and modern Irish theatre and culture.”<o:p></o:p></p><p class="MsoNormal" style="text-align: left;">Gavin Quinn and Aedín Cosgrove, co-founders of Pan Pan
Theatre Company added: “It's an amazing opportunity that University of Galway
has given Pan Pan to make our work available in this archive, we are blown away
by the dedication and curatorial excellence of the Archive team. We are
delighted that our little contribution to the theatre scene in Ireland will be
preserved."<o:p></o:p></p><p class="MsoNormal" style="text-align: left;">Dr. Charlotte McIvor, Head of Drama, Theatre, and
Performance at University of Galway commented: “The acquisition of the Pan Pan
archive gives us another opportunity to bring together history and practice in
our Drama and Theatre Studies classrooms and across the School of English and
Creative Arts. Pan Pan have always been
at the vanguard of moving Irish theatre forward as a landscape since their founding,
and we are now delighted to be partnering with them to bring the transformative
story of their history and their future directly to our students.”<o:p></o:p></p><p class="MsoNormal" style="text-align: left;">The Pan Pan archive digital exhibition, curated by Aafke Van
Pelt with Eimhin Joyce and Barry Houlihan, includes over four hundred digital
objects from across the Pan Pan archive, all freely accessible online via the
University of Galway Library Digital Repository.<o:p></o:p></p><p class="MsoNormal" style="text-align: left;">John Cox, University Librarian, University of Galway adds
that, <a name="x__Hlk117843608"><span style="background: white; border: 1pt none windowtext; color: #242424; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; mso-hansi-font-family: Calibri; padding: 0cm;">“We are delighted to have secured the archive of such an
innovative company as Pan Pan. This archive is a tremendous collection in its
own right and complements our archival coverage of other Irish theatre
companies, including the digitised archives of the Abbey and Gate Theatres and
others in paper format such as those of the Druid, Lyric and Taibhdhearc.”</span></a><o:p></o:p></p><p class="MsoNormal" style="text-align: left;"><a href="https://exhibitions.library.nuigalway.ie/s/panpan/page/introduction">The
Pan Pan archive and digital exhibition</a> will be launched at an event in
University of Galway by Willie White, Director of the Dublin Theatre Festival
on 29<sup>th</sup> November. All are welcome to attend. <o:p></o:p></p><p class="MsoNormal" style="text-align: left;"><b> </b></p><p class="MsoNormal" style="text-align: left;"><b>Link to Digital
Exhibition</b>: <a href="https://exhibitions.library.nuigalway.ie/s/panpan/page/introduction">https://exhibitions.library.nuigalway.ie/s/panpan/page/introduction</a>
<o:p></o:p></p><p class="MsoNormal" style="text-align: left;"><br /></p></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyM3jtcLSYD69MeQxXa5VJYIlY-VNRuhvudz8-98u4XNw4iu5wt0chfS5gGLts1IbMs27IbUY_1MQTS5XuChQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div style="text-align: center;"><br /></div><p style="text-align: center;"><u><b>Video message from His Excellency, Adriaan Palm, Dutch Ambassador to Ireland on the occasion of the launch of the Pan Pan Theatre Archive and Digital Exhibition. </b></u></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-88538757740465160062022-10-10T15:30:00.008+01:002022-10-27T14:27:13.240+01:00Léargas ar Úna Ní Fhaircheallaigh (1874–1951)<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background-color: white; text-align: left;">Mar
chuid den bhailiúcháin leabhar a bhronn Conradh na Gaeilge ar Ollscoil
na Gaillimhe, tá roinnt foilseacháin ó pheann Úna Ní Fhaircheallaigh,
scoláire agus ollamh </span><span style="text-align: left;">ar fáil i Leabharlann Shéamais Uí Argadáin, (Bailiúcháin Speisíalta).</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="text-align: left;"> </span></span></span></span></p><div style="text-align: center;"><span style="font-family: georgia;"><span style="text-align: left;"><span style="font-size: xx-small;">(English version below) </span></span></span></div><p style="text-align: left;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOgdhKLVuoivLxchetFVEQYImiLILTVk0-rmvyTvAdSdGBb_6wGT5jn_VG_WQCUaxJruYs4EWbgsnwQZ852KRNsfvOWdrNaFoNJvokWpfX1sATeIBcF4sRSWd22yqDVKzbGo30Um0PRpDvoRpt0ORawK5PBCyHOxIKCSfDK71td-hZOV1Qn_-OPFtwg/s640/Smuaintefeaturedimg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOgdhKLVuoivLxchetFVEQYImiLILTVk0-rmvyTvAdSdGBb_6wGT5jn_VG_WQCUaxJruYs4EWbgsnwQZ852KRNsfvOWdrNaFoNJvokWpfX1sATeIBcF4sRSWd22yqDVKzbGo30Um0PRpDvoRpt0ORawK5PBCyHOxIKCSfDK71td-hZOV1Qn_-OPFtwg/w640-h480/Smuaintefeaturedimg.jpg" width="640" /></a><p class="MsoNormal" style="text-align: center;"><span><span style="font-size: medium;"><span style="font-family: georgia;"><b><span style="background: white; line-height: 107%;">Luathshaol agus oideachas</span></b></span></span></span></p><span><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span></span><div style="text-align: left;"><span><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background: white; line-height: 107%;">Rugadh agus tógadh </span><span style="background-color: white; text-align: left;">Úna Ní Fhaircheallaigh </span><span style="background-color: white;">in aice le
Achadh an Iúir i gContae an Chabháin. Tar éis seal le Eoin Mac Néill mar
múinteoir Gaeilge aici, bhain sí
céim amach i gColáiste Ollscoile Bhaile Átha Cliath (An Ollscoil Ríoga), (BA
1899, MA 1900). Tuairim an ama chéanna, chaith sí téarma i bPáras ag staidéar
faoi Henri D’Arbois de Jubainville, ollamh le Cheiltis sa Collège de France.</span></span></span></span></p></span></div><span><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background-color: white;"> </span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p></span><p></p><p style="text-align: left;"><span></span></p><p class="MsoNormal"><span><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></span></p><span><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 107%;"><b><span>Oileáin Árann</span></b></span></span></span></p></span><div style="text-align: left;"><span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: georgia;"><span style="font-size: medium;">Thug sí cuairt ar Oileáin Árann don chéad uair sa bhliain 1898 agus d’fhan sí ar Inis Meáin i dteach an iascaire (Páidín Mac Dhonnchadha) a bhí fágtha ag Synge díreach roimpi. Lean sí ar aghaidh ina dhiadh sin ag tabhairt cuairte ar an oileán chuile bhliain agus i mí Lúnasa 1899 bhunaigh sí ‘Craobh na mBan’ de Chonradh na Gaeilge, bliain tar éis bhunadh Chraobh na bhFear den Chonartha in Inis Mór agus Inis Meáin. Choinnigh sí dialann taistil agus i 1902 foilsíodh '<i>Smuainte ar Árainn</i>' ag Conradh na Gaeilge, cáipéis luachmhar shóisialta agus chultúrtha, ina bhfuil grianghrafanna comhaimseartha ar fáil inti. Foilsíodh eagrán nua dhá-theangach: <i>Smaointe ar Árainn</i> ag an Dr Ríona Nic Congáil sa bhliain 2010.</span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span face="DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, "Proxima Nova", "Helvetica Neue", Helvetica, "Segoe UI", "Nimbus Sans L", "Liberation Sans", "Open Sans", FreeSans, Arial, sans-serif" style="background-color: white;"> </span></span></span></p></span></div><div class="separator" style="clear: both; text-align: center;"><span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: georgia;"><span face="DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, "Proxima Nova", "Helvetica Neue", Helvetica, "Segoe UI", "Nimbus Sans L", "Liberation Sans", "Open Sans", FreeSans, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><span style="font-family: georgia;"><span face="DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, "Proxima Nova", "Helvetica Neue", Helvetica, "Segoe UI", "Nimbus Sans L", "Liberation Sans", "Open Sans", FreeSans, Arial, sans-serif" style="background-color: white;">
<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibBJV83Hlod7v89fn5ikkzC3AJyK7SCQaQBm6Gm6x3jRDgI4JEYY6u8eAKnG5F1CYOumK4pyj4nIHJZH7kdfm4l69R7hFOxqNpnmj27_ta5xNusPaHIszvRe-9KFlAKwM11bd5GuEgJKY2lhviePdHRLmRBxbIzNmVe2TUQfzNpPuBtCzCszIsZgd5rA/s320/Smuaintecovercrop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibBJV83Hlod7v89fn5ikkzC3AJyK7SCQaQBm6Gm6x3jRDgI4JEYY6u8eAKnG5F1CYOumK4pyj4nIHJZH7kdfm4l69R7hFOxqNpnmj27_ta5xNusPaHIszvRe-9KFlAKwM11bd5GuEgJKY2lhviePdHRLmRBxbIzNmVe2TUQfzNpPuBtCzCszIsZgd5rA/s1600/Smuaintecovercrop.jpg" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxp9NzbT4-tt_N0p17d6xRvy4K6QWe6WAR1K2XTSaxZQDl3hBpnmHUEHqZetWj1KAn8FWtsXcOejKH5r-frYEwtpvF-gUEK6xOsvT_fwQsBqzt2r8D0Hk7_dhdNy66_IDdeUh8wncNBedZrjDDjINZDP8lb-W-hAiSPzrKcqHBANLvyBYDTMplATcyQA/s320/dedication.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxp9NzbT4-tt_N0p17d6xRvy4K6QWe6WAR1K2XTSaxZQDl3hBpnmHUEHqZetWj1KAn8FWtsXcOejKH5r-frYEwtpvF-gUEK6xOsvT_fwQsBqzt2r8D0Hk7_dhdNy66_IDdeUh8wncNBedZrjDDjINZDP8lb-W-hAiSPzrKcqHBANLvyBYDTMplATcyQA/s1600/dedication.jpg" width="240" /></a>
</p><span style="background: white; font-family: "Georgia",serif; font-size: medium; line-height: 107%;"><b><span style="font-family: georgia;"><br />Conradh na Gaeilge agus cúrsaí
foilseachán</span></b></span><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 107%;"><span style="text-align: left;">Bhí
baint mhór ag an triúr: Úna Uí Fhaircheallaigh, Máire Ní Chinnéide agus
Máire de Buitléir, le forbairt Chonradh na Gaeilge mar ghníomhaithe
teanga. Foilsíodh a húrscéilín </span><i style="text-align: left;">Grádh agus Crádh</i><span style="text-align: left;"> i
1901 agus deirtear gurb í an chéad banúrscéalaí ag scríobh sa
Ghaeilge. Le cois sin bhi sí ina stiúrthóir leis an chlódóir gaelach: An
Cló-Chumann Teoranta. Chuir sí in eagar </span><i style="text-align: left;">Filidheacht Sheagháin Uí Neachtain</i><span style="text-align: left;">,
an t-aon saothar amháin léinn dá cuid, a foilsíodh i 1911. Rugadh an
file agus scoláire Seaghán Ó Neachtain c.1640 i bparóiste an Droma, Co.
Ros Comáin ach chaith sé an chuid is mó dá shaol i mBaile Átha Cliath i
gceantar Shráid Thomáis.</span></span></span></span><br /></p></span></span></span></span></span></span></span></span><span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: georgia;"><span face="DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, "Proxima Nova", "Helvetica Neue", Helvetica, "Segoe UI", "Nimbus Sans L", "Liberation Sans", "Open Sans", FreeSans, Arial, sans-serif" style="background-color: white;"><span style="font-size: medium;"><span style="font-family: georgia;"><span face="DDG_ProximaNova, DDG_ProximaNova_UI_0, DDG_ProximaNova_UI_1, DDG_ProximaNova_UI_2, DDG_ProximaNova_UI_3, DDG_ProximaNova_UI_4, DDG_ProximaNova_UI_5, DDG_ProximaNova_UI_6, "Proxima Nova", "Helvetica Neue", Helvetica, "Segoe UI", "Nimbus Sans L", "Liberation Sans", "Open Sans", FreeSans, Arial, sans-serif" style="background-color: white;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white;"> </span><span style="background-color: white;"> </span></span></span></p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXbnJGAjFF9smut2aftbtkw7xUoWZ7hGYYL2u6vd3CqzAhthZaOqTaZt4h826s-uYmX_4TKuc2eryyzT8C4DHkMiZl0l2SKhQWGHPxLe3iMmRyG8VYgARoQzxGeAbZmxaohSW8k6RXsUYdPU-GL9u_HHcvKDUCeAjfpQP3EBdSSIMVGt79iQURMNyL9A/s320/Filidhcover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXbnJGAjFF9smut2aftbtkw7xUoWZ7hGYYL2u6vd3CqzAhthZaOqTaZt4h826s-uYmX_4TKuc2eryyzT8C4DHkMiZl0l2SKhQWGHPxLe3iMmRyG8VYgARoQzxGeAbZmxaohSW8k6RXsUYdPU-GL9u_HHcvKDUCeAjfpQP3EBdSSIMVGt79iQURMNyL9A/w240-h320/Filidhcover.jpg" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjumqDVOZtIUHW1aaHXilFc27DayNV00fXO1wReN3YbNp2wbrjPcRFQ-NuelGDiegGVeklvp0dS35t8fqDoX72HINJKS-X12eLyTfVXOtP_H47V2MyfVePvVkfZ6fpx_FETwr4ow5ty4WjNdaIk-NdLvafixcR6ogCwl8ZDUdMXpgRAro1QP0xTj-JKYQ/s320/Filedhpage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjumqDVOZtIUHW1aaHXilFc27DayNV00fXO1wReN3YbNp2wbrjPcRFQ-NuelGDiegGVeklvp0dS35t8fqDoX72HINJKS-X12eLyTfVXOtP_H47V2MyfVePvVkfZ6fpx_FETwr4ow5ty4WjNdaIk-NdLvafixcR6ogCwl8ZDUdMXpgRAro1QP0xTj-JKYQ/w240-h320/Filedhpage.jpg" width="240" /><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 107%;"><b></b></span></span></span></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="background: white; font-family: "Georgia",serif; font-size: 12pt; line-height: 107%;"></span><br /><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 107%;"><b>Gairm acadúil</b><br /></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: georgia;">
</span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 107%;"><br /></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 107%;">Chabhraigh sí le Cumann
Céimithe na mBan agus Ábhair Chéimithe a bhunú in éineacht le Máire Ní Aodáin
agus throid siad ar son comhdheise agus cothramaíochta do mhná san
ollscolaíocht. Ceapadh Ún</span><span style="background-color: white;">a ina léachtóir le Nua-Ghaeilge nuair a bunaíodh
Ollscoil na hÉireann i 1909 agus ceapadh ina hOllamh le Nua-Ghaeilge í, tar éis
imeacht Dubhghlas de hÍde ar scor i 1932.</span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white;"> </span></span></span></p><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><span style="font-size: medium;"><span style="background: white; line-height: 17.12px;"><b>Coláistí Samhraidh agus i</b></span><b>meachtaí eile</b></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: georgia;"><span style="font-size: medium;"><span style="background: white; line-height: 17.12px; text-align: left;">Bhí
sí i lár an aonaigh maidir le h-imeachtaí cultúrtha eile freisin. Mar
shampla, sa bhliain 1914 bhí páirt lárnach aici nuair a bunaíodh An
Cumann Camógaíochta in Ollscoil na hÉireann, Baile Átha Cliath. D’iarr
sí ar a cara, Edward Gibson, Lord Ashbourne (deartháir Violet), corn a
bhronnadh don chomórtas camogaíochta tríu léibhéal: An Corn Ashbourne.
B'í an ceathrú uachtarán ar Chumann Camógaíochta na hÉireann. Deirtear
go raibh sí ar cheann de na gníomhaígh teanga ba dúthrachtaí ag an am
sin. Bhí sí ina cathaoirleach ar Chomhchoiste na gColáistí Samhraidh
agus baint aici le bunú agus réachtáil na gcoláistí samhraidh i gCloich
Chionnaola; i dTuar Mhic Éadaigh agus Coláiste Laighean. </span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><span style="font-size: medium;"><span style="background: white; line-height: 17.12px;">Ní beag sin!</span></span></span></p><h2 class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><span style="font-size: medium;"><span style="background: white; line-height: 17.12px;"> </span></span></span></h2><p class="MsoNormal" style="text-align: center;"><span style="font-family: georgia;"><span style="font-size: medium;"><span style="background: white; line-height: 17.12px;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXOePUUv4Q1DayOzKhEHXFen2g6PUKp_H_ksMt317iZh4DAD2rcaAuz7dKnDNSIfDoZ9WD8jwkHVTAbb01OxWB28sYW_BLr-t8pXGYmMm-DJFxq1O5-qPbjB6pXwMzSZROUoKQ7fgYRjjzOe5gtg8k2LGGsiAHP1vnKJ9uL_apuvT8INMslkiD7SxDwQ/s400/Agnes_O'Farrelly,_circa_1890.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="220" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXOePUUv4Q1DayOzKhEHXFen2g6PUKp_H_ksMt317iZh4DAD2rcaAuz7dKnDNSIfDoZ9WD8jwkHVTAbb01OxWB28sYW_BLr-t8pXGYmMm-DJFxq1O5-qPbjB6pXwMzSZROUoKQ7fgYRjjzOe5gtg8k2LGGsiAHP1vnKJ9uL_apuvT8INMslkiD7SxDwQ/w220-h400/Agnes_O'Farrelly,_circa_1890.png" width="220" /></a></div><br /><p></p><h2 style="text-align: left;"><b><h2 style="text-align: center;"><b><span style="font-family: georgia; font-size: large;"><span style="background: white; line-height: 17.12px;">Spotlight on </span><span> Úna Ní Fhaircheallaigh (1874–1951) </span></span></b></h2></b></h2><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white;">The collection of books recently donated by Conradh na Gaeilge to the University of Galway includes a number of publications by </span><span style="background: white; line-height: 17.12px;"><span>Ú</span>na Ní Fhaircheallaigh</span><span style="background-color: white;">, academic and writer, which are now available to researchers in the James Hardiman Library, (Special Collections).</span></span></span></p></div><div style="text-align: justify;"><p><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white;"><br /></span></span></span></p></div><div style="text-align: left;"><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background-color: white;"><b>Early life and education</b></span></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;"><span>Ú</span>na Ní Fhaircheallaigh </span><span style="background-color: white;">(</span><span style="background-color: white; text-align: left;">Agnes O'Farrelly; nom-de-plume 'Uan Uladh') </span><span style="background: white; line-height: 17.12px;">was born and raised near Virginia in Co. Cavan. </span><span><span style="background-color: white;"><span>She studied the Irish language first with Eoin Mac Néill and later graduated from </span><span>the Royal University of Ireland </span></span></span><span style="background: white; line-height: 17.12px;">(BA 1899, MA 1900). During this period she spent a term in Paris studying under </span><span style="background-color: white;">Henri D’Arbois de Jubainville, professor of Celtic languages in the </span><span style="background-color: white;"> </span><span style="background-color: white;">Collège de France.</span></span></span></p></div></div><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: right;"><b>Aran Islands</b></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: right;">She
visited the Aran Islands for the first time in 1898 and she stayed in a
fisherman's house </span></span></span><span><span style="font-family: georgia;"><span style="font-size: medium;">(Páidín Mac Dhonnchadha) </span></span></span><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: right;">on Inis Meáin which had been vacated by Synge just
before her arrival. She continued to visit the island every summer and
in August 1899 she founded Craobh na mBan (women's branch) of Conradh na
Gaeilge following the establishment of the men's branch of Conradh na
Gaeilge on Inis Mór and Inis Meáin. She kept a travel diary and in 1902,
<i>Smuainte ar Árainn</i> was published by Conradh na Gaeilge, a
valuable social and cultural document which includes contemporary
photographs. A new bilingual edition: </span><i style="text-align: right;"><a href="http://arlenhouse.ie/books/smaointe-ar-arainn-thoughts-on-aran/" target="_blank">Smaointe ar Árainn</a></i><span style="background-color: white; text-align: right;"> was published by Dr Ríona Nic Congáil in 2010.</span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: right;"> </span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJYF8rkSOJw0ToW8oGnF6xMhJbVsh2YN9l9yR4JnvwGAj80PoyOb43gVrRrfeBXM-IF09qHXatU7H0lWBCtLTAKZl56xKqtOuh1nMwSU7NdBDVFPbMBkhpZIEFjw_pMfurEJaJwbMNWLp64chPlZOwZR33Va03ndRpB2BjXDq4SToBLeXFj1_ire1uuA/s320/Gr%C3%A1dhtpcrop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJYF8rkSOJw0ToW8oGnF6xMhJbVsh2YN9l9yR4JnvwGAj80PoyOb43gVrRrfeBXM-IF09qHXatU7H0lWBCtLTAKZl56xKqtOuh1nMwSU7NdBDVFPbMBkhpZIEFjw_pMfurEJaJwbMNWLp64chPlZOwZR33Va03ndRpB2BjXDq4SToBLeXFj1_ire1uuA/w300-h400/Gr%C3%A1dhtpcrop.jpg" width="300" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: right;"><br /></span></span></span><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;"><b>Conradh na Gaeilge and publishing activities</b></span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background: white; line-height: 17.12px;"><span style="text-align: left;">Together with </span></span><span style="background-color: white; text-align: left;">Máire Ní Chinnéide and Máire de Buitléir, </span><span style="background-color: white; text-align: left;">Úna
Uí Fhaircheallaigh played a significant part as language activists in
the development of Conradh na Gaeilge. Her short novel, </span><i><span style="text-align: left;">Grádh agus Crádh</span><span style="text-align: left;"> </span></i><span style="text-align: left;">was
published in 1901 resulting in her being the first Irish language
female novelist. In addition, she was a director with the Gaelic
printing house: An Cló-Chumann. Her edition of a selection of poetry by
Seaghán Ó Neachtain: </span><i style="text-align: left;">Filidheacht Sheagháin Uí Neachtain</i><span style="text-align: left;"> </span><span style="text-align: left;">was published in 1911. The poet and scholar </span><span style="background-color: white; text-align: left;">Seaghán Ó Neachtain was born </span><span style="background-color: white; text-align: left;">c.1640</span><span style="background-color: white; text-align: left;"> in the parish of Drum, Co. Roscommon but he spent most of his adult life living in the Thomas Street area of Dublin city.</span></span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;"><b>Academic life</b></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background-color: white;">A
founder member in 1902, along with Mary Hayden, of the Irish
Association of Women Graduates and Candidate Graduates, to promote equal
opportunity in university education, she gave evidence to the Robertson
(1902) and Fry (1906) commissions on Irish university education,
arguing successfully for full co-education at University College Dublin. </span><span style="background-color: white;">In 1909 </span><span style="background-color: white;">Úna Uí Fhaircheallaigh </span><span style="background-color: white;">was
appointed lecturer in modern Irish upon the establishment of the
National University of Ireland. She took over from Douglas Hyde as</span><span style="background-color: white;"> </span><span style="background-color: white;">Professor of Modern Irish in University College Dublin on his retirement</span><span style="background-color: white;"> in 1932; she</span><span style="background-color: white;">
was president of the Irish Federation of University Women (1937–9) and
of the National University Women Graduates' Association (NUWGA)
(1943–7).</span></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span><span style="background-color: white;"> </span></span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;"><b>Irish summer colleges and other activities </b></span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: left;">Úna Uí Fhaircheallaigh </span><span style="background: white; line-height: 17.12px; text-align: left;">poured her energy into many cultural activities</span><span style="background: white; line-height: 17.12px; text-align: left;">. </span><span style="background-color: white; text-align: left;">For example, in 1914 she played a central role in the founding of </span><span style="background-color: white; text-align: left;">An Cumann Camógaíochta (the Camogie club), in University College Dublin. </span><span style="background-color: white; text-align: left;">Through
her influence, her friend Edward Gibson, Lord Ashbourne (a brother of
Violet), donated a cup for the third level colleges camogie competition
established in 1915: the Ashbourne Cup. </span><span style="background-color: white; text-align: left;"> </span><span style="background-color: white; text-align: left;"> </span><span style="background-color: white; text-align: left;">She was the fourth president of the Camogie Association of Ireland </span><span style="background: white; line-height: 17.12px; text-align: left;">and one of the most dedicated Irish language activists of her time. </span><span style="background: white; line-height: 17.12px; text-align: left;">She chaired </span><span style="background-color: white; text-align: left;">Comhchoiste na gColáistí Samhraidh (Joint committee of the Irish summer colleges) </span><span style="background: white; line-height: 17.12px; text-align: left;">and was involved in the founding and administration of the Irish summer colleges in </span><span style="background-color: white; text-align: left;">Cloich Chionnaola; </span><span style="background-color: white; text-align: left;"> Tuar Mhic Éadaigh</span><span style="background-color: white; text-align: left;"> and </span><span style="background-color: white; text-align: left;">Coláiste Laighean.</span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: left;"> </span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;">Tuilleadh eolais:</span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17.12px;"><span>McMahon, </span></span><span>Timothy G.</span><span> 'All Creeds and All Classes?? Just Who Made Up the Gaelic League?' </span><i>Eire-Ireland</i><span> 37 no3/4 118–68 Fall/Wint 2002</span></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background: white; line-height: 17.12px;">Ní Shéaghdha, Nessa. ‘Irish Scholars and Scribes in Eighteenth-century Dublin’, <i>Eighteenth-century Ireland/Iris an dá chultúr</i>, Vol. 4 (1989), pp 41-54.</span></span></span></p><p itemprop="name" lang="ga" style="background-color: white; box-sizing: border-box; font-weight: inherit; line-height: 1.25; margin: 0.5rem 0px 0px; text-align: left;"><span style="font-family: georgia;"><span style="font-size: small;"><span style="font-size: medium;">Nic Congáil, Ríona,<span style="font-weight: inherit;"> </span><i>Úna Ní Fhaircheallaigh agus an fhis útóipeach ghaelach, </i>Dublin : Arlen House ; Syracuse, NY : Syracuse University P</span>ress, 2010.</span></span></p><div><span style="font-family: georgia; font-size: x-small;"><br /></span></div><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: small;"><i><span style="background-color: white; text-align: right;">Scríofa ag/written by Patricia Moloney, Catalógaí, </span><span style="text-align: right;">Bailiúcháin Speisíalta/Cataloguer, Special Collections</span></i></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: georgia;"><span style="background-color: white; text-align: left;"> </span></span></span></p></div><p></p></div><p></p></span></span></span></span></span></span></span></span></div></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-14671152883109169082022-09-19T14:35:00.002+01:002022-09-19T14:38:20.513+01:00Léiriú Póstaer Ollscoil na Gaillimhe ag comhdháil Dhébhliantúil Chomhairle Idirnáisiúnta na gCartlann, an Róimh, 19-23 Meán Fómhair 2022<p> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPh3uEjyWbhEgrVREjV9Dp0fhOYApaMppflsNQwD06tD7A2eHfumWHTVtzIcrZbkS0KTO_IPd_efgqhYQcu7QMOrRAdYPeb7eO_TdnKHGUC9jAOkJNMy6CSC2a92xYXpFMM5bWO2KJXDNC3raatFV_YUXif6omp1NwAdgviYMHGGwulp0qxYOiLjVlmw/s648/Screenshot%202022-08-03%20at%2011.57.50.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="608" data-original-width="648" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPh3uEjyWbhEgrVREjV9Dp0fhOYApaMppflsNQwD06tD7A2eHfumWHTVtzIcrZbkS0KTO_IPd_efgqhYQcu7QMOrRAdYPeb7eO_TdnKHGUC9jAOkJNMy6CSC2a92xYXpFMM5bWO2KJXDNC3raatFV_YUXif6omp1NwAdgviYMHGGwulp0qxYOiLjVlmw/w217-h203/Screenshot%202022-08-03%20at%2011.57.50.png" width="217" /></a></p><div style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div style="clear: both; text-align: center;"><br /></div><div style="clear: both; text-align: center;"><span style="text-align: left;">Tá cartlann Chonradh na Gaeilge in Ollscoil na Gaillimhe, agus obair an chartlannaí Niamh Ní Charra chun í a phróiseáil agus a chur ar fáil do thaighdeoirí, mar ábhar do chur i láthair póstaer ag Comhdháil <a href="https://www.ica.org/en" target="_blank"><b>ICA</b></a> [Comhairle Idirnáisiúnta na gCartlann] na bliana seo. Tá Ní Charra ag seasamh an fhóid léi féin do chartlanna agus do chartlannaithe na hÉireann ag an gcomhdháil agus is é seo an chéad uair a bheidh an Ghaeilge le feiceáil ó thosaigh an chomhdháil deich mbliana ó shin.</span></div><p><i>"Archives: Bridging the Gap" </i>an téama a bhaineann le comhdháil na bliana seo, agus tá sé sin roinnte ina cheithre chatagóir eile:<i>"Bridging the Digital Gap"</i>, <i>"Bridging the Cultural Gap"</i>, <i>"Bridging the Democracy Gap" </i>agus<i> "Bridging the Distance"</i>. Tagann aighneacht Ní Charra faoin dara catagóir agus tá an téasc a théann lena cur i láthair póstaer anseo thíos.</p><h3 style="text-align: center;"><u><span style="color: #741b47;">Cartlann Chonradh na Gaeilge, Ollscoil na Gaillimhe, Éire</span></u></h3><div style="text-align: center;"><b><i>Cás-staidéar ar an obair chun cartlann Ghaeilge a phróiseáil, an tionscadal tánaisteach a d'eascair as sin chun téarmaí cartlainne a cheapadh i nGaeilge, agus na buntáistí níos leithne is féidir a bhaint amach agus catalógú á dhéanamh ar chartlanna teangacha mionlaithe.</i></b></div><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;"><div class="separator" style="clear: both;"><span style="text-align: left;">Sa bhliain 2018 cuireadh tús le hobair ar phróiseáil agus ar chatalógú chartlann mór le rá Chonradh na Gaeilge in Ollscoil na Gaillimhe. Críochnaíodh an obair agus <a href="https://hardimanlibrary.blogspot.com/2022/02/catalogu-deanta-ar-chartlann-chonradh.html" target="_blank"><b>seoladh an chartlann</b></a> go hoifigiúil níos luaithe i mbliana. Cabhraíonn cur i dtaisce, próiseáil agus cur ar fáil chartlann na heagraíocht trasteorann agus ollscoil a bhfuil sainchúram uathúil uirthi i leith na Gaeilge, trí chatalógú dátheangach, trí bhreis agus 200 téarma cartlainne a cheapadh i nGaeilge agus trí úsáid a bhaint as an gcartlann chun aird a tharaingt ar obair na heagraíochta féin.</span><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both;"><span style="text-align: left;"><br /></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Biyb02CnN9MiywRcGrdGcpyxxpNEmGgzBTI1u1PuGslySk5Bm5eJ5x6Rq-8I7GQHTaMnbjm7q7IbJ53xWtB77ANJk_aVX-5j3SHZ3hmiycXwqAlyuG__tMwgD1j4oAhXasXWSbgw7PUCWFE8dr94UO6CIl4MTcJ80EC8tECBUU1Ryhe0Bv6uMrnGuw/s3741/CnaG%20membership%20card.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2985" data-original-width="3741" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Biyb02CnN9MiywRcGrdGcpyxxpNEmGgzBTI1u1PuGslySk5Bm5eJ5x6Rq-8I7GQHTaMnbjm7q7IbJ53xWtB77ANJk_aVX-5j3SHZ3hmiycXwqAlyuG__tMwgD1j4oAhXasXWSbgw7PUCWFE8dr94UO6CIl4MTcJ80EC8tECBUU1Ryhe0Bv6uMrnGuw/w266-h212/CnaG%20membership%20card.jpeg" width="266" /></a></div><p></p><p><b><u><span style="color: #741b47;">Céard é Conradh na Gaeilge?</span></u></b></p><p><b> </b>Is eagraíocht é<b> <a href="https://cnag.ie/ga/" target="_blank">Conradh na Gaeilge</a></b> a bhunaíodh sa bhliain 1893 chun an Ghaeilge a chur chun cinn in Éirinn agus thar lear. Tugann an t-ábhar léargas uathúil ar an 130 bliain nó níos mó de stair oileán na hÉireann. Rinne an fhoireann úsáid na Gaeilge i ngach gné den saol ó lá go lá a chur chun cinn agus a scrúdú. Clúdaíonn cuid shuntasach den ábhar roinnt feachtas a bhaineann le cearta teanga. Áirítear freisin cáipéisí a bhaineann le cearta na bpríosúnach agus cearta sibhialta i dTuaisceart Éireann.</p><p>Bhí an Conradh lárnach i bhfeachtais phobail a raibh na nithe seo a leanas mar thoradh orthu:</p><p></p><ul><li>cruthú stáisiún raidió agus teilifíse Gaeilge [1972, 1996]</li><li>achtú Acht na dTeangacha Oifigiúla [14 Iúil 2003] i (bPoblacht) na hÉireann</li><li>an Ghaeilge a bheith mar theanga oifigiúil de chuid an Aontais Eorpaigh[1 Eanáir 2007]</li></ul><div>Tá siad fós i mbun feachtais ar son chearta na Gaeilge i dTuaisceart Éireann. </div><div><br /></div><div><i><b>Ag croílár na bhfeactas seo tá ceart an duine aonair ar a (h)ainm féin a bheith ina t(h)eanga féin, agus maireachtáil agus idirghníomhú ina t(h)eanga féin, teanga atá dúchasach don oileán seo.</b></i></div> <div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgF5a_rFGKAAVcxqUtfHc83p3D6W0Ww5zkp4BO2PCCRt1dATKhVhRj6WHhWkkdjeCrw_jbI-zezvK9PHpnrp8WsajJS_apIcwrpIf_NdtF5jz7YplCFk_pIJkvSOpHVuaMIXk2VltzIi8bxeWmZEDmUwvLI5IApLv9KvtRMLLbhYtYz0xohJTuZrgA/s2115/culturaldomination.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1335" data-original-width="2115" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgF5a_rFGKAAVcxqUtfHc83p3D6W0Ww5zkp4BO2PCCRt1dATKhVhRj6WHhWkkdjeCrw_jbI-zezvK9PHpnrp8WsajJS_apIcwrpIf_NdtF5jz7YplCFk_pIJkvSOpHVuaMIXk2VltzIi8bxeWmZEDmUwvLI5IApLv9KvtRMLLbhYtYz0xohJTuZrgA/s320/culturaldomination.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPmQyYx2Ge9RrUvPxir0YzXSHlDIZ0MjXRFsYKPRAsNjHC5b3medcgFN5zl9uqKC6MAZH_pfKIexORLnOeSsqEIAKcVXopxru6axFS7TUKVSa5XIVQ54-dHXbPxqzy7hzrNAPnI5eWNlFqQIle_d_8cXFID1e9A62Kb7gQDLOtqM_5s_sQQZeaTqY5YQ/s9072/Cultural%20Imperialism.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6083" data-original-width="9072" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPmQyYx2Ge9RrUvPxir0YzXSHlDIZ0MjXRFsYKPRAsNjHC5b3medcgFN5zl9uqKC6MAZH_pfKIexORLnOeSsqEIAKcVXopxru6axFS7TUKVSa5XIVQ54-dHXbPxqzy7hzrNAPnI5eWNlFqQIle_d_8cXFID1e9A62Kb7gQDLOtqM_5s_sQQZeaTqY5YQ/s320/Cultural%20Imperialism.jpg" width="320" /></a></div><br /><u><br /></u></b></div><div><b><u><br /></u></b></div><div><b><u><span style="color: #741b47;">Cén fáth a roghnaíodh Ollscoil na Gaillimhe?</span></u></b><div> Agus cinneadh á dhéanamh cén áit ar cheart an chartlann thar a bheith saibhir agus suntasach seo a chur i dtaisce, bhí a fhios ag Conradh na Gaeilge a thábhachtaí a bhí sé an institiúid cheart a roghnú chun an chartlann a choinneáil agus an obair riachtanach a dhéanamh. Tar éis machnamh cúramach a dhéanamh, roghnaigh siad <a href="https://www.ollscoilnagaillimhe.ie/" target="_blank">Ollscoil na Gaillimhe</a>, (Ollscoil na hÉireann, Gaillimhe roimhe seo). Bhí roinnt cúiseanna leis an gcinneadh seo: </div><div><b><br /></b></div><div><ul><li><b>Sainchúram na hOllscoile</b> - gné uathúil de shainchúram Ollscoil na Gaillimhe mar ollscoil is ea a tiomantas straitéiseach maidir le hoideachas ollscoile a chur ar fáil i nGaeilge, a haidhm freastal ar an nGaeltacht agus ar phobal na Gaeilge, agus campas dátheangach eiseamláireach a chruthú.</li><li><b>Suíomh</b> - tá an ollscoil suite ar chósta thiar na hÉireann ar imeall Ghaeltacht Chonamara. Chomh maith le sin, tá dlúthcheangal idir an Ollscoil agus an réigiún mar gheall go bhfuil ionaid oideachais agus chultúir Ghailge aici i nGaeltacht Chonamara agus i nGaeltacht Dhún na nGall araon. </li><li><b>Cartlanna i dteangacha eile</b> - tá an cnuasach aitheanta seo anois i measc go leor cartlanna Gaeilge eile san ollscoil, agus baint ag go leor acu sin leis an gcartlann seo.</li><li><b>Meas ar an teanga</b> - agus Ollscoil na Gaillimhe á roghnú, chinntigh Conradh na Gaeilge go mbeadh comhpháirteach ar leith a raibh meas ar an teanga agus ar an ábhar lárnach sa chúram a bhí idir lámha aici.</li></ul><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgBaBY1lo-j9cycWnLq8dXZBVw96FHHTIFrryuSvBIyR4kV09EZKxrDbh0G4uNrsmq414IIHkTmujKYzo2o2B91LaU2OkAHJxSEE9saeuurAwhBr2rYVjQCwdVZ29TDhEl_3EbI5KkLr_iyfSFB6bkbP1Clj-SAj6JYAjmFQP5z3OiLLEiZir8UYxl-Q/s1783/Childwithdoll.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1783" data-original-width="1147" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgBaBY1lo-j9cycWnLq8dXZBVw96FHHTIFrryuSvBIyR4kV09EZKxrDbh0G4uNrsmq414IIHkTmujKYzo2o2B91LaU2OkAHJxSEE9saeuurAwhBr2rYVjQCwdVZ29TDhEl_3EbI5KkLr_iyfSFB6bkbP1Clj-SAj6JYAjmFQP5z3OiLLEiZir8UYxl-Q/s320/Childwithdoll.jpeg" width="206" /></a></div><br /><div><br /></div></div><div><b><u><span style="color: #741b47;">Ceisteanna Uathúla:</span></u></b></div><div><span> </span>Seachas na gnáthchinntí a chaithfidh cartlannaithe a dhéanamh agus cartlann á meas, á próiseáil, á buanchoimeád agus á catalógú, tháinig ceisteanna uathúla breise chun cinn de charr nádúr na cartlainne áirithe seo.</div><div><span> </span>Mar chuid den chomhaontú idir Conradh na Gaeilge agus an Ollscoil, bhí sé ríthábhachtach go mbeadh an chartlann liostaithe i nGaeilge le cinntiú go raibh sí ar fáil do phobal na Gaeilge. Chinn an chartlannaí liosta a dhéanamh i mBéarla freisin chun a chinntiú go mbeadh an chartlann iontach seo inrochtana do dhaoine nach bhfuil Gaeilge acu chomh maith. (Tá go leor preaseisiúintí agus ábhar eile i mBéarla agus tá 24 teanga léirithe sa bhailiúchán).</div><div><span> Ba ghná cinntí a dhéanamh maidir leis an litriú fresin: Ní dhearnadh caighdeánú ar litriú na Gaeilge go dtí na 1950idí agus tá go leor éagsúlachtaí litrithe le fáil sa chnuasach dá bharr. Ar mhaithe le leanúnachas roghnaíodh litriú nua-aimseartha agus liostaíodh leaganacha níos sine freisin nuair ba dhá (e.g. Connradh na Gaedhilge [Conradh na Gaeilge]).</span></div><div><span><span> I measc na gcinntí a bhain le CALM bhí cén t-ord a bheadh ar na liostaí Gaeilge agus Béarla, conas an dá cheann a scaradh óna chéile, cibé acu roghanna saorthéacs nó Roghchláir Anuas a úsáid le haghaidh réimsí áirithe, agus cén áit ar cheart na roghanna réamhshocraithe a shárú. Agus liostú dátheangach curtha isteach in CALM, bheadh an áis aimsithe ar fáil go dátheangach freisin dá ndéanfaí tuairisc a ghiniúint trí CALM. Socráiodh mar sin leagan Gaeilge amháin a chur ar fáil chomh maith mar cháipéis Word.</span><br /></span></div><div><span><span> Le linn an phróisis catalógaithe, baineadh úsáid as seirbhís aistriúcháin na hOllscoile. Cuireadh bac ar a sárobair, áfach, toisc nach raibh téarmaíocht chartlainne Ghaeilge ar fáil ag an am.</span><br /></span></div><div><span><br /></span></div><div><span><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_ds_TNxmOIOuQXRh8nvKqBpL7hIzNnOyVaiy8oTUA7-82CYd9pkxcOqmtkZmO-ika1R5X4UqG_LNMCVYNAjddfqzn4SKpodeY9jQQoQVs5qsHbHG-I7D34-JXmgDaDI1IinmKYvoGOvoaOWKCvnNj7_96td8c4Y-elH__10TwjBFs3HJxDiLbWI8SA/s3681/DancersIrishDay.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: right;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmBphvS-7P400wydhZ91W9avvtD4SbOrMkfTDTnRY94e5_RWx7KHCqnUW9a6dSXRsv72ldbIvwuMkGCYrHaQVJ3zhK1hpMY7-39x_l7NO12JQkVfQxggbwVYyC_Dhx-rVU0n28QmJo_W0g_nxV7c2VG6dCGLN_VxB7bj6v9hQa9ZJF4CuuYQOS_qYNjQ/s1846/Camogie%20Team.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1435" data-original-width="1846" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmBphvS-7P400wydhZ91W9avvtD4SbOrMkfTDTnRY94e5_RWx7KHCqnUW9a6dSXRsv72ldbIvwuMkGCYrHaQVJ3zhK1hpMY7-39x_l7NO12JQkVfQxggbwVYyC_Dhx-rVU0n28QmJo_W0g_nxV7c2VG6dCGLN_VxB7bj6v9hQa9ZJF4CuuYQOS_qYNjQ/w280-h218/Camogie%20Team.jpeg" width="280" /></a><img border="0" data-original-height="2602" data-original-width="3681" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_ds_TNxmOIOuQXRh8nvKqBpL7hIzNnOyVaiy8oTUA7-82CYd9pkxcOqmtkZmO-ika1R5X4UqG_LNMCVYNAjddfqzn4SKpodeY9jQQoQVs5qsHbHG-I7D34-JXmgDaDI1IinmKYvoGOvoaOWKCvnNj7_96td8c4Y-elH__10TwjBFs3HJxDiLbWI8SA/w307-h217/DancersIrishDay.jpeg" width="307" /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div><div><b><u><span style="color: #741b47;">Tionscadal tánaisteach - 200 téarma cartlainne ceaptha i nGaeilge:</span></u></b></div><div><span><span> T</span>háinig fadhbanna maidir le haistriúchán na catalóige chhun cinn go luath sa phróiseas mar gheall ar easpa téarmaíocht oifigiúil chartlainne i nGaeilge. De bharr shaibhreas na teanga bhí roghanna iolracha do théarmaí áirithe ar fáil, agus ní raibh aon leagan Gaeilge do thearmaí eile, nó má bhí ní raibh sé ag cur an bhrí ar leith mar a bhain sé leis an gcomhthéacs cartlainne in iúl. Fuair Ní Charra amach, cé go bhfuil bailiúcháin chartlainne Ghaeilge ar fud na tíre, gur fíorbheagán a bhí catalógaithe i nGaeilge, agus má bhí féin gur ar bhonn ad hoc a rinneadh iad. Níor aithníodh na neamhréireachtaí idir liostaí ó thaobh caighdeáin chartlainne de.</span></div><div><span><br /></span></div><div><span><span> Mar thoradh díreach ar na fadhbanna seo, chuir sí tús le tionscadal ina raibh Ollscoil na Gaillimhe, Cartlann Náisiúnta na hÉireann agus An Coiste Téarmaíochta páirteach agus bhí sí ina comhstiúrthóir ar an tionscadal. <a href="https://m.facebook.com/nuigalway/videos/irish-archival-terminology-project/361640732329360/" target="_blank"><b>Ceapadh 200 téarma cartlainne</b></a> go hoifigiúil i nGaeilge mar thoradh ar an gcomhoibriú. A bhuíochas nach beag don Dr Luciana Duranti, tá na téarmaí seo ar fáil anois ar bhunachar sonraí <a href="http://www.ciscra.org/mat/" target="_blank">MAT</a> de chuid an ICA, áit a bhfuil Ní Charra ainmnithe mar chomhordaitheoir na Gaeilge.</span><br /></span></div><div><span><br /></span></div><div><span><span><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcFf_T6QOVsUaAAGODNWIAZlNF3EX28WIob1S1WkzlI2v89cYnmmLTYs5IsKLrqYquI0mXpvnPBd2Zj-tUTGaHEVAvEcPHaK7xL0fJerj-MP8Vw5tnlqGWVC4tFdrrQ8E6_4ieoyyHW9e-RYaxRCVkjN38PE7Xd88EVLTjAdQoXYWUEvOs4VwyJFULpQ/s544/ARC%20Mag.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="416" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcFf_T6QOVsUaAAGODNWIAZlNF3EX28WIob1S1WkzlI2v89cYnmmLTYs5IsKLrqYquI0mXpvnPBd2Zj-tUTGaHEVAvEcPHaK7xL0fJerj-MP8Vw5tnlqGWVC4tFdrrQ8E6_4ieoyyHW9e-RYaxRCVkjN38PE7Xd88EVLTjAdQoXYWUEvOs4VwyJFULpQ/w217-h284/ARC%20Mag.png" width="217" /></a></div><b><u><div><span><span><span><b><u><br /></u></b></span></span></span></div><span style="color: #741b47;">Buntáistí an tionscadail:</span></u></b></span></span></span></div><div><span><div class="separator" style="clear: both;"> Ba mhór an tairbhe a bhain leis an déthionscadal chun cartlann Chonradh na Gaeilge in Ollscoil na Gaillimhe a mheas, a bhuanchoimeád agus a chatalógú, rud a d'fhág gur cruthaíodh agus gur ceapadh téarmaí cartlainne i nGaeilge. Ní hamháin gur cás-staidéar maith atá i gcatalógú na cartlainne aitheanta seo - is sárthaispeántas é ar na cúiseanna seo a leanus:</div><div class="separator" style="clear: both;"><ul><li><b>Leanúnachas</b> - leis an téarmaíocht nua seo ar fáil, spreagtar leanúnachas i liostú na Gaeilge chun teacht le caighdeáin chartlainne.</li><li><b>Cuimsitheach</b> - ciallaíonn sé gur féidir cartlanna Gaeilge a liostú i nGaeilge, rud a fhágann go bhfuil siad cuimsitheach agus go gcinntítear go mbíonn rochtain ag na daoine is mó a mbaineann na cartlanna seo.</li><li><b>Meas agus aitheantas</b> - is aitheantas tábhachtach é cartlann chomh suntasach sin a chur ar fáil agus é sin a dhéanamh i nGaeilge, ag baint úsáid as téarmaí oifigiúla sa teanga sin, don teanga dhúchais féin, agus don phobal a labhraíonn í mar chéad teanga.</li><li><b>Cruthaítear feasacht</b> - is minic a dhéanann taighdeoirí neamhaird ar bhailiúcháin i dteangacha mionlaithe, in ainneoin go bhfuil siad an-saibhir ó thaobh ábhair de. Is é an toradh atá air ná gur minic a bhíonn na scéalta sna cartlanna seo in easnamh ón scéal iomlán.</li><li><b>Glacadh</b> - táthar ag siúl go spreagfaidh an téarmaíocht Axiell agus dreamanna eile glacadh léi agus a gcuid táirgí a chur ar fáil i nGaeilge.</li><li><b>Éifeacht iarmhartach</b> - ba chóir go spreagfadh an cás-staidéar seo agus an téarmaíocht nua níos mó institiúidí chun níos mó cartlanna Gaeilge a chatalógú.</li></ul></div><div class="separator" style="clear: both;"><i><b><span style="color: #741b47;"><br /></span></b></i></div><div class="separator" style="clear: both;"><i><b><span style="color: #741b47;">An chartlann a dhíchoilíniú</span></b> - más mian linn comhrá a thosú faoin gcartlann a dhíchoilíniú, caithfimid machnamh a dhéanamh ar theanga <span style="color: #741b47;"><b>na</b></span> cartlainne.</i></div><div class="separator" style="clear: both;"> </div><div class="separator" style="clear: both;"> Nuair a dhéantar breithniú ar choilíneacht na cartlainne i gcomhthéacs teanga, is gnách go mbíonn an plé dírithe ar ábhar na cartlainne, téarmaí áirithe a mbaineann fadhbanna leo á n-úsáid chun cur síos a dhéanamh ar an gcartlann, nó b'fhéidir claonadh na dtuairiscí sin, ach is annamh a bhíonn an <i>teanga </i>féin <i>ina bhfuil</i> an iontráil catalóige curtha san áireamh. Ina theannta sin, tá claonadh san Eoraip smaoineamh ar choilíneachtaí í láthair na huaire agus iarchoilíneachtaí a bheith suite lasmuigh den mhór-roinn féin, agus tá an pobal cartlainne den tuairim chéanna ina leith seo. Mar sin is meabhrúchán séimh é an tionscadal seo go bhfuil roinnt iarchoilíneachtaí i bhfad níos gaire don bhaile, agus go bhfanann codanna eile den mhór-roinn seo ina gcríocha atá faoi chonspóid agus roinnte.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3rY4OjGVdzVFdWUePV2hQXkdgZDPibgQaFAU2kUuv0IKwCJcEF7IwjrNaJCifedw8mqu4xuM1QN0mjU2E-AoWxduyS33CZ9YblTxrj-TbxYMF0TynaEznkvZLlXbrmn1l9-lZ_OUrK9e75QRa4jjAtJHtTTJwpK4Z6GiE3iEtK5yLKWUEvw0z3ABGKw/s800/Personal%20dictionary%20CnaG.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="647" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3rY4OjGVdzVFdWUePV2hQXkdgZDPibgQaFAU2kUuv0IKwCJcEF7IwjrNaJCifedw8mqu4xuM1QN0mjU2E-AoWxduyS33CZ9YblTxrj-TbxYMF0TynaEznkvZLlXbrmn1l9-lZ_OUrK9e75QRa4jjAtJHtTTJwpK4Z6GiE3iEtK5yLKWUEvw0z3ABGKw/s320/Personal%20dictionary%20CnaG.jpeg" width="259" /></a></div><br /><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b><u><span style="color: #741b47;">Dúshlán don phobal cartlainne:</span></u></b></div><div class="separator" style="clear: both;"> IS é an dúshlán don phobal cartlainne, ní amháin a chinntiú nuair a insítear na scéalta seo, go bhfuil siad caomhnaithe agus inrochtana i gcartlanna, ach freisin a chinntiú go bhuil an rochtain seo chomh cuimsitheach agus is féidir. Bíodh an t-ábhar i nGaeilge nó i dteangacha miolaithe eile (agus tá an téarma "miolaithe" seachas "mionlach" ríthábhachtach anseo), ba chóir do phobal na cartlainne ár ndícheall a dhéanamh a chinntiú nach bhfuilimid mar chuid de na constaicí atá roimh phobail agus iad ag iarraidh teacht ar na scéalta seo. Céim amháin chun an bhearna chultúrtha seo a líonadh is ea níos mó catalógú dátheangach/ilteangach a sholáthar, agus é sin a dhéanamh ar bhealach leanúnach de réir caoghdeáin chartlainne trí théarmaíocht chartlainne a chruthú/a cheapadh.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZunvUiNYdFMCsBUp6C1HLGniQUClJZpTkn5umaXywSn2kMzdAnvT9gJK7VAewc0AyPNWsUi4Y1tdx4Z7hiiu2_fi0YX1uOeHPNbeaGGwPEKkyNime7BBq0rfNvmd8bOIKU6YucTWKgUO6CsC463pk9-mWji5gP10F5iaUPgIvwFLI_0PcryZHIKbVbw/s3283/BillOfRights.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3283" data-original-width="2384" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZunvUiNYdFMCsBUp6C1HLGniQUClJZpTkn5umaXywSn2kMzdAnvT9gJK7VAewc0AyPNWsUi4Y1tdx4Z7hiiu2_fi0YX1uOeHPNbeaGGwPEKkyNime7BBq0rfNvmd8bOIKU6YucTWKgUO6CsC463pk9-mWji5gP10F5iaUPgIvwFLI_0PcryZHIKbVbw/w174-h240/BillOfRights.jpeg" width="174" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b><u><span style="color: #741b47;">Naisc:</span></u></b></div><div class="separator" style="clear: both;"><span> </span>Tá tuilleadh eolais faoin gcartlann féin agus faoin tionscadal chun téarmaí cartlainne i nGaeilge a cheapadh le fáil thíos:</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://hardimanlibrary.blogspot.com/2022/02/catalogu-deanta-ar-chartlann-chonradh.html" target="_blank"><b>Seoladh Chartlann Chonradh na Gaeilge</b></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://exhibitions.library.nuigalway.ie/s/cnag/page/home" target="_blank"><b>Taispeántas Digiteach Chonradh na Gaeilge</b></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://www.universityofgalway.ie/about-us/news-and-events/news-archive/2021/october/aitheantas-domhanda-do-200-tearma-cartlainne-gaeilge-faighte-ag-tionscadal-faoi-stiuir-cartlannai-in-oe-gaillimh-.html" target="_blank"><b>200 téarma cartlainne ceaptha i nGaeilge</b></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Téarmaíocht i bhformáid PDF: <a href="https://araireland.ie/sites/default/files/Resources/Te%CC%81armai%CC%81ocht%20Chartlainne_Gaeilge_Be%CC%81arla_2021.pdf" target="_blank"><b>Gaeilge-Béarla</b></a>, <a href="https://araireland.ie/sites/default/files/Resources/ArchivalTerminology_English_Irish_2021.pdf" target="_blank"><b>Béarla-Gaeilge</b></a>, <a href="https://araireland.ie/sites/default/files/Resources/Te%CC%81armai%CC%81ocht%20Chartlainne_Gaeilge_2021.pdf" target="_blank"><b>Gaeilge amháin</b></a>.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Bunachar <a href="http://www.ciscra.org/mat/" target="_blank"><b>Téarmaíochta Cartlainne Ilteangach</b></a> de chuid Chomhairle Idirnáisiúnta na gCartlann.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://nuigarchives.blogspot.com/2022/08/university-of-galway-poster.html" target="_blank"><b>English version of this blog</b></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><br /><span><br /></span></span></div><p></p><div class="separator" style="clear: both; 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text-align: center;"><br /></div></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-51358098882134626042022-09-07T21:24:00.002+01:002022-09-19T14:38:45.518+01:00University of Galway Poster Presentation at the International Council on Archives' biennial conference, Rome 19-23 September 2022.<div style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPh3uEjyWbhEgrVREjV9Dp0fhOYApaMppflsNQwD06tD7A2eHfumWHTVtzIcrZbkS0KTO_IPd_efgqhYQcu7QMOrRAdYPeb7eO_TdnKHGUC9jAOkJNMy6CSC2a92xYXpFMM5bWO2KJXDNC3raatFV_YUXif6omp1NwAdgviYMHGGwulp0qxYOiLjVlmw/s648/Screenshot%202022-08-03%20at%2011.57.50.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="648" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPh3uEjyWbhEgrVREjV9Dp0fhOYApaMppflsNQwD06tD7A2eHfumWHTVtzIcrZbkS0KTO_IPd_efgqhYQcu7QMOrRAdYPeb7eO_TdnKHGUC9jAOkJNMy6CSC2a92xYXpFMM5bWO2KJXDNC3raatFV_YUXif6omp1NwAdgviYMHGGwulp0qxYOiLjVlmw/w217-h203/Screenshot%202022-08-03%20at%2011.57.50.png" width="217" /></a></div><span style="text-align: left;"><br /></span></div><div style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div style="clear: both; text-align: center;"><span style="text-align: left;">The Conradh na Gaeilge archive at the University of Galway, and the work by archivist Niamh Ní Charra to process it and make it available for researchers, forms the basis of a poster presentation at the upcoming <b><a href="https://ica2022roma.com/" target="_blank">International Council on Archives </a></b>conference taking place in Europe for the first time since 2015. Ní Charra is flying the flag for Irish archives and archivists at the conference and her contribution marks the first time the Irish language will have featured in the conference's ten year history.</span></div><p style="text-align: left;">The theme of this year's conference is <i>"Archives: Bridging the Gap"</i>, which is further divided into four categories: <i>"Bridging the Digital Gap"</i>, <i>"Bridging the Cultural Gap"</i>, <i>"Bridging the Democracy Gap" and "Bridging the Distance"</i>. Ní Charra's submission falls under the second category and background information to accompany her onsite poster presentation follows below.</p><p style="text-align: left;"><br /></p><h3 style="text-align: center;"><u><span style="color: #741b47;">The Conradh na Gaeilge archive at University of Galway, Ireland</span></u></h3><div style="text-align: center;"><b><i>A case study of the work to process an Irish language archive, </i></b></div><div style="text-align: center;"><b><i>the resulting side project to designate archival terms in Irish, </i></b></div><div style="text-align: center;"><b><i>and the wider benefits attainable when cataloguing minoritized-language archives.</i></b></div><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><span style="color: black;">In 2018 work commenced on processing and cataloguing the iconic Conradh na Gaeilge archive at the University of Galway. Earlier this year, the work was completed and the archive was officially launched <a href="https://hardimanlibrary.blogspot.com/2022/02/conradh-na-gaeilge-archive-catalogued.html" target="_blank"><b>online</b></a>. The deposit, processing and release of the Irish language organisation's archive at the university helps bridge the cultural gap through the partnership of a cross-border organisation and a university with a unique Irish language remit, through bilingual cataloguing, through the designation of over 200 archival terms in the Irish language and through the use of the archive to highlight the work of the organisation itself.</span></span><span style="text-align: left;"><span style="color: black;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><span style="color: black;"><br /></span></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Biyb02CnN9MiywRcGrdGcpyxxpNEmGgzBTI1u1PuGslySk5Bm5eJ5x6Rq-8I7GQHTaMnbjm7q7IbJ53xWtB77ANJk_aVX-5j3SHZ3hmiycXwqAlyuG__tMwgD1j4oAhXasXWSbgw7PUCWFE8dr94UO6CIl4MTcJ80EC8tECBUU1Ryhe0Bv6uMrnGuw/s3741/CnaG%20membership%20card.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2985" data-original-width="3741" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Biyb02CnN9MiywRcGrdGcpyxxpNEmGgzBTI1u1PuGslySk5Bm5eJ5x6Rq-8I7GQHTaMnbjm7q7IbJ53xWtB77ANJk_aVX-5j3SHZ3hmiycXwqAlyuG__tMwgD1j4oAhXasXWSbgw7PUCWFE8dr94UO6CIl4MTcJ80EC8tECBUU1Ryhe0Bv6uMrnGuw/w266-h212/CnaG%20membership%20card.jpeg" width="266" /></a></div><p></p><p><b><u><span style="color: #741b47;">Who are Conradh na Gaeilge?</span></u></b></p><p><b> <a href="https://cnag.ie/en/" target="_blank">Conradh na Gaeilge</a></b> [The Gaelic League] is an organisation which was founded in 1893 to promote the Irish language in Ireland and abroad. Material gives a unique insight into the last 130 years or more of the history of the island of Ireland. Staff were actively involved in promoting and observing the use of Irish across all aspects of everyday activities. A significant portion of material covers several language rights campaigns. Also included are documents relating to prisoners' rights and civil rights in Northern Ireland.</p><p>Conradh were instrumental in community campaigns which led to the</p><p></p><ul style="text-align: left;"><li>creation of Irish language radio and television stations [1972, 1996]</li><li>the enactment of the Official Languages Act [14 July 2003] in Ireland</li><li>making Irish an official language of the European Union [1 January 2007]</li></ul><div>They are still campaigning for Irish language rights in Northern Ireland. </div><div><br /></div><div><i><b>At the core of these campaigns is the right of the individual to their own name, and to living and interacting in their own language, one that is indigenous to this island.</b></i></div> <div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgF5a_rFGKAAVcxqUtfHc83p3D6W0Ww5zkp4BO2PCCRt1dATKhVhRj6WHhWkkdjeCrw_jbI-zezvK9PHpnrp8WsajJS_apIcwrpIf_NdtF5jz7YplCFk_pIJkvSOpHVuaMIXk2VltzIi8bxeWmZEDmUwvLI5IApLv9KvtRMLLbhYtYz0xohJTuZrgA/s2115/culturaldomination.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1335" data-original-width="2115" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZAgF5a_rFGKAAVcxqUtfHc83p3D6W0Ww5zkp4BO2PCCRt1dATKhVhRj6WHhWkkdjeCrw_jbI-zezvK9PHpnrp8WsajJS_apIcwrpIf_NdtF5jz7YplCFk_pIJkvSOpHVuaMIXk2VltzIi8bxeWmZEDmUwvLI5IApLv9KvtRMLLbhYtYz0xohJTuZrgA/s320/culturaldomination.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPmQyYx2Ge9RrUvPxir0YzXSHlDIZ0MjXRFsYKPRAsNjHC5b3medcgFN5zl9uqKC6MAZH_pfKIexORLnOeSsqEIAKcVXopxru6axFS7TUKVSa5XIVQ54-dHXbPxqzy7hzrNAPnI5eWNlFqQIle_d_8cXFID1e9A62Kb7gQDLOtqM_5s_sQQZeaTqY5YQ/s9072/Cultural%20Imperialism.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6083" data-original-width="9072" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPmQyYx2Ge9RrUvPxir0YzXSHlDIZ0MjXRFsYKPRAsNjHC5b3medcgFN5zl9uqKC6MAZH_pfKIexORLnOeSsqEIAKcVXopxru6axFS7TUKVSa5XIVQ54-dHXbPxqzy7hzrNAPnI5eWNlFqQIle_d_8cXFID1e9A62Kb7gQDLOtqM_5s_sQQZeaTqY5YQ/s320/Cultural%20Imperialism.jpg" width="320" /></a></div><br /><u><br /></u></b></div><div><b><u><br /></u></b></div><div><b><u><span style="color: #741b47;">Why University of Galway?</span></u></b><div><span> </span>When deciding where to deposit this immensely rich and significant archive, Conradh na Gaeilge were conscious of the importance of choosing the right institution to house the archive and carry out the work required. After much careful consideration, they chose the <a href="https://www.nuigalway.ie/" target="_blank"><b>University of Galway</b></a>, formerly the National University of Ireland, Galway. There were several reasons for this decision.</div><div><b><br /></b></div><div><ul style="text-align: left;"><li><b>Remit of the university</b> - a unique aspect of the University of Galway's remit as a university is its strategic commitment to the provision of university education through the medium of Irish, its aim to serve the Gaeltacht [Irish language speaking regions] and the Irish language community, and to create an exemplary bilingual campus.</li><li><b>Location</b> - the university is situated on the West coast of Ireland on the edge of the Connemara Gaeltacht, one of several Irish-speaking regions in Ireland. Furthermore, its links with the region are strengthened by its Irish language education and cultural centres in towns in both the Connemara and Donegal Gaeltachts. </li><li><b>Other Irish language archives</b> - this iconic collection joins many more Irish language archives at the university, many of which have links to it.</li><li><b>Respect</b> - in choosing the University of Galway, Conradh na Gaeilge ensured a unique partnership where respect for the language and for the material was central to the task at hand.</li></ul><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgBaBY1lo-j9cycWnLq8dXZBVw96FHHTIFrryuSvBIyR4kV09EZKxrDbh0G4uNrsmq414IIHkTmujKYzo2o2B91LaU2OkAHJxSEE9saeuurAwhBr2rYVjQCwdVZ29TDhEl_3EbI5KkLr_iyfSFB6bkbP1Clj-SAj6JYAjmFQP5z3OiLLEiZir8UYxl-Q/s1783/Childwithdoll.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1783" data-original-width="1147" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgBaBY1lo-j9cycWnLq8dXZBVw96FHHTIFrryuSvBIyR4kV09EZKxrDbh0G4uNrsmq414IIHkTmujKYzo2o2B91LaU2OkAHJxSEE9saeuurAwhBr2rYVjQCwdVZ29TDhEl_3EbI5KkLr_iyfSFB6bkbP1Clj-SAj6JYAjmFQP5z3OiLLEiZir8UYxl-Q/s320/Childwithdoll.jpeg" width="206" /></a></div><br /><div><br /></div></div><div><b><u><span style="color: #741b47;">Unique considerations:</span></u></b></div><div><span> </span>Apart from the normal decisions archivists need to make when appraising, processing, preserving and cataloguing an archive, the nature of this particular archive brought additional unique considerations.</div><div><span> </span>As part of the agreement between Conradh na Gaeilge and the university, it was vital that the archive be listed in Irish to ensure it was inclusive for the Irish language community. It was decided by the archivist to also list in English to ensure this wonderful archive was accessible to non-Irish language speakers as well. (Many press releases and other material are in English, and there are in fact 24 languages represented in the collection).</div><div><span> Decisions on spelling also needed to be made: Irish language spelling was not standardised until the 1950s and many variations of spelling exist throughout the collection as a result. For the purposes of consistency, modern spelling was chosen with older versions also listed where necessary (eg Connradh na Gaedhilge [Conradh na Gaeilge]).</span></div><div><span><span> Decisions on CALM included what order the Irish and English listings appeared, how to separate the two, whether to use free text or drop down menu options for certain fields and where to override the default options. With bilingual listing inputted in CALM, generating a report through CALM would automatically result in the finding aid also being bilingual. It was therefore decided to also provide an Irish-only version as a word document.</span><br /></span></div><div><span><span><span> Throughout the cataloguing process, use was made of the university's translation department. However, their excellent work was hampered due to the nonexistence of Irish language archival terminology at the time.</span><br /></span></span></div><div><span><span><span><br /></span></span></span></div><div><span><span><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_ds_TNxmOIOuQXRh8nvKqBpL7hIzNnOyVaiy8oTUA7-82CYd9pkxcOqmtkZmO-ika1R5X4UqG_LNMCVYNAjddfqzn4SKpodeY9jQQoQVs5qsHbHG-I7D34-JXmgDaDI1IinmKYvoGOvoaOWKCvnNj7_96td8c4Y-elH__10TwjBFs3HJxDiLbWI8SA/s3681/DancersIrishDay.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: right;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmBphvS-7P400wydhZ91W9avvtD4SbOrMkfTDTnRY94e5_RWx7KHCqnUW9a6dSXRsv72ldbIvwuMkGCYrHaQVJ3zhK1hpMY7-39x_l7NO12JQkVfQxggbwVYyC_Dhx-rVU0n28QmJo_W0g_nxV7c2VG6dCGLN_VxB7bj6v9hQa9ZJF4CuuYQOS_qYNjQ/s1846/Camogie%20Team.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1435" data-original-width="1846" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmBphvS-7P400wydhZ91W9avvtD4SbOrMkfTDTnRY94e5_RWx7KHCqnUW9a6dSXRsv72ldbIvwuMkGCYrHaQVJ3zhK1hpMY7-39x_l7NO12JQkVfQxggbwVYyC_Dhx-rVU0n28QmJo_W0g_nxV7c2VG6dCGLN_VxB7bj6v9hQa9ZJF4CuuYQOS_qYNjQ/w280-h218/Camogie%20Team.jpeg" width="280" /></a><img border="0" data-original-height="2602" data-original-width="3681" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_ds_TNxmOIOuQXRh8nvKqBpL7hIzNnOyVaiy8oTUA7-82CYd9pkxcOqmtkZmO-ika1R5X4UqG_LNMCVYNAjddfqzn4SKpodeY9jQQoQVs5qsHbHG-I7D34-JXmgDaDI1IinmKYvoGOvoaOWKCvnNj7_96td8c4Y-elH__10TwjBFs3HJxDiLbWI8SA/w307-h217/DancersIrishDay.jpeg" width="307" /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></span></span></div><div><b><u><span style="color: #741b47;">Side project - 200 archival terms designated in the Irish language:</span></u></b></div><div><span><span><span><span> </span>Issues with catalogue translations arose early in the process due to the absence of official archival terminology in the Irish language. The incredibly rich language meant that there were multiple options for some terms, while other terms simply did not have any Irish language equivalent, or the specific meaning as it related to the archival context was being lost. Ní Charra discovered that while Irish language archive collections exist all over the country, very few had been catalogued in Irish, and those that had been were done on an ad-hoc basis. The inconsistencies between listings from an archival standards point of view had not been recognised.</span></span></span></div><div><span><span><span><br /></span></span></span></div><div><span><span><span><span> As a direct consequence of these issues, she instigated and co-led a project involving University of Galway, the National Archive of Ireland and An Coiste Téarmaíochta [The Irish Language Terminology Committee]. <a href="https://m.facebook.com/nuigalway/videos/irish-archival-terminology-project/361640732329360/" target="_blank">The collaboration</a> led to 200 archival terms being officially designated in the Irish language. Thanks in no small part to Dr Luciana Duranti, these terms are now available on ICA's MAT database where Ní Charra has been nominated as the Irish language co-ordinator.</span><br /></span></span></span></div><div><span><span><span><span><br /></span></span></span></span></div><div><span><span><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcFf_T6QOVsUaAAGODNWIAZlNF3EX28WIob1S1WkzlI2v89cYnmmLTYs5IsKLrqYquI0mXpvnPBd2Zj-tUTGaHEVAvEcPHaK7xL0fJerj-MP8Vw5tnlqGWVC4tFdrrQ8E6_4ieoyyHW9e-RYaxRCVkjN38PE7Xd88EVLTjAdQoXYWUEvOs4VwyJFULpQ/s544/ARC%20Mag.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="416" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcFf_T6QOVsUaAAGODNWIAZlNF3EX28WIob1S1WkzlI2v89cYnmmLTYs5IsKLrqYquI0mXpvnPBd2Zj-tUTGaHEVAvEcPHaK7xL0fJerj-MP8Vw5tnlqGWVC4tFdrrQ8E6_4ieoyyHW9e-RYaxRCVkjN38PE7Xd88EVLTjAdQoXYWUEvOs4VwyJFULpQ/w217-h284/ARC%20Mag.png" width="217" /></a></div><b><u><div><span><span><span><b><u><br /></u></b></span></span></span></div><span style="color: #741b47;">Project Benefits:</span></u></b></span></span></span></div><div><span><span><span><div class="separator" style="clear: both; text-align: left;"><span> </span>The dual project to have Conradh na Gaeilge's archive at the University of Galway appraised, preserved and catalogued, which in turn led to the creation and designation of archival terms in the Irish language has been hugely beneficial. The cataloguing of this iconic archive is not just a good case study - it is a perfect showcase for the following reasons:</div><div class="separator" style="clear: both; text-align: left;"><ul style="text-align: left;"><li><b>Consistency</b> - having this new terminology available encourages consistency in Irish language listing to archival standards.</li><li><b>Inclusivity</b> - it enables Irish language archives to be listed in Irish making them inclusive and ensuring those for whom the archives relate the most, have access.</li><li><b>Respect and recognition</b> - making such a significant archive available and doing so through Irish, using official terms in that language, is an important recognition of both the indigenous language itself, and the community who speak it as their first language.</li><li><b>Creates awareness</b> - collections in minoritized languages are often overlooked by researchers, despite being very rich in material. The stories in these archives are therefore often missing from the overall narrative.</li><li><b>Adoption</b> - having the terminology should hopefully encourage Axiell and others to adopt it and make their products available in Irish.</li><li><b>Positive knock-on effect</b> - this case study and new terminology should encourage more institutions to have more Irish language archives catalogued.</li></ul></div><div class="separator" style="clear: both; text-align: left;"><i><b><span style="color: #741b47;"><br /></span></b></i></div><div class="separator" style="clear: both; text-align: left;"><i><b><span style="color: #741b47;">Decolonising the archive</span></b> - if we want to start a conversation about decolonising the archive, we need to think about the language <b><span style="color: #741b47;">of</span></b> the archive.</i></div><div class="separator" style="clear: both; text-align: left;"><span> </span></div><div class="separator" style="clear: both; text-align: left;"><span> </span>When considering the coloniality of the archive the discussion is generally either centred around the material of the archive, certain problematic terms being used in describing the archive, or perhaps the bias of those descriptions, but very rarely is the <i>language</i> itself the catalogue entry is <i>in</i> considered. In addition, there is a tendency within Europe to think of present and former colonies being located outside of the continent itself, and the archival community are no different in this regard. This project therefore can act as a gentle reminder that some former colonies are much closer to home, and other parts of this continent remain contested and divided territories.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3rY4OjGVdzVFdWUePV2hQXkdgZDPibgQaFAU2kUuv0IKwCJcEF7IwjrNaJCifedw8mqu4xuM1QN0mjU2E-AoWxduyS33CZ9YblTxrj-TbxYMF0TynaEznkvZLlXbrmn1l9-lZ_OUrK9e75QRa4jjAtJHtTTJwpK4Z6GiE3iEtK5yLKWUEvw0z3ABGKw/s800/Personal%20dictionary%20CnaG.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="647" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3rY4OjGVdzVFdWUePV2hQXkdgZDPibgQaFAU2kUuv0IKwCJcEF7IwjrNaJCifedw8mqu4xuM1QN0mjU2E-AoWxduyS33CZ9YblTxrj-TbxYMF0TynaEznkvZLlXbrmn1l9-lZ_OUrK9e75QRa4jjAtJHtTTJwpK4Z6GiE3iEtK5yLKWUEvw0z3ABGKw/s320/Personal%20dictionary%20CnaG.jpeg" width="259" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><u><span style="color: #741b47;">Challenge to the archive community:</span></u></b></div><div class="separator" style="clear: both; text-align: left;"><span> </span>The challenge for the archive community, is not only to ensure that when these stories are told, they are preserved and accessible in archives, but also to ensure this access is as inclusive as possible. Whether material is in Irish or in other minoritized languages (and the term "minoritized", not "minority" here is key), the archive community should do our best to ensure we are not part of the obstacles communities face when trying to access these stories. Providing more bi/multi-lingual cataloguing, and doing so in a consistent manner to archival standards through the creation/designation of archival terminology, is one step towards bridging this cultural gap.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZunvUiNYdFMCsBUp6C1HLGniQUClJZpTkn5umaXywSn2kMzdAnvT9gJK7VAewc0AyPNWsUi4Y1tdx4Z7hiiu2_fi0YX1uOeHPNbeaGGwPEKkyNime7BBq0rfNvmd8bOIKU6YucTWKgUO6CsC463pk9-mWji5gP10F5iaUPgIvwFLI_0PcryZHIKbVbw/s3283/BillOfRights.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3283" data-original-width="2384" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZunvUiNYdFMCsBUp6C1HLGniQUClJZpTkn5umaXywSn2kMzdAnvT9gJK7VAewc0AyPNWsUi4Y1tdx4Z7hiiu2_fi0YX1uOeHPNbeaGGwPEKkyNime7BBq0rfNvmd8bOIKU6YucTWKgUO6CsC463pk9-mWji5gP10F5iaUPgIvwFLI_0PcryZHIKbVbw/w174-h240/BillOfRights.jpeg" width="174" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><u><span style="color: #741b47;">Useful Links:</span></u></b></div><div class="separator" style="clear: both; text-align: left;"><span> </span>More information on the archive itself, and on the project to designate archival terms in Irish can be found below:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://hardimanlibrary.blogspot.com/2022/02/conradh-na-gaeilge-archive-catalogued.html" target="_blank"><b>Launch of the Conradh na Gaeilge Archive</b></a> </div><div class="separator" style="clear: both; text-align: left;"><a href="https://exhibitions.library.nuigalway.ie/s/cnag/page/home" target="_blank"><b>Conradh na Gaeilge Digital exhibition</b></a></div><div class="separator" style="clear: both; text-align: left;"><a href="https://www.nuigalway.ie/about-us/news-and-events/news-archive/2021/october/project-led-by-nui-galway-archivist-secures-global-recognition-for-200-irish-language-archival-terms.html" target="_blank"><b>200 Archival terms designated in the Irish language</b></a></div><div class="separator" style="clear: both; text-align: left;">PDFs of the terminology in <a href="https://araireland.ie/sites/default/files/Resources/ArchivalTerminology_English_Irish_2021.pdf" target="_blank"><b>English-Irish</b></a>, <a href="https://araireland.ie/sites/default/files/Resources/Te%CC%81armai%CC%81ocht%20Chartlainne_Gaeilge_Be%CC%81arla_2021.pdf" target="_blank"><b>Irish-English</b></a>, <a href="https://araireland.ie/sites/default/files/Resources/Te%CC%81armai%CC%81ocht%20Chartlainne_Gaeilge_2021.pdf" target="_blank"><b>Irish only</b></a></div><div class="separator" style="clear: both; text-align: left;">International Council on Archives <b><a href="http://www.ciscra.org/mat/" target="_blank">Multilingual Terminology Database</a>.</b></div><div class="separator" style="clear: both; text-align: left;"><a href="https://nuigarchives.blogspot.com/2022/09/leiriu-postaer-ollscoil-na-gaillimhe-ag.html" target="_blank"><b>Leagan Gaeilge den bhlag seo</b></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><span><br /></span></span></span></span></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5g7pAPjmcqUCjhM3t2SgPIUKl2wi4GEqqs3v2jxBDfskiOvjYfbxnbH8DnMBJ7HCJaHvYmPJFX4s6Rh4RnGj3GR28pFyyIqQTnyBtATjfKh6Z6gQLCIS04-0VvZShGtmlWoRZQXAQyrwT9rx8w-2oBWIVbyDWRG1D8jD-P0DvbU6__Xl3rqGLLv-8g/s4512/G60_9_4_18_3_3_011.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4512" data-original-width="4352" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5g7pAPjmcqUCjhM3t2SgPIUKl2wi4GEqqs3v2jxBDfskiOvjYfbxnbH8DnMBJ7HCJaHvYmPJFX4s6Rh4RnGj3GR28pFyyIqQTnyBtATjfKh6Z6gQLCIS04-0VvZShGtmlWoRZQXAQyrwT9rx8w-2oBWIVbyDWRG1D8jD-P0DvbU6__Xl3rqGLLv-8g/w245-h254/G60_9_4_18_3_3_011.jpeg" width="245" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQLLMJuBtNp9Lyb-fSgMeUHxAPUuu1RppLjxVkO-LwEE18jUOb_hZ3v5ZJ3hoHnDyNPz9PylvywRuuqpGc3jjflg1PUlrRSkTmU_EKUxt3-FZPaqMKnv66EqBO89TmoQFYWWS1L6lMfFbSKvM0wu_UVCPDE3vohp5rVuL1PxGirT54AlK5X6g9MsiaA/s5968/WePackageShamrock.jpeg" style="clear: right; display: inline; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4592" data-original-width="5968" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQLLMJuBtNp9Lyb-fSgMeUHxAPUuu1RppLjxVkO-LwEE18jUOb_hZ3v5ZJ3hoHnDyNPz9PylvywRuuqpGc3jjflg1PUlrRSkTmU_EKUxt3-FZPaqMKnv66EqBO89TmoQFYWWS1L6lMfFbSKvM0wu_UVCPDE3vohp5rVuL1PxGirT54AlK5X6g9MsiaA/w333-h256/WePackageShamrock.jpeg" width="333" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKq0U2ZO_e7d7f0PezhSi2Er6UUsxbnyrXGiDAgSOGpfDt0qzJmqbcWJtwZHCTW15hJYNB6dChFwrEk0xv6cZTvM8fZvsMP9IiKWMOZI0ve2W1F_lczhxGiPa6UNnAebvl3YWlIfNjOphh4REaXa_nlId2cweuZuxMG2DkM3tsJWY82QplXeQVvFFquw/s4490/ICA%20Rome%202022%20Poster%20.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4490" data-original-width="3178" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKq0U2ZO_e7d7f0PezhSi2Er6UUsxbnyrXGiDAgSOGpfDt0qzJmqbcWJtwZHCTW15hJYNB6dChFwrEk0xv6cZTvM8fZvsMP9IiKWMOZI0ve2W1F_lczhxGiPa6UNnAebvl3YWlIfNjOphh4REaXa_nlId2cweuZuxMG2DkM3tsJWY82QplXeQVvFFquw/w249-h353/ICA%20Rome%202022%20Poster%20.jpeg" width="249" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wtaUNZkU8hL7wtNt_f3KKvzRBWwPbmtreCoPxtO_JRCrYx8LLzoLzi7pNZ075tUxQqF6zLuPbGOPNFKHWMwA8PuPxvlWBDLxyyif1WpKfj4BhrrBbdatXJmcXHc4LNKBi7KfyWuW-8-k5SpAFGj-noZ8YDV7dcP42fklDHRyfnKOfWSk9cL-4hWc8A/s5968/WePackageShamrock.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-82160536590720628662022-08-11T10:47:00.002+01:002022-08-12T10:10:17.903+01:00'Cruinniú na mBád' and the Galway Hooker - From the Archives<p class="MsoNormal">This week sees the return of the Cruinniú na mBád Festival in
Kinvara. Now in its 42nd year since its revival in the late 1970s, the Festival
attracts up to one hundred of the famous Galway Hooker boats, among many
others, as part of a celebration marking the tradition and rich history of the
Galway Hooker and of sea faring along the West coast. <o:p></o:p></p>
<p class="MsoNormal">The boats, with their distinctive sails, are synonymous with
Galway and the West of Ireland. Within the Archives of the Library are numerous
collections which make reference to and document various histories and
information about the history of the boat and its connection to the sea and the
people. Material is present in the <a href="https://digital.library.nuigalway.ie/islandora/object/nuigalway%3A12146?solr_nav%5Bid%5D=7a1ad89c4f74521f757d&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0#page/58/mode/2up">digitised
journal, <i style="mso-bidi-font-style: normal;">Rural Ireland</i></a>, published
by Muintir na Tíre, The Tim Robinson Archive includes a <a href="http://www.calmhosting01.com/NUIG/CalmView/Record.aspx?src=CalmView.Catalog&id=P120%2f2%2f49&pos=20">photograph
of a Galway Hooker from 1953</a> and the Heinrich Becker Collection has <a href="http://www.calmhosting01.com/NUIG/CalmView/Overview.aspx?src=CalmView.Catalog">numerous
photographs of the boats</a> across the Claddagh and Galway Bay in the 1940s. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgze5imLBt-0Jl3P50JnHGGiRp7IW-9-2Denv4D1-cnvD-t0DhX_n4J1O5h8zeZN6vgg0vyFRSW0z-C8i--huykutmgD1sJcIsz9kNE06ieKxXodLN3HX3d9QY-xwqKGhNC14Td0OaHIPs91QydSivJakjfx4rOaHWyNmk4jVA4rTm_cWUgONIgO2ptCg/s1192/G22_59_1_002.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="880" data-original-width="1192" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgze5imLBt-0Jl3P50JnHGGiRp7IW-9-2Denv4D1-cnvD-t0DhX_n4J1O5h8zeZN6vgg0vyFRSW0z-C8i--huykutmgD1sJcIsz9kNE06ieKxXodLN3HX3d9QY-xwqKGhNC14Td0OaHIPs91QydSivJakjfx4rOaHWyNmk4jVA4rTm_cWUgONIgO2ptCg/w400-h295/G22_59_1_002.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">G22_59_1_002 From Heinrich Becker Archive</td></tr></tbody></table><p class="MsoNormal">Within the Bob Quinn archive are a number of archive images from
previous Cruinniú na mBád at Kinvara. A contact sheet of images is present from
the Kinvara festival in 2002. Quinn is a famous Irish film-maker and
photographer who has a well renowned list of award-winning films and
documentaries. <i>Poitín</i> (1978) was the
first feature film made entirely in Irish. The film starred Cyril Cusack, Donal
McCann, and Niall Tóibín.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">From the Quinn archive of photographs are these images from
the 2002 Cruinniú na mBád which show the Galway Hooker in full sail and with the
locals enjoying the festivities. <o:p></o:p></p>
<p class="MsoNormal">Bob Quinn was also awarded an <a href="https://twitter.com/nuigalway/status/1511670021063426053?lang=en">honorary
Doctorate of Arts by NUI Galway in a ceremony</a> in April 2022. The <a href="http://www.calmhosting01.com/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=P99">full
catalogue of the Bob Quinn Photographic Archive</a> is online here. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNoSSnzNbzdAbT55CL_behD6dDYNMbeD1sXOALxWIMX-D0bYigzs72ckpb0hrEDGKKZknYT0ehufzeP7qwOxrBdwzJ2KkVVpg6biLSNtCSO-D6ZHu5juGbU3049phpGjXeOYROhOqCSbu9K0FPbyHQsdnWhSvwh4LQwqpkZHtB4vQ5yNAT_BVW2331iA/s4160/IMG_20220811_094156.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3120" data-original-width="4160" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNoSSnzNbzdAbT55CL_behD6dDYNMbeD1sXOALxWIMX-D0bYigzs72ckpb0hrEDGKKZknYT0ehufzeP7qwOxrBdwzJ2KkVVpg6biLSNtCSO-D6ZHu5juGbU3049phpGjXeOYROhOqCSbu9K0FPbyHQsdnWhSvwh4LQwqpkZHtB4vQ5yNAT_BVW2331iA/w640-h480/IMG_20220811_094156.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">P99_4_13 - Galway Hooker at Kinvara, 2002. Bob Quinn Archive<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkaa78_c16Jw767C6xqbp93ZimIXXgJCO7pqzeP7N0ItCiOsI7vngvo6J35hjzma-El2C7DEcthXGu4FmP9DDYCFnNlfT0QxeMZnNc0SCZqArqUhGuMZEbqTKC1NStlS4AuGhLdbDro5mvV5VNpcz2RScrr542UioK92Z1k_GXHoZUZXBSFMVTKyyJsw/s4160/IMG_20220811_094229.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkaa78_c16Jw767C6xqbp93ZimIXXgJCO7pqzeP7N0ItCiOsI7vngvo6J35hjzma-El2C7DEcthXGu4FmP9DDYCFnNlfT0QxeMZnNc0SCZqArqUhGuMZEbqTKC1NStlS4AuGhLdbDro5mvV5VNpcz2RScrr542UioK92Z1k_GXHoZUZXBSFMVTKyyJsw/w400-h300/IMG_20220811_094229.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">P99_4_13 - Galway Hooker at Kinvara, 2002. Bob Quinn Archive<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9kwczLxfsx46QeNWHWfb0nScPj58lX89_jQGLbNMDbICjZGGEfLEiypPXmlEe7ISsz7PaT85y17qZaFfGLA3PS8pkKf54Dyl_1BYJh_JSRIXY4phX8YPjD9_Gv15IZVMKuTtm6uVBHZOjcON4c--SOj7TkNOwUjUL35rjJ7OwEYwpWvo9b5V3mTzCg/s4800/Kinvara%20Hooker.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3484" data-original-width="4800" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9kwczLxfsx46QeNWHWfb0nScPj58lX89_jQGLbNMDbICjZGGEfLEiypPXmlEe7ISsz7PaT85y17qZaFfGLA3PS8pkKf54Dyl_1BYJh_JSRIXY4phX8YPjD9_Gv15IZVMKuTtm6uVBHZOjcON4c--SOj7TkNOwUjUL35rjJ7OwEYwpWvo9b5V3mTzCg/w400-h290/Kinvara%20Hooker.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">P99_4_13 - Galway Hooker at Kinvara, 2002. Bob Quinn Archive</td></tr></tbody></table>.<br /><p class="MsoNormal"><br /></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-52367397667622399622022-05-19T11:51:00.002+01:002022-05-19T11:51:32.090+01:00Patricia Burke Brogan - An Archive of a "Renaissance Woman".<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiImlynvqmXcxtVzZvMZt1uq65ZNhdINtENGBXlxHskSUy0ZBawmjOGsc9t4qCKEvAX5tqEaq_v3Lgd5yiVtn3kU9nGPtfBKLagyfdeUrqEU_z94EyDjvaVADyl07nswp5e38IHdbMCvc84hYgNkvqSgfy1AVmbvEbKxNO5jI1FNFEkBf2X17BQ7KbwHw/s1200/PBB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiImlynvqmXcxtVzZvMZt1uq65ZNhdINtENGBXlxHskSUy0ZBawmjOGsc9t4qCKEvAX5tqEaq_v3Lgd5yiVtn3kU9nGPtfBKLagyfdeUrqEU_z94EyDjvaVADyl07nswp5e38IHdbMCvc84hYgNkvqSgfy1AVmbvEbKxNO5jI1FNFEkBf2X17BQ7KbwHw/s320/PBB.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Patricia Burke Brogan (c) Joe Shaughnessy</td></tr></tbody></table></p><p class="MsoNormal" style="line-height: 150%;"><span>T</span>he playwright, poet, and artist,
Patricia Burke Brogan is to receive the Freedom of Galway City in a ceremony on
Friday 20<sup>th</sup> May. Burke Brogan is widely regarded for her writing which
always dared to speak of an often hidden Ireland, and which through poetry or
the stage, gave presence and voice to neglected and marginalised women’s
voices. The Patricia Burke Brogan archive, containing annotated drafts and
scripts of her plays, notes on her writings, correspondence, programmes,
posters and press cuttings about her work from Ireland and around the world, along with other collected items, is
deposited at the NUI Galway Library Archive.</p><p class="MsoNormal" style="line-height: 150%;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">Burke Brogan’s most
well-known play is <i style="mso-bidi-font-style: normal;">Eclipsed</i>, which<i style="mso-bidi-font-style: normal;"> </i>opened on 11 February 1992 in Galway,
produced by Punchbag Theatre Company. The play is framed by a present-day
prologue and epilogue, the play is set in 1963 in a convent laundry at St.
Paul's Home for Penitent Women in Killmacha, Ireland. <i style="mso-bidi-font-style: normal;"><a href="https://www.irishplayography.com/play.aspx?playid=30790">Eclipsed</a></i>
explores the practice of making pregnant and unwed Irish mothers work as
'penitents' in church-run laundries. Supervised by nuns who regarded these
women as mindless vessels of evil, the women were treated as virtual slaves and
their infants were forcibly put up for adoption.<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRc3QBAAVtHhd21N72QRspn3VFZFPH6OUjcE9YTJYsKQrSK7ToEYOhm2e1fBaM_aKAhQRzXeEyKmZDPB1fd4u_4FepowyqzIeSNS6skXx5ElVEB9peKKSBRE9ZghK0xd7itKQBIaqGvmtNmZmrWkEAGSxXaXHGMQylr0AzXXAfrss_e2Ya_lzeKJOf-A/s1200/Eclipsed%20Prog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="578" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRc3QBAAVtHhd21N72QRspn3VFZFPH6OUjcE9YTJYsKQrSK7ToEYOhm2e1fBaM_aKAhQRzXeEyKmZDPB1fd4u_4FepowyqzIeSNS6skXx5ElVEB9peKKSBRE9ZghK0xd7itKQBIaqGvmtNmZmrWkEAGSxXaXHGMQylr0AzXXAfrss_e2Ya_lzeKJOf-A/w193-h400/Eclipsed%20Prog.jpg" width="193" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Programme from <i>Eclisped</i>, 1992, Burke Brogan Archive, <br />NUI Galway Library Archives</td></tr></tbody></table><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><span style="text-indent: 36pt;">Following its
initial run in Galway the play toured to Project Arts Centre, Dublin and the
Richard De Marco Gallery Theatre, Edinburgh. Recent Irish and international revivals
were produced by Mephisto Theatre Company at the Town Hall Theatre, Galway in
2013, and later international productions include at the Spiegeltheater performance
season in Belgium in March 2015. The play had its American première at the
Worcester Forum Theatre in 1994 and was also later produced at the Seattle
Fringe Festival in 1995 at the Irish Rep Theatre in New York in 1999. </span><i style="text-indent: 36pt;">Eclipsed </i><span style="text-indent: 36pt;">won a prestigious Fringe First
award at the Edinburgh Festival in 1992 as well as being nominated for numerous
awards at the Los Angeles Are Theatre Awards 1995. </span>Her poetry has been widely published, with volumes including <i>Above the Waves/Calligraphy</i> (1994) published by Salmon Press.</p><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">Notes by Burke Brogan within her
archive at NUI Galway state:<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 36.0pt;">Under double
lock in pious laundry-cages, the “fallen women” of Ireland, unmarried mothers,
who had broken the Sixth and Ninth Commandments, washed the stench from our
clothes. Betrayed by lovers, signed in by parents, the women were also separated
from their children, who were either taken for adoption or enclosed in
industrial schools. In the laundries, the only shelters available to the
penitents, they lived a Spartan and loveless existence. Those who became
institutionalised remained inmates for life and buried in nameless graves. <o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">In 1990, when
the Galway Magdalen Laundry building was being demolished, Burke Brogan wrote a poem
entitled <i style="mso-bidi-font-style: normal;">Make Visible the Tree</i>. A section
of the poem together with a limestone sculpture of a Magdalen Woman were
unveiled by the author with the sculptor Mick Wilkins on International Women’s
day in Galway in 2009. In the poem Burke Brogan wrote: <o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">This
is the Place of Betrayal.<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">Roll
back the stones<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">behind
madonna blue walls.<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">Make
visible the tree.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">Burke Brogan has
long standing links with the University. She was part of the then U.C.G.
Writers Workshops, which brought together leading contemporary Irish writers
for talks and literary workshops, along with Thomas Kilroy, John McGahern, and
others. In 2015 Burke Brogan was awarded an honorary degree by NUI
Galway for her contribution to the Arts.#<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xacVNgWxyd2zsbcZMqW0bcGvnhFQ1tNlzrX3Z59rlPnFoRQmI1SfxtJJEHWrrQz4KagYo5vBLkN8wTHN8t7AcVhkCZoPMHDH6au1K6Y7kcWmQnF0KW5cPvR3D7q-WAZBm1qyHZrAZ8y-DFEVAxTvJm47Z27NOcXQaKiQJpa9ru_1N4QQCWT3pelTbQ/s1000/image3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="697" data-original-width="1000" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xacVNgWxyd2zsbcZMqW0bcGvnhFQ1tNlzrX3Z59rlPnFoRQmI1SfxtJJEHWrrQz4KagYo5vBLkN8wTHN8t7AcVhkCZoPMHDH6au1K6Y7kcWmQnF0KW5cPvR3D7q-WAZBm1qyHZrAZ8y-DFEVAxTvJm47Z27NOcXQaKiQJpa9ru_1N4QQCWT3pelTbQ/w640-h446/image3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">L - R, Charlie Byrne, Professor James Browne, Patricia Burke Brogan pictured at NUI Galway on the occasion of Honorary Conferring in 2015.</td></tr></tbody></table><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><span style="text-indent: 36pt;">Other materials
collected within the Burke Brogan archive include an annotated script for
another play, </span><i style="text-indent: 36pt;">Stained Glass at Samhain (Sister
Luke’s Story)</i><span style="text-indent: 36pt;">, first performed at the Town Hall Theatre, Galway in 2002. Set
at Halloween in the1990s, the play depicts Sister Luke, a former Mother
Superior of the nearby Magdalen Laundry, and who returns to her convent, as the
convent buildings are about to be demolished to make way for new apartments.</span></p><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">The memory of
Sister Luke’s life, within the Laundry and of her own reflections, are explored
within the play. Playwright Thomas Kilroy, speaking at the launch of the
publication of the play at the Town Hall Theatre Galway, said “It is a
wonderful thing to come across a truly visionary play, a poetic play and a play
which used the stage in a very interesting kind of way... I found it very moving
and I was even more moved by the silence, the fact that they were talking about
those unknown, unrecognised, unnamed graves.”<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN85ZtVVUr3BhanzalgnyU-lQsjxA-geoFUtECRJdqVFVv-gf7OcoX_ZoPpwYWjtrk7Bn8NXvHPZt8Ecs594g3PzIPxkZ-UqNxyNkT4Heq24CwJ4UOsyr-MJHtAKs67Xp7iowVgTljfzUwuAFExU3ZOUcaKSQNbmQAKVHlWqQPybmQKBvsx0GdnLoZDA/s4160/IMG_20220519_104738.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="3120" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN85ZtVVUr3BhanzalgnyU-lQsjxA-geoFUtECRJdqVFVv-gf7OcoX_ZoPpwYWjtrk7Bn8NXvHPZt8Ecs594g3PzIPxkZ-UqNxyNkT4Heq24CwJ4UOsyr-MJHtAKs67Xp7iowVgTljfzUwuAFExU3ZOUcaKSQNbmQAKVHlWqQPybmQKBvsx0GdnLoZDA/w480-h640/IMG_20220519_104738.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Excerpt from archived annotated script of <i>Stained Glass at Samhain</i>.<br />Patricia Burke Brogan Archive, NUI Galway</td></tr></tbody></table><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><span style="text-indent: 36pt;">Speaking at the
launch of Burke Brogan’s </span><i style="text-indent: 36pt;">Memoir with
Grykes and Turloughs</i><span style="text-indent: 36pt;"> in 2014, Sabina Higgins commented in her speech, a
copy of which is in the archive, that “Patricia emerges as a renaissance woman.
The breath of her knowledge and achievement is no many branches of life is both
wonderful and impressive.” The archive is a richly detailed insights into one
of Galway and Ireland’s most important contemporary writers. Today, students,
and scholars of NUI Galway, as well as visiting international researchers and
artists, from Brazil to the U.S.A., have consulted the archive and utilised it
within new research and productions, ensuring the life’s work of Burke Brogan
across the arts and to Irish social and cultural history, is continuing to
reach new audiences, informing new generations, and to keep the voices and experiences
in particular of the Magdalene women, alive and known to all who read her work.</span></p><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;">The catalogue of
the Patricia Burke Brogan <a href="https://archivesearch.library.nuigalway.ie/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=P140">Archive
can be searched online here</a>. <span style="mso-spacerun: yes;"> </span></p><p class="MsoNormal" style="line-height: 150%; text-indent: 36.0pt;"><span style="mso-spacerun: yes;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfFXSV_4DErxWZfJL768RrlQ3fQ5g-tbxnxEYy7dov-JgaqJNRYX9xiwicst0cl4wH13joL8xifAhQMTr_AWypCFBF7fR3ojInDz_L-2qWF-cf6MXJrNYHYyZKeUn0SCTO-RWV7x0R_w6uXvbkkAtV79p2TSzQMhT6rGd9ISTfnSwQaRHfCx0_RchQqQ/s4160/IMG_20220519_111019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfFXSV_4DErxWZfJL768RrlQ3fQ5g-tbxnxEYy7dov-JgaqJNRYX9xiwicst0cl4wH13joL8xifAhQMTr_AWypCFBF7fR3ojInDz_L-2qWF-cf6MXJrNYHYyZKeUn0SCTO-RWV7x0R_w6uXvbkkAtV79p2TSzQMhT6rGd9ISTfnSwQaRHfCx0_RchQqQ/w400-h300/IMG_20220519_111019.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Covers of first editions of poetry books written by Patricia Burke Brogan</td></tr></tbody></table><br /><br /><p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-90291564804026511442022-04-25T15:49:00.008+01:002022-04-25T15:57:23.664+01:00Eoghan Ó’Tuairisc - The Archive of a Bilingual Writer<p> </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCsmXnDhzdxwoYDCDQhoLDi58wKy15BmFBGdLacYtzBKkOAQ54J2IZd1fgxeGqIRs2eaEnbeX7ZY69Yt1KiQRzytcM7EXT_lRmxYRfUfwsQKqOSgkTKAeqpL7y1iS8gJGjQpAP-BnpUT_WNfBIy_y9lr6cZpWJujirKkkWGONaBI7WCtwdQ2DJxiATGw/s2080/IMG_20220425_140931.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2080" data-original-width="1560" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCsmXnDhzdxwoYDCDQhoLDi58wKy15BmFBGdLacYtzBKkOAQ54J2IZd1fgxeGqIRs2eaEnbeX7ZY69Yt1KiQRzytcM7EXT_lRmxYRfUfwsQKqOSgkTKAeqpL7y1iS8gJGjQpAP-BnpUT_WNfBIy_y9lr6cZpWJujirKkkWGONaBI7WCtwdQ2DJxiATGw/w300-h400/IMG_20220425_140931.jpg" width="300" /></a></div><p></p></blockquote><p class="MsoNormal"><span style="font-size: medium;">Born in Ballinasloe, Co. Galway in April 1919, Eoghan Ó’Tuairisc
(Eugene Watters) was a bilingual writer, with a prolific output through both
Irish and English, of poetry, stories, prose, novels and plays. He was educated
at Garbally College in his home town of Ballinasloe before joining the army in
1939. His parents were Thomas Watters, a shoemaker, who had been wounded at the
Battle of the Somme in France during the First World War, where he was a member
of the Connacht Rangers. And his mother was Maud Watters (née Sproule), was a seamstress
and clairvoyant. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;">Following his time in the army, Ó’Tuairisc enrolled in St.
Patrick’s College where he trained to be a teacher. The college was run through
Irish and which further extended his fluency. He qualified as a primary school
teacher in 1939. He later undertook an M.A. at University College Dublin,
graduating in 1947. Ó’Tuairisc married the artist Una McDonnell in 1945 but who
died suddenly in 1965. Following a period of personal and artistic withdrawal,
Ó’Tuairisc married the poet Rita Kelly in 1972. He was the recipient of
numerous literary awards throughout his life for his bi-lingual writing and was
also elected a member of Aosdána. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: medium;">Ó’Tuairisc won the Hyde Memorial Award for his early novel, <i>L’Attaque</i>, in 1962. In 1964, his book of
Irish poetry, <i>Lux Aeterna</i> again won
the award. In 1966, <i>Dé Luain </i>won the
American Cultural Award and a stage-play, <i>Lá
Fhéile Michíl </i>won the Oireachtas prize. Ó’Tuairisc is associated with a
number of theatres in Dublin and Galway, such Taibhdhearc na Gaillimhe, who
staged his 1974 play, <i>An Hairyfella in
Ifrinn</i>. He also won an Oireachtas prize for his play <i>Aisling Mhic Artáin</i> in 1977. As well as having works staged at An
Damer theatre in Dublin, Ó’ Tuairisic also contributed to work at the Peacock
stage and the main stage of the Abbey Theatre, such as <i>Táinbocú</i>, written by Ó’Tuairisc, Criostiór Ó Floinn and Gabriel
Rosenstock (1979), and the political revue, <i>A
State Of Chassis</i> (1970) with John D. Stewart and Tomas MacAnna.</span></p><p class="MsoNormal"><span style="font-size: medium;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS-cAAllTB7MC0JHs94h7mR_xE0sAUeizQfHmzSHEc8I9akvmyGKtvlRIBsQZz-PUYsjDCOWtbQpultBENMrZjY-VAdEVJlL0o0bn3r_EbUm_Ws99IxxWJwljYNNR-v7GJ8gkauBBev853FuwHbBO-cGAPUpWbm8ADzpQSLpR1zDeHonEWgxbWyr-S5A/s4160/IMG_20220425_124127.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS-cAAllTB7MC0JHs94h7mR_xE0sAUeizQfHmzSHEc8I9akvmyGKtvlRIBsQZz-PUYsjDCOWtbQpultBENMrZjY-VAdEVJlL0o0bn3r_EbUm_Ws99IxxWJwljYNNR-v7GJ8gkauBBev853FuwHbBO-cGAPUpWbm8ADzpQSLpR1zDeHonEWgxbWyr-S5A/w400-h300/IMG_20220425_124127.jpg" width="400" /></span></a></div><span style="font-size: medium;"><br /></span><p class="MsoNormal"><span style="font-size: medium;">The Ó’Tuairisc archive at NUI Galway Library comprises
twenty-six boxes of materials which documents Ó’Tuairisc’s literary and
personal life, including manuscripts, drafts of work, correspondence with
family, correspondence with Irish writers, editors and publishers, posters and
programmes, photographs and a range of other material from the literary life
over a number of decades. Files of letters are present from the likes of David
Marcus, a long-time editor of Ó’Tuarisc at the Irish Press and Poolbeg Press,
Tomás MacAnna at the Abbey Theatre, and other publisher of his poems and plays,
such as Mercier Press.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGcWuiS2jRvuLEdnYSy1Jq7V7hGXQLystXVemoON6dQahguQTI2j98GG5LVAdQwwT9b0K6_YiDv4B8Aq0Rs6rGYEcx96d1fPQa-2stHxc7F3Q0NqIo3RCS3YgygA4W_ysPsYM0QraACbrIEPfu6JmW_Geiyq_7qX8hT7ZBdjQWOYgVXctGcJmmIR3TJQ/s4160/IMG_20220425_124032.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="4160" data-original-width="3120" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGcWuiS2jRvuLEdnYSy1Jq7V7hGXQLystXVemoON6dQahguQTI2j98GG5LVAdQwwT9b0K6_YiDv4B8Aq0Rs6rGYEcx96d1fPQa-2stHxc7F3Q0NqIo3RCS3YgygA4W_ysPsYM0QraACbrIEPfu6JmW_Geiyq_7qX8hT7ZBdjQWOYgVXctGcJmmIR3TJQ/w300-h400/IMG_20220425_124032.jpg" width="300" /></span></a></div><span style="font-size: medium;"><br /></span><p class="MsoNormal"><span style="font-size: medium;">As well as letters from leading Irish writers, from Martín Ó’Direán
to John McGahern, early manuscripts and drafts of novels, such as a memorandum
book containing notes on characters and the order of chapters for a novel, which
later became "An Lomnochtán" (recently translated by Mícheál Ó hAodha
and <a href="https://bullaunpress.com/books/i-am-lewy/">published in English as “I am Lewy” by Bullaun Press)</a>, a commemorative work
on the 1916 Rising, and numerous drafts, treatments, outlines, and research
files, all capturing the literary process of Ó’Tuairisc. The archive is
accessible at NUI Galway Library and the catalogue <a href="https://archivesearch.library.nuigalway.ie/nuig/calmview/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G17">can
be searched online here</a>.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93I1JBgzhLT41WHFwxNSFUwxvkYKffOqDd4frsTlMd0CtVmIbn6a837_S1FaRpqmtaWSmKsaHVSTxWIQRNVjou2Hmw0JPdD62sqQfGQhT7tXbkK6FAEG5LeZduTRx2cdTBtVzQFyDA3gmIUc8lGKvTJSFOfG6LrzZBSzRafMSeDeY3tUgHRWBk1OCGw/s4160/IMG_20220425_113306.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93I1JBgzhLT41WHFwxNSFUwxvkYKffOqDd4frsTlMd0CtVmIbn6a837_S1FaRpqmtaWSmKsaHVSTxWIQRNVjou2Hmw0JPdD62sqQfGQhT7tXbkK6FAEG5LeZduTRx2cdTBtVzQFyDA3gmIUc8lGKvTJSFOfG6LrzZBSzRafMSeDeY3tUgHRWBk1OCGw/w480-h640/IMG_20220425_113306.jpg" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMfdUP6pcjwZrBolx8N4TKBKzwztLIeMKnf2yAYsqq6e58caMZugCnk-sGA2Xve_Ne6GNjEcv3ZGjOmAk28z1GeLelzXi5UNOkIK3balP0AudrrUX-9NcobHV8vJIP6nl8rTIWWqBCPRRL7nGPmFZgqEiZzrg65rv7pYYSkS8ZNWSPN917CnEu-vWAQ/s4160/IMG_20220425_114254.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMfdUP6pcjwZrBolx8N4TKBKzwztLIeMKnf2yAYsqq6e58caMZugCnk-sGA2Xve_Ne6GNjEcv3ZGjOmAk28z1GeLelzXi5UNOkIK3balP0AudrrUX-9NcobHV8vJIP6nl8rTIWWqBCPRRL7nGPmFZgqEiZzrg65rv7pYYSkS8ZNWSPN917CnEu-vWAQ/w400-h300/IMG_20220425_114254.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4xZNrHWy6UJeu1gftkTRqB04HbP3xooXaldxeHHgr37-5s6qID_QpgBtLV9jX6a9QmvRcjS3KUoOCc1nJesCQrac8YR0pWs8HgFBBptZMQRgUHaqCjVUjmc5IPrE3Ku0W8IrT3FEgtI56m-I0LyHvpG-rXG3ncBuqrez3pAZfVMislIXXYfp4YwI-A/s2080/IMG_20220425_113424.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2080" data-original-width="1560" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4xZNrHWy6UJeu1gftkTRqB04HbP3xooXaldxeHHgr37-5s6qID_QpgBtLV9jX6a9QmvRcjS3KUoOCc1nJesCQrac8YR0pWs8HgFBBptZMQRgUHaqCjVUjmc5IPrE3Ku0W8IrT3FEgtI56m-I0LyHvpG-rXG3ncBuqrez3pAZfVMislIXXYfp4YwI-A/w480-h640/IMG_20220425_113424.jpg" width="480" /></a></div><br />University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-40476432482458938152022-02-02T10:48:00.005+00:002024-02-02T11:23:31.158+00:00Joyce's Masterpiece in Print - Ulysses: A Century Later<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_hKQzyUFyb6dTctMuSkpi0Eabneqn1JaG4Ayuw9_Afz28K2Gzc_KlN1wllF5m2chxehhlAAC-8yUjkR1f9tS4b5COU3BQZwQiQ8oXOHVHkGCxFWmpDOm7XiBsbGO8fbNKe64OIlceTvbx3qaECej5m-nZr8MUlGvnKP2q9LH33iucxw06hb7_Ij7OJQ=s4160" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="3120" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_hKQzyUFyb6dTctMuSkpi0Eabneqn1JaG4Ayuw9_Afz28K2Gzc_KlN1wllF5m2chxehhlAAC-8yUjkR1f9tS4b5COU3BQZwQiQ8oXOHVHkGCxFWmpDOm7XiBsbGO8fbNKe64OIlceTvbx3qaECej5m-nZr8MUlGvnKP2q9LH33iucxw06hb7_Ij7OJQ=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Joyce's <i>Ulysses</i><br />Shakespeare and Co., Paris.<br />Special Collections, University of Galway Library</td></tr></tbody></table><p></p><p></p><p class="MsoNormal" style="line-height: 150%;">As Leopold Bloom began his odyssey
around Dublin with the publication of James Joyce’s <i style="mso-bidi-font-style: normal;">Ulysses</i>, on 2<sup>nd</sup> February 1922, so too began the story of
the one of the most famous novels in all of English literature. <i style="mso-bidi-font-style: normal;">Ulysses</i> has captivated and confounded
readers for a century since it was first published by Sylvia Beach in Paris and
at her Shakespeare and Company bookshop. Within Special Collections of University of Galway Library is a rare fourth printing of the novel. <o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%;">Sylvia Beach’s first printing of the novel in
February 1922 ran to 1,000 numbered copies. The second printing by
Egoist Press took place in London in October 1922 and ran to 2,000 numbered
copies, with 500 of those famously burned by U.S. Post Office authorities.
Egoist Press ran a third printing of the book with a further 500 copies in
January 1923, with all but one sole copy of these being seized by Customs. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgZVijEo4fzp-StQhH6ui5Bz21LDGT9rDJjufDVFxhdK2v2waDDviH5llzgxMD7Kn75aGbzFbC253mWQA126Wd-s7TTRiicdTegJh5D7QeQ3JVLhshlO78lu_s2iw5sxwlrVidHbSV9GuVuSM5YxffRhkwHnDxpCYxmsXcXO9_kISWJ7twpDWsb7s2N0A=s4160" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="3120" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgZVijEo4fzp-StQhH6ui5Bz21LDGT9rDJjufDVFxhdK2v2waDDviH5llzgxMD7Kn75aGbzFbC253mWQA126Wd-s7TTRiicdTegJh5D7QeQ3JVLhshlO78lu_s2iw5sxwlrVidHbSV9GuVuSM5YxffRhkwHnDxpCYxmsXcXO9_kISWJ7twpDWsb7s2N0A=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Printing run and previous editions. <br />4th Printing</td></tr></tbody></table><p class="MsoNormal" style="line-height: 150%;">This fourth printing returns the
story of <i>Ulysses </i>back to where it
began, in Paris, and at Shakespeare and Company. The edition still contains the
original packing slip from Beach’s shop, advertising it as a “Bookshop and
Lending Library – Modern English and American Literature”. It was priced at 60
francs. At the end of the novel is a list of “Additional Corrections” with
changes and edits made to the text. It was printed in Paris in January 1924,
just before the book’s second anniversary.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1AhL9aa8igOEdmJH7CHIC6-wWe8A4MsNYdWY14EU9H6Y3YQJVQr_to9irJkcoRHZ7vySF4_9AS9gACBY0xkkADKu-oY29GjloNl4CAZ42OIu02bhoUL9eeyZ2tvQ5nNDmKE_s4NyOk9X-z0LLYYrMk8iKZQXrxTZVlSYnxjz_p1vN30U9vXH-lomWRA=s3728" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2880" data-original-width="3728" height="494" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1AhL9aa8igOEdmJH7CHIC6-wWe8A4MsNYdWY14EU9H6Y3YQJVQr_to9irJkcoRHZ7vySF4_9AS9gACBY0xkkADKu-oY29GjloNl4CAZ42OIu02bhoUL9eeyZ2tvQ5nNDmKE_s4NyOk9X-z0LLYYrMk8iKZQXrxTZVlSYnxjz_p1vN30U9vXH-lomWRA=w640-h494" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Original packing slip from Shakespeare and Company bookshop, Paris, run by Sylvia Beach.</td></tr></tbody></table><p class="MsoNormal" style="line-height: 150%;">The book’s impact on reading,
readership, language, and literature is unquantifiable. The edition is in
excellent condition and a reminder of the power of words and reading to bring
readers together to celebrate a novel a century after it was first published. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjAK7DBt18DjOdvKQQ1sj_M8509PYo9wfpe20X2QuTiphT60HR3ZbOTAIbmgYrYQTmxcbxoT6A9sFD-3o1uK9ZverpPSp4AwL0wYlZq0dnNmxZ22k0IkM0QgEjRNuUXNrEXgbKkp0f0FOlvBvUMpfAZKZFHfrAzayIVEeQiP0xT7lQBXrdEPnK8ASRyGA=s4160" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="3120" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjAK7DBt18DjOdvKQQ1sj_M8509PYo9wfpe20X2QuTiphT60HR3ZbOTAIbmgYrYQTmxcbxoT6A9sFD-3o1uK9ZverpPSp4AwL0wYlZq0dnNmxZ22k0IkM0QgEjRNuUXNrEXgbKkp0f0FOlvBvUMpfAZKZFHfrAzayIVEeQiP0xT7lQBXrdEPnK8ASRyGA=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Front Cover, <i>Ulysses</i>, 4th printing, University of Galway Library</td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: 150%;"><br /></p><p class="MsoNormal" style="line-height: 150%;"><o:p></o:p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-71126305594542906312022-01-20T16:02:00.007+00:002022-01-20T16:38:58.033+00:00Strand House and The Treaty - Story of a Photograph<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZu3xbO5ieglr76GMIZrI3XSe1L42_tkF8UyMSapzp130dNY0CdiYH0tj8s4hdJO_cdTSIsGecb14z39hm0JHBHTe5dfu1aTJRi5ezhChMjDwYTqPD-rWiSHvBit3F9aKjZjYRAATqSDausEtpr94qSyogYbEr7B6JtEk4FHulv7Gx8nbhNBB2DXQGlg=s1675" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1244" data-original-width="1675" height="310" src="https://blogger.googleusercontent.com/img/a/AVvXsEiZu3xbO5ieglr76GMIZrI3XSe1L42_tkF8UyMSapzp130dNY0CdiYH0tj8s4hdJO_cdTSIsGecb14z39hm0JHBHTe5dfu1aTJRi5ezhChMjDwYTqPD-rWiSHvBit3F9aKjZjYRAATqSDausEtpr94qSyogYbEr7B6JtEk4FHulv7Gx8nbhNBB2DXQGlg=w417-h310" width="417" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Back Row L to R: Mary Rynne, Michael Rynne, Eamon De Valera, <br />Richard Mulcahy<br />Front Row L to R: Stephen O'Meara, Cathal Brugha. <br />Rynne Family Archive, NUI Galway Library Archives</td></tr></tbody></table><br /><p>The Strand Hotel in Limerick city, near the river Shannon,
was the site of a significant moment at the heart of the Treaty negotiations of
1921. Then known as Strand House, home of the O’Meara's, a prominent political
and business family in the city, a photograph was taken of a group of visitors
to the house who would all play prominent roles in the lead up to and in the
aftermath of the signing of the Treaty in December 1921.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">As the Treaty negotiations were drawing to a close, and on
the night the Treaty was being signed in London, Eamon De Valera was at Strand
House in Limerick. Along with De Valera, Richard Mulcahy and Cathal Brugha also
stayed at Strand House on the night of the 5<sup>th </sup><span style="mso-spacerun: yes;"> </span>and 6<sup>th</sup> of December as guests of
Stephen O’Meara and family. <o:p></o:p></p>
<p class="MsoNormal">A phone call from the Irish delegation in London reached
Strand House so as to inform De Valera on the outcome of the negotiations. The phone
call updated De Valera that the Treaty had been signed in London in the early
hours of 6th December 1921. <o:p></o:p></p>
<p class="MsoNormal">The photograph is included as part of the recently opened “The
Treaty, 1921: Records from the Archives” exhibition, located at Dublin Castle
and led by the National Archives of Ireland. The photograph is part of the
Rynne Family archive at NUI Galway Library Archives. Comprising records of
various members of the family, including playwright Mary Rynne, diplomat
Michael Rynne, and later archaeologist and professor at NUI Galway, Etienne
Rynne (grandson of Michael Rynne). <o:p></o:p></p>
<p class="MsoNormal">Michael Rynne (1899–1981) was a legal scholar, civil servant
and diplomat. He was born on 12 September 1899 in Hampshire, England, before
moving to Limerick in 1907. He studied at University College Dublin before joining
the Volunteers in 1917. In 1921, Rynne was in charge of the flying column of
Blessington, Co. Wicklow. He later served as ADC to Richard Mulcahy. A close
associate of Michael Collins, Rynne was later appointed officer in charge of
the military training camp at Dunboyne, Co. Meath, of which detailed records of
training and drilling regimes devised by Rynne are present within his papers. <o:p></o:p></p>
<p class="MsoNormal">Rynne received his doctorate in legal studies from the University
of Munich in 1929. In 1936, he was appointed legal advisor to the Department of
External Affairs, soon becoming head of the department's League of Nations section
from 1936 to 1940, part of a small group of close advisors to Eamon De Valera. In
1955, Rynne was appointed Irish Ambassador to Spain, before later retiring from
the civil service in 1961. Rynne died in Dublin on the 8<sup>th</sup> February
1981. <o:p></o:p></p>
<p class="MsoNormal">For the full catalogue of papers from the Rynne Family
Archive, including the Michael Rynne papers, <a href="http://www.calmhosting01.com/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=P133">click on this link</a><o:p></o:p></p>
<p class="MsoNormal">For more information on “The Treaty, 1921: Records from the
Archive” exhibition see <a href="https://www.nationalarchives.ie/2021commemorationprogramme/the-treaty-1921-records-from-the-archives/">the
National Archives for details</a>. <o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJ9ewqtWReBSilgiXUL_tEZZkSHCDfsWUpa6BfAbG43nz7Vh7Kw_5FHyirSfREYyO8VP8r7LgjSUdfjI7EuuhdKIlV9tReEV233Ewl4fDjEwSGa5MXVZvqS7IjhjlISv5eFAbZRNncpDFAElTagzgSTULiFm7baIEKCz8wBr1x1sVb04eIkjG5BM6Ouw=s900" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="599" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjJ9ewqtWReBSilgiXUL_tEZZkSHCDfsWUpa6BfAbG43nz7Vh7Kw_5FHyirSfREYyO8VP8r7LgjSUdfjI7EuuhdKIlV9tReEV233Ewl4fDjEwSGa5MXVZvqS7IjhjlISv5eFAbZRNncpDFAElTagzgSTULiFm7baIEKCz8wBr1x1sVb04eIkjG5BM6Ouw=w266-h400" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michael Rynne<br />Rynne Family Archive, NUI Galway Library Archives</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-55318128982851812702021-12-09T10:55:00.001+00:002021-12-22T12:01:28.389+00:00Mary Robinson Archive: Phase 1<div class="separator" style="clear: both;"><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhS0yLO1KoiqLAEkKX80BIDuqBy3UP-38lhbBpFq1mJ8eFlVguaMHSILZCybZhgjuaI39HEml15vYRgYzn9kparTgNe-8cDXlgC1TAGKcZmkZTmfcQ3OFXbUeIP8FewDfOjXmTe68p6WT8PpzNfmsgdmXqk-HVN1h_ltFcJCs6BgaZ08TJornnzBukw1A=s1487" style="display: block; margin-left: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img border="0" data-original-height="1487" data-original-width="1122" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhS0yLO1KoiqLAEkKX80BIDuqBy3UP-38lhbBpFq1mJ8eFlVguaMHSILZCybZhgjuaI39HEml15vYRgYzn9kparTgNe-8cDXlgC1TAGKcZmkZTmfcQ3OFXbUeIP8FewDfOjXmTe68p6WT8PpzNfmsgdmXqk-HVN1h_ltFcJCs6BgaZ08TJornnzBukw1A=w301-h400" width="301" /></a></div><div><br /></div><div>In January 2020 the task of processing the Mary Robinson archive in NUI Galway began. As project archivist, I am privileged to have this honour, and despite Covid_19 restrictions adding to the challenges, work continues apace. At almost 750 bankers boxes of material spanning over six decades, this immensely rich collection covers many different aspects of the former President of Ireland’s work, including her time as barrister, senator, professor, President of Ireland, United Nations High Commissioner for Human Rights, chair of the Elders, founder of Realizing Rights (the Ethical Globalization Initiative), and culminating in the setting up of the Mary Robinson Foundation - Climate Justice. As I near the end of the first phase it seemed a fitting time to introduce you all to the work of the archivist behind the scenes before a collection can be made available, to update you all on the progress and to give you a sneak peek.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1287" data-original-width="2048" height="251" src="https://blogger.googleusercontent.com/img/a/AVvXsEiuOoBbIEiVrAGfVcDoEd1e99dncrpvBMv1eonky5g_hxeqwn_ZsgMpErlrjjrR_PpaSMfyOk8v17NvODqWMXI5eeGbm9hZEypKLxWpu5qX3rkNqen5UGTT8Bd5BoYFDe59srQ3R-wqf3AKhmmWFRTMilI0thctg8OGhr5XvIuRd4e9oeIoaRNts9p_2g=w400-h251" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Postcard sent to Senator Mary Robinson</i></span></td></tr></tbody></table></div><div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjRmJZ3bRDTZ3QVf0aRrGcu9MFNUAojDuSnJbBx9AbP-GN7B_f0lruZA3yhKSFfHuTZyWA3KwsFUoZJ1Q3Z59JU5HXW1jYdiNLXGbOLJWCg09oSGOkQlsdizcS-6yDsLnZxLWPnXq3RxyrwENriahi4KoZ50UtTh_e3iABUwVqFQGVWtX3wNbH6jO5W1g=s4032" style="display: block; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjRmJZ3bRDTZ3QVf0aRrGcu9MFNUAojDuSnJbBx9AbP-GN7B_f0lruZA3yhKSFfHuTZyWA3KwsFUoZJ1Q3Z59JU5HXW1jYdiNLXGbOLJWCg09oSGOkQlsdizcS-6yDsLnZxLWPnXq3RxyrwENriahi4KoZ50UtTh_e3iABUwVqFQGVWtX3wNbH6jO5W1g=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Statement by Sen Mary Robinson at press reception to launch Directory of Services in Ireland for Unmarried Parents and their Children, 1977</i></span></td></tr></tbody></table>
<h3 style="text-align: left;"><b><u><i>The Phases </i></u></b></h3></div><div><br /></div><div>
The interest which greeted the announcement that work had commenced was fantastic but also led to my inbox unsurprisingly being inundated with queries! Because the job of the archivist is often misunderstood, it is easy to assume that all that was required of me once the material had been transferred to NUIG was to hand it out as requested. I have therefore chosen to detail the process involved to shine a light on the painstaking work that goes on behind the scenes, and hopefully to delay those queries for a little longer until I am further down the road.
There are several stages to processing a collection before it can be made available and essentially they can be listed as follows: know what you have, make it safe, appraise it, decide on an arrangement, catalogue it, consider what should be made accessible (for example is it too frail, are there data protection issues etc.) and then release it. Separate to these are decisions on digitising where possible and appropriate. It can be daunting to know where to start when faced with hundreds of boxes of material but keeping these points in mind and having a plan is key. It is also important to familiarise yourself with the background of the collection, in this case getting a feel for the various areas in which Mary Robinson was/is involved. (The answer is LOTS!) </div><div><br /></div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjr4lx2B530jgtHB47ArkMfb-mPNRUM-fCAvFw4_xTM4vgUylGkGKpvrxg5B4yB6PNyHP1zwgLBiMS_4grsEAveNlLMHOpdY_fEXFb39m7HZk4Mrha4Vq6eDk-DSXaaZME5st4qXaVGhzF_uSxVXS8CA9ZHQ-pzHGnYV7WYegzDxK5-3nx2lZdXffnRDA=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1101" data-original-width="2048" height="215" src="https://blogger.googleusercontent.com/img/a/AVvXsEjr4lx2B530jgtHB47ArkMfb-mPNRUM-fCAvFw4_xTM4vgUylGkGKpvrxg5B4yB6PNyHP1zwgLBiMS_4grsEAveNlLMHOpdY_fEXFb39m7HZk4Mrha4Vq6eDk-DSXaaZME5st4qXaVGhzF_uSxVXS8CA9ZHQ-pzHGnYV7WYegzDxK5-3nx2lZdXffnRDA=w400-h215" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6MHq_-MUM2bCP-Y61eDe5ajifBKFhG9g5-p1-eVllzK9edRYQ9hgRh87kCVlhXwMEc_zQq-sILzwO8XecLq0glEwcPBWftqhRHmcd6W-DHZZme71vHFUL2fEXyE6Vk0UTvqq0k9-syDEoPOyTVWsvO-EEJpPOpdVeLW60Pl0ibvrHa3sMXcAeW9PkdQ=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="2048" height="211" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6MHq_-MUM2bCP-Y61eDe5ajifBKFhG9g5-p1-eVllzK9edRYQ9hgRh87kCVlhXwMEc_zQq-sILzwO8XecLq0glEwcPBWftqhRHmcd6W-DHZZme71vHFUL2fEXyE6Vk0UTvqq0k9-syDEoPOyTVWsvO-EEJpPOpdVeLW60Pl0ibvrHa3sMXcAeW9PkdQ=w400-h211" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Flyer protesting destruction of Wood Quay, 1979</i></span></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both;"><span> </span><br /></div><div style="text-align: left;">Due to the sheer vastness of this collection it was decided to divide the overall project into three sections.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><ul style="text-align: left;"><li><b>Phase 1</b> – <b>The First Pass</b>: this is the process whereby the contents of every box are removed, examined, listed and re-housed in special archive boxes which are then stored in secure climate-conditioned storerooms. It encompasses the first three stages listed above: know what you have, make it safe, appraise it.</li><li><b>Phase 2</b> – <b>Arrangement</b>: in order to get intellectual control over a collection, give it structure, and lay the ground work for making items easily discoverable to researchers down the road, a clear logical arrangement must be decided on by the archivist (unless one already exists). </li><li><b>Phase 3</b> – <b>Cataloguing and Release</b>: this phase predominantly involves the painstaking work of cataloguing the collection, box by box, series by series, file by file, and in some cases item by item. During this phase items are also considered for digitising, and decisions made on accessibility which take issues such as GDPR into account. <br /><br /></li></ul><h3 style="text-align: left;"><i><u>Phase 1</u></i> </h3></div><div style="text-align: left;"><i>KNOW WHAT YOU HAVE </i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Each one of the 750 boxes has to be opened and its contents examined before I know what is in the collection. This is the first pass and due to the size of the collection I decided to combine a few additional stages while conducting it: </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>MAKE IT SAFE </i></div><div style="text-align: left;"> </div><div style="text-align: left;">While examining the contents of each box, I am also checking their condition for problems such as mould that might spread. Contents are then removed from the current boxes and placed in specially designed archive boxes and folders that help preserve them. These boxes are then placed in secure storage in climate controlled storerooms. The material is now both secure from further deterioration, and from theft. It is also protected from environmental hazards such as fire and flood. During this process, I list the contents of each box (known as a box-list) and note what format the items are in (paper, photograph, CD etc.). This box-list not only summarises what is in the collection, it will also aid in deciding on an arrangement for the collection once the first pass is complete. </div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjyYBsH0Fvjw5GuNZm2VzJRl1hpts8ELR8wOSveqkFVao0uYnUdGqsF3edLm5iyrLz437F8OwhxqiqUnJXMiqstoK7tWHmROQ6Lwk_JrEhsyz3PhqbR_BVphFOFI3lrck_68Drs7Sq3Ai5VBfpkaX-OOaxbyctiNOgsWYW8_RTSRRzCaGpcr_bemnSXCQ=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjyYBsH0Fvjw5GuNZm2VzJRl1hpts8ELR8wOSveqkFVao0uYnUdGqsF3edLm5iyrLz437F8OwhxqiqUnJXMiqstoK7tWHmROQ6Lwk_JrEhsyz3PhqbR_BVphFOFI3lrck_68Drs7Sq3Ai5VBfpkaX-OOaxbyctiNOgsWYW8_RTSRRzCaGpcr_bemnSXCQ=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Archive boxes safely stored on shelves, with unprocessed bankers boxes in background</i></span></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>APPRAISE IT </i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Not everything in a collection should necessarily be kept – it may not be relevant or unique to that collection. There can also often be duplication of material and in some cases it may not be possible to suitably store an item due to its format, size or other practical considerations. For that reason the collection needs to be appraised. Appraisal is an important function of archivists and what separates them from colleagues in other related professions. </div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhmG-f3Jr_4C3i7Eb1Kn_uLSZLBUJGqJk2PpSn0GoEk0LOSa3F37r_0VTLv8rpMUQlu85KQ9-SofM78ZtYp4PuUvh-OebsYn2ob9BGDVKiGbXEnKJWtfw8OetSKgQ-XYpHSwSe09_nzjKM1f8PoRC8JMieONhjlXrA_BxoJNjARkcbdVmXtH6NCeTXDgw=s980" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="980" data-original-width="735" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhmG-f3Jr_4C3i7Eb1Kn_uLSZLBUJGqJk2PpSn0GoEk0LOSa3F37r_0VTLv8rpMUQlu85KQ9-SofM78ZtYp4PuUvh-OebsYn2ob9BGDVKiGbXEnKJWtfw8OetSKgQ-XYpHSwSe09_nzjKM1f8PoRC8JMieONhjlXrA_BxoJNjARkcbdVmXtH6NCeTXDgw=w300-h400" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">An unwelcome visitor to any archive!</span></i></td></tr></tbody></table><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">At the end of what I’ve termed <b>The First Pass</b> the entire collection has been made safe from the elements, we know what’s in it (to a basic level), and we know roughly where to find it. However, none of the items are stored in any particular order. The collection is safe from the elements and from theft but is not considered 100% safe yet from an archival point of view until an arrangement has been put in place, the material structured under that, and reference IDs assigned. That’s the next phase. </div><div style="text-align: left;"><br /></div><h3 style="text-align: left;"><u><i>What’s Next </i></u></h3><div style="text-align: left;">The arrangement stage, <b>Phase 2</b>, will commence in January 2022. Once that has been completed it is then time to catalogue the collection (<b>Phase 3</b>). Until the cataloguing has been completed it is still not possible for the researcher to browse through a finding aid to know what can be viewed from the collection. The good news is that because it is so vast, rather than waiting until the entire collection is described fully, parts of the collection will instead be released in tranches, as they are completed. </div><div style="text-align: left;"><br /></div><h3 style="text-align: left;"><i><u>Sneak Peek </u></i></h3><div style="text-align: left;">Under normal circumstances access is never given to a collection before it is processed. This is not because archivists are power-hungry gatekeepers! Rather it is because we simply don’t know what we have, where it is, what condition it is in, and what its context is until we have processed the collection.</div><div style="text-align: left;"> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgnsJAyJi-ctFGyAjZ4FpuYsZlrHx7YENDaM_xhsCrL1GlaUD0JMIcL_VFIpfVt8WpWAvda6DKyH5RiHJY7WvnW9bhPlkmltcRh1yUn2OiBjlr3bvzKcF-FxlGOEaN4wiEbMILiMj1mKUpRVVGhDmaPU6f9nGtB58AWSGRjcq1mcBMkp-VVYEvaN5gSXw=s4032" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnsJAyJi-ctFGyAjZ4FpuYsZlrHx7YENDaM_xhsCrL1GlaUD0JMIcL_VFIpfVt8WpWAvda6DKyH5RiHJY7WvnW9bhPlkmltcRh1yUn2OiBjlr3bvzKcF-FxlGOEaN4wiEbMILiMj1mKUpRVVGhDmaPU6f9nGtB58AWSGRjcq1mcBMkp-VVYEvaN5gSXw=w300-h400" width="300" /></a></div><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">However, many of you may already have heard mention of this fantastic collection in national press in recent weeks. That is because of the recent publication <i><b>The Presidents’ Letters</b></i>, which came out late October and which features over 60 images from this archive. In an unusual move, author Flor MacCarthy was given permission by the donor of the collection to NUIG, Mary Robinson, to access the collection before it was released, and I was asked to facilitate any way I could. </div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEivxCkSDlij5QEMAhFFuJe42E6-VWDoDoMb467LhCK4cG0pKlYZ-1fcKi4J_XOKKMC3eQTlv7EoaRrZIvtxhcYehNZ78FLMewVssQsYEL84SiHgCh2NrJ5D6wHptog_G8dGU2dfI5kpFqb2dAW-keM1aHO8pBM8BCowjhbuQ9KJuw7PDcv1hiD4myr9AA=s852" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="758" data-original-width="852" height="356" src="https://blogger.googleusercontent.com/img/a/AVvXsEivxCkSDlij5QEMAhFFuJe42E6-VWDoDoMb467LhCK4cG0pKlYZ-1fcKi4J_XOKKMC3eQTlv7EoaRrZIvtxhcYehNZ78FLMewVssQsYEL84SiHgCh2NrJ5D6wHptog_G8dGU2dfI5kpFqb2dAW-keM1aHO8pBM8BCowjhbuQ9KJuw7PDcv1hiD4myr9AA=w400-h356" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Former President Mary Robinson launching Flor MacCarthy's book "The Presidents' Letters", October 2021</i></span></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">An exception such as this is rare, but it made complete sense that a book covering the correspondence of all 9 Presidents of Ireland would include those of our first female president, who redefined the role. While Flor had access to a few processed boxes in early 2020, due to Covid restrictions the bulk of the material was selected by me as I continued to process the boxes. These selections were based on the topics and themes of Flor’s book which she had shared in advance, and digital copies were sent to Flor for her to browse. </div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjEM7BbVtqhXGJ80VIaKj4P1pbfJydWQmVGfOCMbY9-In5gZFuPHV9jNWUzxvsJ_78PE2xtuB0oK4xCXpm534asqCXsY-oFTqfnrYJ83trE4nD80N3GAljgBQN1KYe3qpjA1cA1O5hmcKvfe2spkvWaloKRnAFB1HIZcwa4emL-uw1E_gXJfGD_DDEb5w=s4032" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEjEM7BbVtqhXGJ80VIaKj4P1pbfJydWQmVGfOCMbY9-In5gZFuPHV9jNWUzxvsJ_78PE2xtuB0oK4xCXpm534asqCXsY-oFTqfnrYJ83trE4nD80N3GAljgBQN1KYe3qpjA1cA1O5hmcKvfe2spkvWaloKRnAFB1HIZcwa4emL-uw1E_gXJfGD_DDEb5w=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Some children's drawings from the Mary Robinson archive, reproduced with their permission in Flor's book.</i></span></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">It was a challenging but fun exercise that has resulted in an excellent representation of Robinson and her presidency in the book, but until the rest of the phases are complete, it will have to do for now!
In the meantime here is a sneak peak of material from other areas of her work, to whet your appetites further.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg2vBk9ztQy8ottdLGofVNgBg6lA848jji3DtOBQDrq3qY-snIgib3mDZPenx4eI-tvwF7yw6RcD_VlNKGgZUtY1gw3YrCBxNYvUU7wehyqhDgMUBBuGuw52Ul2H3Ci_WR6s2BOVqZcAgF7fOnVNBo55roShq4_wnxUDVrQ4s6ver0swlY56VKQbydVvA=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEg2vBk9ztQy8ottdLGofVNgBg6lA848jji3DtOBQDrq3qY-snIgib3mDZPenx4eI-tvwF7yw6RcD_VlNKGgZUtY1gw3YrCBxNYvUU7wehyqhDgMUBBuGuw52Ul2H3Ci_WR6s2BOVqZcAgF7fOnVNBo55roShq4_wnxUDVrQ4s6ver0swlY56VKQbydVvA=w300-h400" width="300" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEghh53p1WaGw7lvjH1AvqQhnEWb7C9TaxayKuk2nB8pBwZfh3P3rN3OSh3Xt1FyvxpW89cg_kCeq7Fjwsu69U0tFzvaqOJg3Un9P-JVNA3R2EuTGHKcwflkC5SrwDijEMtCGRPaeSZG6Aip8-VYQWUNeVupOK-ylojNNPAK1GNxFTwXvLbXnv475u9Yqw=s2014" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1379" data-original-width="2014" height="274" src="https://blogger.googleusercontent.com/img/a/AVvXsEghh53p1WaGw7lvjH1AvqQhnEWb7C9TaxayKuk2nB8pBwZfh3P3rN3OSh3Xt1FyvxpW89cg_kCeq7Fjwsu69U0tFzvaqOJg3Un9P-JVNA3R2EuTGHKcwflkC5SrwDijEMtCGRPaeSZG6Aip8-VYQWUNeVupOK-ylojNNPAK1GNxFTwXvLbXnv475u9Yqw=w400-h274" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg73Zjw77EvOGlzEP2gKsEpxEadYEGlJoWegr1XCmvkHjdrYeDjiM0AKtmWOeWnCBY9yZ45AUK3hsHrZ-w5IwVCDC03uWnfNmTXuqp-by_VIAf5H661dzBbGlVjAzYDS3H8N-m2VFC6DjQuz83lY3YcqNCz4Jg0CtBdsJdVEbXYUhizlPMRaQ7MSOCnMA=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1292" data-original-width="2048" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEg73Zjw77EvOGlzEP2gKsEpxEadYEGlJoWegr1XCmvkHjdrYeDjiM0AKtmWOeWnCBY9yZ45AUK3hsHrZ-w5IwVCDC03uWnfNmTXuqp-by_VIAf5H661dzBbGlVjAzYDS3H8N-m2VFC6DjQuz83lY3YcqNCz4Jg0CtBdsJdVEbXYUhizlPMRaQ7MSOCnMA=w400-h253" width="400" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjW7-cjzUBWSUkIMkHW53mNdsopF_8N_3R0V4FUcg20VSwBzRNQA7TSh3Zzw0ae12pEwUbpkiUC_svYfqtBcBx-LaxcuT444cLBV8mt56ARvAbvnsRmSIionVxo--Ec5IMrgWBIJCEJlUlQc60W-eQvMbEPaNtoXSwVLORk7dGMDO9eeuRLYykbp6GvcQ=s2817" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2817" data-original-width="2430" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjW7-cjzUBWSUkIMkHW53mNdsopF_8N_3R0V4FUcg20VSwBzRNQA7TSh3Zzw0ae12pEwUbpkiUC_svYfqtBcBx-LaxcuT444cLBV8mt56ARvAbvnsRmSIionVxo--Ec5IMrgWBIJCEJlUlQc60W-eQvMbEPaNtoXSwVLORk7dGMDO9eeuRLYykbp6GvcQ=w345-h400" width="345" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">letter from the Dalai Lama congratulating Mary Robinson on the setting up of the Ethical Globalization Initiative</span></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhKeoGkVj94q--KbWpWT90eFMuo0ruvYZ6EImKZL8fJPJetuM5FViMcbxtO_i7NUPjIxmFO5SowflpmFHwtrbLQzFNiZofvBRGvXIPZfVaWiEurXzjGX8J0R_RHPSgLUw63Jla_M98PKKBuPRDxOBq93aV210eTkzvAz45TAT5CwJRpaEkJ1IdvZaDidA=s2792" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2792" data-original-width="1975" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhKeoGkVj94q--KbWpWT90eFMuo0ruvYZ6EImKZL8fJPJetuM5FViMcbxtO_i7NUPjIxmFO5SowflpmFHwtrbLQzFNiZofvBRGvXIPZfVaWiEurXzjGX8J0R_RHPSgLUw63Jla_M98PKKBuPRDxOBq93aV210eTkzvAz45TAT5CwJRpaEkJ1IdvZaDidA=w453-h640" width="453" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">letter of congratulations and thanks from Senator Edward Kennedy following success of Lawrence v Texas, a "well-deserved victory for gay rights...".</span></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhGfGo3H1ZsQy6O2SHC2W7TUSxQA7nB5T613K3xgkIeWo9VfEEAbR7KIWYnS7XhGsk0ytN4oMufRZiFOh_W9i57v5zK4w6zpcx-g9OgB3EB5BsxXxPQIofadyzczk23w2Y8rTNrM9VIlxQuPN97375V7TK5lw66e5giGNi9nqG1WIfaWqNHSNPpPMPYDA=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1258" data-original-width="2048" height="246" src="https://blogger.googleusercontent.com/img/a/AVvXsEhGfGo3H1ZsQy6O2SHC2W7TUSxQA7nB5T613K3xgkIeWo9VfEEAbR7KIWYnS7XhGsk0ytN4oMufRZiFOh_W9i57v5zK4w6zpcx-g9OgB3EB5BsxXxPQIofadyzczk23w2Y8rTNrM9VIlxQuPN97375V7TK5lw66e5giGNi9nqG1WIfaWqNHSNPpPMPYDA=w400-h246" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i>Mary Robinson with Bishop Desmond Tutu</i></span></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">I hope this blog gives you an insight into the painstaking but incredibly rewarding work that goes on behind the scenes and I look forward to sharing this amazing collection with you all when the time comes.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Beir bua / Take care </div><div style="text-align: left;">Niamh </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi81nFcnbVQUsaVQZ95B4xj7dGyLq1YnSfKC9ud01SJ2W6FWf_T0bDXAHWT_hHQRGfDcB6OOCMnl10MlUgBE6VlGDobL6hZvM_NKrxmePEElT7un6-iDtzF0F-aTqQ3IryzArZrLkuQ3TA32KG4mMan4xKoiz9i2ikfaBA71xFrAVdYFWI1yj32JDO14A=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1567" data-original-width="2048" height="306" src="https://blogger.googleusercontent.com/img/a/AVvXsEi81nFcnbVQUsaVQZ95B4xj7dGyLq1YnSfKC9ud01SJ2W6FWf_T0bDXAHWT_hHQRGfDcB6OOCMnl10MlUgBE6VlGDobL6hZvM_NKrxmePEElT7un6-iDtzF0F-aTqQ3IryzArZrLkuQ3TA32KG4mMan4xKoiz9i2ikfaBA71xFrAVdYFWI1yj32JDO14A=w400-h306" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjSiRsK1T2HlUw64-4DOASF6KEGGPT0EgRgzqy5IMROmJxyvXx4rEQLhtXKuDRpAcZ3AEkLea7b1K4POZoxIqGZ6yNMn9ViiEPVBBSrwNiHfNUtYDeKgG6ONx0LD5TiTzul25IU_XUTO6JipAsBok4I08PMDP5LZajFyHDckV9UBWSwW7svQNDqUe_Xpg=s2763" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1138" data-original-width="2763" height="264" src="https://blogger.googleusercontent.com/img/a/AVvXsEjSiRsK1T2HlUw64-4DOASF6KEGGPT0EgRgzqy5IMROmJxyvXx4rEQLhtXKuDRpAcZ3AEkLea7b1K4POZoxIqGZ6yNMn9ViiEPVBBSrwNiHfNUtYDeKgG6ONx0LD5TiTzul25IU_XUTO6JipAsBok4I08PMDP5LZajFyHDckV9UBWSwW7svQNDqUe_Xpg=w640-h264" width="640" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhPy2JMsyVbXzH0onCVY26KWCnIaoJ5P8KzrTCQStP3ppWS276eICVdvvAM3yrE4c9X6UazBexXDfdDPjvEyBGPIPVxRKc4JV1zvkBbufwHyIZ2A5U8xUYDEWHV6cglO9GTNQ1T9fNoTpzwpdst8zUwV8bS36fhDWXWKkINxlWfnX3AhRLfll-FABtW2g=s3309" style="margin-left: auto; margin-right: auto;"><i><span style="font-size: x-small;"><img border="0" data-original-height="950" data-original-width="3309" height="184" src="https://blogger.googleusercontent.com/img/a/AVvXsEhPy2JMsyVbXzH0onCVY26KWCnIaoJ5P8KzrTCQStP3ppWS276eICVdvvAM3yrE4c9X6UazBexXDfdDPjvEyBGPIPVxRKc4JV1zvkBbufwHyIZ2A5U8xUYDEWHV6cglO9GTNQ1T9fNoTpzwpdst8zUwV8bS36fhDWXWKkINxlWfnX3AhRLfll-FABtW2g=w640-h184" width="640" /></span></i></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><i><span style="font-size: x-small;">Christmas card from Áras an Uachtaráin with pencil drawing of the Áras by John Nankivell</span></i></span></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-2836977831974473772021-05-06T17:53:00.001+01:002021-05-06T17:53:05.396+01:00Remembering Tom Hickey - From the Archives<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi14lDLR3M3ISwc2YJdFGbsOXHcAwcCkC6CqR6LEovLS70wsBRO2MAd6LYhoNdjdIQozczg4v62OB6W6VrMOdhuV5-E0zzHkvV_udj2-U2VQHlemWhpFSD66QupUYDaYBpv399Vy5QuV1wd/s2048/Defender+of+the+faith+2004+Abbey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1445" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi14lDLR3M3ISwc2YJdFGbsOXHcAwcCkC6CqR6LEovLS70wsBRO2MAd6LYhoNdjdIQozczg4v62OB6W6VrMOdhuV5-E0zzHkvV_udj2-U2VQHlemWhpFSD66QupUYDaYBpv399Vy5QuV1wd/w283-h400/Defender+of+the+faith+2004+Abbey.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Defender of the Faith </i>by Stuart Carolan, <br />Abbey Theatre Archive,<br /> 2004. </td></tr></tbody></table></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The passing
of actor Tom Hickey has been met by an outpouring of tributes from those who
worked with and who knew him across a range of Irish theatres and
companies and in television, over the past five decades. Accounts of Hickey’s
career in the theatre, from being a central and founding member of the Focus
Theatre in Dublin in the 1960s, to starring performances at Ireland’s major
theatres, live long in the memory of all those fortunate to have seen him
perform throughout his career. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Within the
theatre archive collections of the Hardiman Library, numerous performances by
Hickey are documented and digitally preserved today and for future generations.
Archives of the Abbey Theatre, the Gate Theatre, and of the Druid Theatre Company,
all carry wonderful memories of one of Ireland’s most talented and best-loved
performers. <o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyeSf4_ebB7paoMCWVTOYxKk_EtNnNmo7COyqjUOeUpHBo9bJmsOJQte0TsOXCASv5RU_XYHuygnPx3E5PovkRrcMdwYAttwezRw1zoxX_WLvYs_c16vwWIH1dunP0W9tYOWmvEcMFuulm/s2048/000676-UJ_1110_PH_0001.pdf-P37.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1654" data-original-width="2048" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyeSf4_ebB7paoMCWVTOYxKk_EtNnNmo7COyqjUOeUpHBo9bJmsOJQte0TsOXCASv5RU_XYHuygnPx3E5PovkRrcMdwYAttwezRw1zoxX_WLvYs_c16vwWIH1dunP0W9tYOWmvEcMFuulm/w400-h323/000676-UJ_1110_PH_0001.pdf-P37.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>London Assurance</i> by Dion Boucicault. Gate Theatre Archive, 1993.</td></tr></tbody></table><br /><span style="font-size: 12pt;">The archives
hold thousands of production photographs from Hickey’s many performances, as
well as play programmes, prompt-scripts, press material and many other records
that document Hickey’s many roles at the Abbey, The Gate and with Druid. As
well as these items, there are hundreds of hours of digitised video recordings
of some of Hickey’s most famous roles. Some examples include the recording of </span><i style="font-size: 12pt;">The Great Hunger </i><span style="font-size: 12pt;">at the Abbey Theatre in
1983; Tom Murphy’s </span><i style="font-size: 12pt;">The Gigli Concert</i><span style="font-size: 12pt;">
at the Abbey in 1983 and later revivals in 1991 and in 2004; Marina Carr’s </span><i style="font-size: 12pt;">Portia Coughlan</i><span style="font-size: 12pt;"> (1996) and </span><i style="font-size: 12pt;"> By
the Bog of Cats</i><span style="font-size: 12pt;"> (1998); Brian Friel’s </span><i style="font-size: 12pt;">Give
Me Your Answer, Do!</i><span style="font-size: 12pt;"> (1997) and Thomas Kilroy’s </span><i style="font-size: 12pt;">Christ Deliver Us! </i><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;">from
2010. At the Gate Theatre there are recordings of Hickey’s performances in Samuel
Beckett’s </span><i style="font-size: 12pt;">Waiting for Godot</i><span style="font-size: 12pt;"> (1988); </span><i style="font-size: 12pt;">Aristocrats</i><span style="font-size: 12pt;"> by Brian Friel (1991),
Bernard Farrell’s </span><i style="font-size: 12pt;">Stella by Starlight</i><span style="font-size: 12pt;">
(1998) and Hugo Hamilton’s </span><i style="font-size: 12pt;">The Speckled
People</i><span style="font-size: 12pt;"> (2011).</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">In the Druid
Theatre Archive, there is a full recording of Hickey’s celebrated role as Red
Raftery in Marina Carr’s <i style="mso-bidi-font-style: normal;">On Raftery’s
Hill</i>. Other Druid archive records include production photographs,
programmes and press material from Hickey’s roles in John B. Keane’s <i style="mso-bidi-font-style: normal;">Sharon’s Grave </i>(2003) and from the
double-bill of <i>The Playboy of the Western World </i>and <i>The
Shadow of the Glen</i> (2008).<o:p></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj40Ynt2i1DZYiSWWOIsdlFPgxpVILvlYnTxNsDilS67V43vT5Nf8FtMyKncMBenQDln2e2DqDb7Y5D06P03I4lrRBk7aq3YD0ohUo7a0nmSnSOp_5Jae1QbUg_ReZ7v0LA2ny9ssrR_Vng/s1280/thumbnail_IMG_20210506_162602.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj40Ynt2i1DZYiSWWOIsdlFPgxpVILvlYnTxNsDilS67V43vT5Nf8FtMyKncMBenQDln2e2DqDb7Y5D06P03I4lrRBk7aq3YD0ohUo7a0nmSnSOp_5Jae1QbUg_ReZ7v0LA2ny9ssrR_Vng/w400-h300/thumbnail_IMG_20210506_162602.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tom Vaughan-Lawlor and Tom Hickey, <i>Sharon's Grave</i>, 2003<br /> Druid Theatre Archive.<br /><br /></td></tr></tbody></table><span style="font-size: 12pt;">Overall,
there are fifty fully digitised recordings of Hickey’s performances across the
archive collections of the Hardiman Library. These images are a small sample of
the indelible mark that Tom Hickey left to all those who were part of his
audience for over fifty years and how the archive collections of the Hardiman
Library, NUI Galway, will ensure Hickey’s many starring roles will be preserved
for the future.</span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uZfXMiPwEuMAKAZIgpztWVvfjDGbOLmfxj97N6bP05EANzHEdGbFZSSWyPSyHFdbpcoucIWUhpDh0u7Kdc7MRSW4iy9r8wOzArX-ZdzcNL1FZxZuL0zugLmAUuKsfQvBfY-svz-GfdpO/s2048/008615-XA_1048_PH_0006.pdf-P13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1370" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uZfXMiPwEuMAKAZIgpztWVvfjDGbOLmfxj97N6bP05EANzHEdGbFZSSWyPSyHFdbpcoucIWUhpDh0u7Kdc7MRSW4iy9r8wOzArX-ZdzcNL1FZxZuL0zugLmAUuKsfQvBfY-svz-GfdpO/w429-h640/008615-XA_1048_PH_0006.pdf-P13.jpg" width="429" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Waiting for Godot </i>by Samuel Beckett<i>, </i>1988, <br />Gate Theatre Archive</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4CE9o56tF6oVxFC4Wi5BtswFhKARtU-EU0pFmjZ-mgiMWjumqmXi1Du1zhwgDx81BQC5Ux1QoHbFgRsrOMRoaztfvuJPUI5I4Rgbit3bYxOzrLPIMkcZHj9AWX2eKCZ2eAtJdSnW8s-7r/s2048/Double+deal_Gate.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1493" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4CE9o56tF6oVxFC4Wi5BtswFhKARtU-EU0pFmjZ-mgiMWjumqmXi1Du1zhwgDx81BQC5Ux1QoHbFgRsrOMRoaztfvuJPUI5I4Rgbit3bYxOzrLPIMkcZHj9AWX2eKCZ2eAtJdSnW8s-7r/w466-h640/Double+deal_Gate.jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Double Dealer</i> by William Congrieve, 1997. Gate Theatre Archive</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYsPosAvzUpdC-6HhxfWvOBz1fTFT2bP5G_LCzwIYuH-9VCjcqXFvX4Er7PQM-ylWKurP8DrtTFPXhItmihfjJwchoas9QpTpr0wWdlJcis1txB9Z9phtwTcbzHJbCDkfC6MmXswW12jm/s2048/Gigli+Abbey+1991.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1591" data-original-width="2048" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYsPosAvzUpdC-6HhxfWvOBz1fTFT2bP5G_LCzwIYuH-9VCjcqXFvX4Er7PQM-ylWKurP8DrtTFPXhItmihfjJwchoas9QpTpr0wWdlJcis1txB9Z9phtwTcbzHJbCDkfC6MmXswW12jm/w640-h498/Gigli+Abbey+1991.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Gigli Concert</i> by Tom Murphy, 1991. Abbey Theatre Archive.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikJ2zkJ0lR_rPOq5EO_sE0wbo0l3fyg_qpry9QCbCzMIUKRQWMmq8KJ8ejn-Oyj8j0HDx4SvsrWjpyKwZ_19E671uBb3oszamuIMongfTM1i7LrKmjNxkK9tjtw1vW6QxfvYA_ly-Xo2rr/s2048/GMYAD_Abbey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2020" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikJ2zkJ0lR_rPOq5EO_sE0wbo0l3fyg_qpry9QCbCzMIUKRQWMmq8KJ8ejn-Oyj8j0HDx4SvsrWjpyKwZ_19E671uBb3oszamuIMongfTM1i7LrKmjNxkK9tjtw1vW6QxfvYA_ly-Xo2rr/w632-h640/GMYAD_Abbey.jpg" width="632" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Give Me Your Answer, Do!</i> by Brian Friel, 1997. Abbey Theatre Archive</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwFuQ6a1GZDjkdd8tY55_KEpZvDsO5UQ80w1os3Tb-t92-5jzTi-XiwBs_qxbImWkOQRYatjZa3-2qK3XFOFzoVZ5oxtRWJT2SgrMXpBH2h3QJEIcmLqsSfRxvalQvnyWl4r4nvIsztZ2/s2048/she+stoops+to+Conq_Gate_1995.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2026" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwFuQ6a1GZDjkdd8tY55_KEpZvDsO5UQ80w1os3Tb-t92-5jzTi-XiwBs_qxbImWkOQRYatjZa3-2qK3XFOFzoVZ5oxtRWJT2SgrMXpBH2h3QJEIcmLqsSfRxvalQvnyWl4r4nvIsztZ2/w634-h640/she+stoops+to+Conq_Gate_1995.jpg" width="634" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>She Stoops to Conquer</i> by Oliver Goldsmith, 1995. Gate Theatre Archive</td></tr></tbody></table>.<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrTFztYJbg1GZFGzLnPeeC07XHCTmrTEfxbqhUQ0gflRpoA_qTbdxNCmCfL9a3tq11gG-erUo6ccQGNZW0yKR6s-wKBaSFPJT4UZSDpXnIqP092P_kJkhxuAEpKI73AvMCKw-DJKzORlca/s2048/Stella_Gate_19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1650" data-original-width="2048" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrTFztYJbg1GZFGzLnPeeC07XHCTmrTEfxbqhUQ0gflRpoA_qTbdxNCmCfL9a3tq11gG-erUo6ccQGNZW0yKR6s-wKBaSFPJT4UZSDpXnIqP092P_kJkhxuAEpKI73AvMCKw-DJKzORlca/w640-h516/Stella_Gate_19.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stella by Starlight</i> by Bernard Farrell. 1998. Gate Theatre Archive</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpAKpKij5MJJBORKDtywsjU7J6M-gY5qZkXa2TaxUCb8vuVlb_FZC_eBSZNyhYprhzUi-5EaBLEjgN2efhDAfM9m3zR-1X-kJpwCMRVDOj_636IIszegzyt2ECk2l0MvvapJCWVrARzely/s2048/TGH+1983+Abbey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1630" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpAKpKij5MJJBORKDtywsjU7J6M-gY5qZkXa2TaxUCb8vuVlb_FZC_eBSZNyhYprhzUi-5EaBLEjgN2efhDAfM9m3zR-1X-kJpwCMRVDOj_636IIszegzyt2ECk2l0MvvapJCWVrARzely/w510-h640/TGH+1983+Abbey.jpg" width="510" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Great Hunger</i> by Tom MacIntyre. 1983. Abbey Theatre Archive</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-uX9zJSmghPmPsIOv2AgcntAhGuaA2F9jWz-67YahDz6EosfL8uTk9g2jd02KU2F7-t_IP_DIIfCCYhYhWQmEZgXY2u6B85w1DxqMp0qewSW5JDN1NHmUIEpN0tc-QiUG02T0JCBI81Pf/s1280/thumbnail_IMG_20210506_133254.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="1280" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-uX9zJSmghPmPsIOv2AgcntAhGuaA2F9jWz-67YahDz6EosfL8uTk9g2jd02KU2F7-t_IP_DIIfCCYhYhWQmEZgXY2u6B85w1DxqMp0qewSW5JDN1NHmUIEpN0tc-QiUG02T0JCBI81Pf/w640-h480/thumbnail_IMG_20210506_133254.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rehearsals of <i>On Raftery's Hill</i> by Marina Carr. Druid Theatre Archive. 2000.</td></tr></tbody></table><br /><span style="font-size: 12pt;"><br /></span></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-75803488653952207292021-01-26T15:08:00.001+00:002021-01-26T15:08:26.108+00:00Victorian Britain and Ireland - Sources from Special Collections<p> <span style="font-family: "Calibri Light", sans-serif; font-size: 12pt; line-height: 107%;">22 January 2021 marked the 120<sup>th</sup>
anniversary of the death of Queen Victoria. The Library has many resources
which our readers can use to find out more about life in the Victorian era in
Ireland, Britain and around the world. The broad-ranging </span><i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Cambridge Companion to Victorian culture</span></i><span style="font-family: "Calibri Light", sans-serif; font-size: 14pt; line-height: 107%;"> </span><span style="font-family: "Calibri Light", sans-serif; font-size: 12pt; line-height: 107%;">could be a good starting point. It
is available online through the library catalogue.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaT_zsm-fg0J65y74DGfxoixy-aVJ6S-hTuHPPnZdOYHVZrNswipGpEygn7IYH6PyGOP-xoLuLLDaJH6cx9Mwm5EnmIKKIhulYFxzuK-casQ-3sB8Q2KP7wU9i36iZUW4heerm4efiCgXi/s340/Cambridge+Companion+to+Victorian+Culture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="230" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaT_zsm-fg0J65y74DGfxoixy-aVJ6S-hTuHPPnZdOYHVZrNswipGpEygn7IYH6PyGOP-xoLuLLDaJH6cx9Mwm5EnmIKKIhulYFxzuK-casQ-3sB8Q2KP7wU9i36iZUW4heerm4efiCgXi/w270-h400/Cambridge+Companion+to+Victorian+Culture.jpg" width="270" /></a></div><br /><span style="font-family: "Calibri Light", sans-serif; font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Some details of the lives of all
classes of society can be gleaned from the census returns, taken every 10 years
between 1841 and 1901, spanning almost the whole of Queen Victoria’s reign. The
</span><i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Find My Past</span></i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">database, to which the library subscribes, provides access to
images and transcriptions of all of these census returns for England, Scotland
and Wales. Unfortunately, only the 1901 Census returns for Ireland survive. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Here we see an image of the return
for Queen Victoria’s own family from the 1851 census in which Prince Albert is
recorded as the head of the household. The census records the ages,
occupations, and birthplaces of those resident in each household on census night
and can bring alive the nature of family and domestic living at the time. <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiDw2IxkaHBmOkBgqdeWnnNMX0RCE_79MDmZ0DegZVElWXN-GLAf5IEvUudAeJBGEtZW4ohftOMgnMvyM1E_dS05zMkVGY3mgRrBVzLQKH3uuwOT-E0Up6E0IOlkw6uRJzK4a-2JfMWey1/s1037/1851+Census+return+Queen+Victoria.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="305" data-original-width="1037" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiDw2IxkaHBmOkBgqdeWnnNMX0RCE_79MDmZ0DegZVElWXN-GLAf5IEvUudAeJBGEtZW4ohftOMgnMvyM1E_dS05zMkVGY3mgRrBVzLQKH3uuwOT-E0Up6E0IOlkw6uRJzK4a-2JfMWey1/w640-h189/1851+Census+return+Queen+Victoria.JPG" width="640" /></a></div><span style="font-family: "Calibri Light", sans-serif; font-size: 12pt;"><p class="MsoNormal"><span style="font-family: "Calibri Light", sans-serif; font-size: 12pt;"><br /></span></p>The extremes of poverty and wealth
which characterised the Victorian era are illustrated very vividly in the many
government reports published throughout the period. As Ireland was ruled from
Westminster at the time many of these include contemporary descriptions of
Ireland. Our picture shows the title page of the report into Poor Relief in
Ireland in 1886. This and many other commissions travelled around the country
taking statements from witnesses. Our second picture shows the names of
witnesses who gave evidence to the Commission when it sat at Swineford, County
Mayo, on Friday 3 December 1886. Interestingly, the list includes some women.
Female voices, especially those who were poor, are infrequently heard in the
official record of the day. Their testimony provides stark evidence of how
little people had in the West of Ireland at the time.</span><p></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6-A1WALRlAbFtw_Iy-Kpc0XkKwUKWnKrsQkYFuFbXmuHNpokH2S_6tVDqloRoR_zXvJf9a625aqSV67Amipt7219OF2mMPi4ihVMyuLkq14tEoqICGxBB7SeLU3B_8lWIW_qRHHxpODgi/s738/Commission+on+Poor+Relief+1857+Swineford+witnesses.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="738" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6-A1WALRlAbFtw_Iy-Kpc0XkKwUKWnKrsQkYFuFbXmuHNpokH2S_6tVDqloRoR_zXvJf9a625aqSV67Amipt7219OF2mMPi4ihVMyuLkq14tEoqICGxBB7SeLU3B_8lWIW_qRHHxpODgi/w640-h458/Commission+on+Poor+Relief+1857+Swineford+witnesses.JPG" width="640" /></a></div><br /><span style="font-family: "Calibri Light", sans-serif; font-size: 12pt;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">This and many other parliamentary
reports can be accessed through </span><i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">the
House of Commons parliamentary papers</span></i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">database on the library catalogue. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">By contrast, our Dominican
Collection contains a photographic album which sheds light on the lives of
landowning families in Scotland at the end of the 19<sup>th</sup> century. Sr.
Louis (Ina) Baird joined the convent in Taylor’s Hill in 1912. These albums
belonged to her and illustrate the privileged background in which she had been
raised, depicting the country house in Knoydart, where she had been born, as
well as images from the family’s extensive travels. <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtuKRRHLwqNbwFOBaU62iPJmvrq3_oI8ewA0fvGnsK1V4pfX7qvX2OMTYjwxfBQgOMkIPbLdvN_LXr85Ps-KuXhnBbpF52cZAxjAYrx77CNvhlbDm1C0ywlrouqDNnN_WTYynZxQyBJvL/s699/Baird+album+Ina+at+Boscombe+1894.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="429" data-original-width="699" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtuKRRHLwqNbwFOBaU62iPJmvrq3_oI8ewA0fvGnsK1V4pfX7qvX2OMTYjwxfBQgOMkIPbLdvN_LXr85Ps-KuXhnBbpF52cZAxjAYrx77CNvhlbDm1C0ywlrouqDNnN_WTYynZxQyBJvL/w640-h392/Baird+album+Ina+at+Boscombe+1894.JPG" width="640" /></a></div><br /><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The Victorian era was also a
period of new building, not least on our own campus, where the Quadrangle
building was begun in 1845 and completed by 1850. A small but highly evocative
tangible link to the period for us is the post box just outside the main
entrance on University Road. It is characterised by </span><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">the National Inventory of Architectural Heritage </span><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">as of regional importance, having been installed around 1860, and,
of course, remains in use. <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoP7nXTySvbiqiBdvZ9RsvaVPZbB3ARRg9e_LvjQ-l25k11izCq1khr6KzNV8X1-Us5ZV12Ae3RUbu6lZT4kvktSrlOycOL9rgr9NJ-QDL2QiiugY7ZiH_Z1IxO-Y57nSUgIOuF32LWLMP/s385/Victorian+postbox.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="223" data-original-width="385" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoP7nXTySvbiqiBdvZ9RsvaVPZbB3ARRg9e_LvjQ-l25k11izCq1khr6KzNV8X1-Us5ZV12Ae3RUbu6lZT4kvktSrlOycOL9rgr9NJ-QDL2QiiugY7ZiH_Z1IxO-Y57nSUgIOuF32LWLMP/w400-h231/Victorian+postbox.JPG" width="400" /></a></div><br /><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The Library provides access to
several other databases which amplify and contextualise Queen Victoria’s reign
with all of its contradictions and offer opportunities for primary source
research on a whole range of topics. Among these databases would be </span><i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Dublin Castle Records, Empire Online</span></i><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">, the </span><i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">19<sup>th</sup>
Century Index, British Periodicals</span></i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">and the </span><i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">British
Library Newspapers</span></i><span style="font-family: "Calibri Light",sans-serif; font-size: 14.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">collection. All of these can be accessed through the library
catalogue. <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDQ8RITd7pArMlYTI4niicnjYs-FEFy9x3s5stRY5TlrxjfR5-nfReTsKmJ9Ud7dAA0X6ox-CKfBD2Smm1fp0fWwo4vgLkbA5TKbmreSdMRShqlOAQhL1aiY6PzImWDUwHm9b7fKy_1ud1/s686/Quadrange+West+front+by+J.B.+Keane.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="369" data-original-width="686" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDQ8RITd7pArMlYTI4niicnjYs-FEFy9x3s5stRY5TlrxjfR5-nfReTsKmJ9Ud7dAA0X6ox-CKfBD2Smm1fp0fWwo4vgLkbA5TKbmreSdMRShqlOAQhL1aiY6PzImWDUwHm9b7fKy_1ud1/w640-h344/Quadrange+West+front+by+J.B.+Keane.JPG" width="640" /></a></div><br /><span style="font-family: "Calibri Light",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span><p></p>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0tag:blogger.com,1999:blog-1363163733944580669.post-45707893571844048522020-12-17T10:17:00.004+00:002020-12-17T10:29:16.422+00:00An ceathrú tráinse d’ábhar Chonradh na Gaeilge eisithe.<p> </p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">Bliain dheacair agus aisteach ab ea an bhliain 2020 mar gheall ar phaindéaim Covid-19, agus cuireadh isteach go mór ar an ngnáthshaol. Ní haon ionadh é a rá, ar an drochuair, gur cuireadh isteach ar an obair leanúnach phróiseála ar bhailiúchán Chonradh na Gaeilge. Níorbh fhéidir rochtain a fháil ar na cartlanna ar feadh thréimhse 7 mí chun leanúint leis an obair dhúshlánach chatalógaithe.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Fuarthas rochtain arís ó mhí Lúnasa go Deaireadh Fómhair na bliana seo agus tá áthas orm a bheith in ann thuairisciú go bhfuil an chéad tráinse eile d'ábhar eisithe. Cúig sraith atá i gceist leis an tráinse seo: <a href="http://archivesearch.library.nuigalway.ie/nuig/calmview/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G60%2f3" target="_blank">G60/3</a> <b>Coistí</b>; <a href="http://archivesearch.library.nuigalway.ie/nuig/calmview/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G60%2f13" target="_blank">G60/13</a> <b>Ard Fheis</b>; <a href="http://archivesearch.library.nuigalway.ie/nuig/calmview/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G60%2f15" target="_blank">G60/15</a> <b>Seachtain na Gaeilge</b>; <a href="http://archivesearch.library.nuigalway.ie/nuig/calmview/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G60%2f19" target="_blank">G60/19</a> <b>Nua-Litríocht, Filíocht agus Scríbhneoirí na Gaeilge</b> agus <a href="http://archivesearch.library.nuigalway.ie/nuig/calmview/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G60%2f21" target="_blank">G60/21</a> <b>Ábhar a bhaineann le Ceol, Amhráin agus Rince.</b></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Baineann sraith na g<b>Coistí</b> le hobair coistí agus fochoistí éagsúla de chuid Chonradh na Gaeilge agus áirítear léi an Coiste Gnó; an Coiste Airgid; Coiste na bPáistí; Coiste na Féile; an Coiste Um Bhailiú Airgid; an Fochoiste Oideachais; an Fochoiste Gaeltachta; an Fochoiste Oiliúna agus na Fochoistí Craolacháin agus Meán, agus is miontuairiscí agus comhfhreagras atá iontu den chuid is mó.</div><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_n31BnFdiH7gv19cMwTDl9SIwut9v4Rn_boELa32KAQhPMsfdihx7wdhLoUH2m4bsM4bNNsI86ArwuRS-6ATzfKlMt12pAsUcaHugRcjssjRL8WC2t_VHpVaSNPkrY6BzCkgkEG1J_Sct/s800/CoistenabPa%25CC%2581isti%25CC%25811946.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="507" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_n31BnFdiH7gv19cMwTDl9SIwut9v4Rn_boELa32KAQhPMsfdihx7wdhLoUH2m4bsM4bNNsI86ArwuRS-6ATzfKlMt12pAsUcaHugRcjssjRL8WC2t_VHpVaSNPkrY6BzCkgkEG1J_Sct/s320/CoistenabPa%25CC%2581isti%25CC%25811946.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Cuimsíonn sraith na h<b>Ard Fheise</b> ábhar a bhaineann le hArd Fheis bhliantúil Chonradh na Gaeilge. Cuimsíonn sraith Sheachtain na Gaeilge ábhar a bhaineann le féile bhliantúil Ghaeilge an Chonartha a reáchtáiltear i mí an Mhárta. Áorítear leis an dá shraith seo miontuairiscí agus comhfhreagras, aithisc thosaigh, cláir agus ábhar poiblíochta.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAs_r-0c51ucAN0fO1ovWfXnAstX69lBASYMNeDvIxnHVp5ANvQ8c1aJfWaNxZBKPerpPQiaUROBiwbLZrVfS3X0oVd4GtoTcvDnDCxnBAVKqZBQCAQDULVywPxmVsb6g_m0URwneFfOk/s800/ArdFheis1905.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="544" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAs_r-0c51ucAN0fO1ovWfXnAstX69lBASYMNeDvIxnHVp5ANvQ8c1aJfWaNxZBKPerpPQiaUROBiwbLZrVfS3X0oVd4GtoTcvDnDCxnBAVKqZBQCAQDULVywPxmVsb6g_m0URwneFfOk/w181-h267/ArdFheis1905.jpg" width="181" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVWVA4JRISHrbGRDZ6X741NprmDqrz_zDtPWVKpfawtJl5kvEKkfLFXplyIeDE28w_YwXIr4nCwni9pXtapsixL_qIuoy9gNRoiGToh_uoYbmgsZDSw0DA6_WPixnSOlkhPgXaVPED59d2/s800/SnaG2008.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="567" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVWVA4JRISHrbGRDZ6X741NprmDqrz_zDtPWVKpfawtJl5kvEKkfLFXplyIeDE28w_YwXIr4nCwni9pXtapsixL_qIuoy9gNRoiGToh_uoYbmgsZDSw0DA6_WPixnSOlkhPgXaVPED59d2/w190-h267/SnaG2008.jpg" width="190" /></a><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Áirítear leis an tsraith <b>Nua-Litríocht, Filíocht agus Scríbhneoirí</b> dréachtscripteanna agus aistí, beathaisnéisí agus scéalta báis, míreanna a bhaineann le comórtais agus duaiseanna, cáipéisí a bhaineann le féilte agus seoltaí leabhar agus ábhar a bhaineann le hiriseoireacht na Gaeilge.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirl87lzBppIdSsljVkUX6RPGGHF6Rm1Z-QZTCVMxcRjrcPa5BMPv4Xrg9xS9U_4yCR6Zv2jf_x-ducR0IJd_I-fpeJJsi53IXiALyuCZmkjK75rvf5kPowRA7oQvW1OgpbVZnh2mVv6yCp/s800/RIABookLaunch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="668" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirl87lzBppIdSsljVkUX6RPGGHF6Rm1Z-QZTCVMxcRjrcPa5BMPv4Xrg9xS9U_4yCR6Zv2jf_x-ducR0IJd_I-fpeJJsi53IXiALyuCZmkjK75rvf5kPowRA7oQvW1OgpbVZnh2mVv6yCp/s320/RIABookLaunch.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Áirítear leis an tsraith dheiridh san eisiúint seo, <b>Ábhar a bhaineann le Ceol, Amhráin agus Rince</b> bileoga ceoil ginearálta, bileoga ceoil an Oireachtais, cláir, grianghraif, póstaeir agus comhfhreagras. Áirítear leis na bileoga ceoil "Go Mairidh Ár nGaedhilg Slán", ar píosa é a cumadh go speisialta don chéad Oireachtas i mBaile Átha Cliath in 1897.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgemS7PhRbA1Lh_GNaGOsU-KfEVeRuNV2vn0hcnspw2VsbxQ29PJPkOdy18TFMZwtY9uSVcdBDMTWxmf3LiEms0FcrTKfdIXac8zPKCKSQJGMCwHb2AmlmjWB1ijDGAT4gMKGGJH6GGnwR0/s800/GoMairid.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="643" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgemS7PhRbA1Lh_GNaGOsU-KfEVeRuNV2vn0hcnspw2VsbxQ29PJPkOdy18TFMZwtY9uSVcdBDMTWxmf3LiEms0FcrTKfdIXac8zPKCKSQJGMCwHb2AmlmjWB1ijDGAT4gMKGGJH6GGnwR0/s320/GoMairid.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Díreach faoi bhun 70 bosca atá i gceist leis an eisiúint is deireacaí seo, agus fágann sé gur 240 líon na mboscaí atá eisithe chun dáta. Tá rochtain orthu seo agus ar aon ábhar eile, áfach, faoi réir ag na srianta reatha atá i bhfeidhm ag an rialtas, ar féidir léamh fúthu <a href="http://library.nuigalway.ie/collections/specialcollections/ascrr/" target="_blank">anseo</a>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Leanfar leis an obair ar an mbailiúchán iontach seo má ligeann srianta an rialtais dúinn déanamh amhlaidh agus tá súil againn nach mbeidh tréimhse ama chomh fada sin i gceist sula bhfógrófar go bhfuil ábhar eile le heisiúint. Tuilleadh eolas <a href="http://archivesearch.library.nuigalway.ie/NUIG/CalmView/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=G60" target="_blank">anseo</a> ar a bhfuil ar fáil.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Idir an dá linn, fanaigí slán, fanaigí sábháilte agus beirigí bua,</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Niamh</div><div><br /></div><div><br /></div>English Version:<div><br /></div><div><a href="https://nuigarchives.blogspot.com/2020/12/fourth-tranche-of-conradh-na-gaeilge.html" target="_blank">Blog 5: Fourth Tranche of Conradh na Gaeilge Material Released</a>.</div><div><br /></div><div><br /></div><div>Naisc eile:</div><div><br /></div><div>Blag 1: <a href="https://nuigarchives.blogspot.com/2018/09/cartlann-chonradh-na-gaeilge-chead-cheim.html" target="_blank">Cartlann Chonradh na Gaeilge - An Chéad Chéim</a></div><div><br /></div><div>Blag 2: <a href="https://nuigarchives.blogspot.com/2018/11/cartlann-chonradh-na-gaeilge-chartlann.html" target="_blank">Cartlann Chonradh na Gaeilge - An Chartlann a Mheas</a></div><div><br /></div><div>Blag 3: <a href="https://nuigarchives.blogspot.com/2019/10/cartlann-chonradh-na-gaeilge-ceim-2.html" target="_blank">Cartlann Chonradh na Gaeilge - Chéim 2: An Chóiriú</a></div><div><br /></div><div>Blag 4: <a href="https://nuigarchives.blogspot.com/2020/04/cartlann-chonradh-na-gaeilge.html" target="_blank">Cartlann Chonradh na Gaeilge - Taispeántas Digiteach Seolta</a></div><div><br /></div><div><a href="https://exhibitions.library.nuigalway.ie/s/cnag/page/home" target="_blank">An Taispeántas Digiteach</a></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div>University of Galway Archives and Special Collectionshttp://www.blogger.com/profile/02851508017548971575noreply@blogger.com0