{"product_id":"the-golden-thread-irish-women-playwrights-volume-1-1716-1992-9781800859463","title":"The Golden Thread: Irish Women Playwrights,","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two essays written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short essays provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance.\u003c\/p\u003e\u003cp\u003eVolume One covers plays by Irish women playwrights written between 1716 to 1992, and seeks to address and redress the historic absence of Irish female playwrights in theatre histories. Highlighting the work of nine women playwrights from the eighteenth and nineteenth centuries, as well as thirteen of the twentieth century’s key writers, the chapters in this volume explore such varied themes as the impact of space and place on identity, women’s strategic use of genre, and theatrical responses to shifts in Irish politics and culture.\u003c\/p\u003e\u003cp\u003eCONTRIBUTORS: \u003ci\u003e\u003c\/i\u003eConrad Brunström,\u003ci\u003e\u003c\/i\u003e David Clare, Thomas Conway, Marguérite Corporaal, Mark Fitzgerald, Shirley-Anne Godfrey, \u003ci\u003e\u003c\/i\u003eÚna Kealy, \u003ci\u003e\u003c\/i\u003eSonja Lawrenson, Cathy Leeney, Marc Mac Lochlainn, Kate McCarthy, Fiona McDonagh, Deirdre McFeely, Megan W. Minogue, Ciara Moloney, Justine Nakase, Patricia O'Beirne, Kevin O'Connor, Ciara O'Dowd, Clíona Ó Gallchoir, Anna Pilz, Emilie Pine, Ruud van den Beuken, Feargal Whelan\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e'Spanning from the eighteenth-century to the present day, \u003ci\u003eThe Golden Thread\u003c\/i\u003e brings together the work of leading scholars in Irish theatre and women’s writing with that of theatre practitioners to recover the often-hidden contributions of women playwrights. The collection develops a counter-canon of Irish playwrights that examines issues of class, sexuality, and disability.'\u003cbr\u003eColleen English, \u003ci\u003eThe New Books Network\u003c\/i\u003e\u003cbr\u003e'This is one of those indispensable works that will influence the future of performance studies and feminist criticism. The number and variety of voices on display, the effort in the reconstruction of the canon by adding women playwrights who had been erased in the past, and the declared ambition to draw attention to and create the conditions for revivals and publications of plays created by contemporary women playwrights make this extensive compilation more than recommendable. [....] All in all, a very enjoyable edition, which makes for a rewarding read and provides essential information.'\u003cbr\u003eMaría Gaviña-Costero, \u003ci\u003eEstudios Irlandeses\u003c\/i\u003e\u003cbr\u003e'In a word, \u003ci\u003eThe Golden Thread: Irish Women Playwrights, 1716–2016...\u003c\/i\u003e is superb. This two-volume collection showcases writers familiar and less familiar, offers valuable context and incisive textual readings, attends to performance as well as stagecraft, and ranges among historical periods and critical approaches.'\u003cbr\u003eProf. Paige Reynolds, \u003ci\u003eEnglish Studies\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003e‘\u003cem\u003eThe Golden Thread\u003c\/em\u003e is an ambitious, richly textured and multifaceted research piece that opens up the field of Irish theatre studies in most fruitful ways. It offers a robust counteracting to the under-representation of Irish women playwrights in the canon and is a strong incentive for producers to revive their work… a most valuable book for anyone interested in Irish studies, in Irish theatre studies and also for anyone interested in an alternative history of Irish theatre.’ Hélène Lecossois, \u003cem\u003eÉtudes irlandaises\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction\u003ci\u003eDavid Clare, Fiona McDonagh \u0026amp; Justine Nakase\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e“There’s no Place like old England”: Space and Identity in Mary Davys’s \u003ci\u003eThe Northern Heiress; Or, the Humours of York\u003c\/i\u003e (1716)\u003cbr\u003e\u003ci\u003eMarguérite Corporaal\u003c\/i\u003e\u003cbr\u003e“Some tender scenes demand the melting tear”: Frances Sheridan’s \u003ci\u003eThe Discover\u003c\/i\u003ey (1763) and the Vindication of “Sentimental Comedy”\u003cbr\u003e\u003ci\u003eConrad Brunström\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eIrish Wit on the London Stage: Elizabeth Griffith’s \u003ci\u003eThe Platonic Wife\u003c\/i\u003e (1765)\u003cbr\u003e\u003ci\u003eClíona Ó Gallchoir\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eDeceptive Disabilities in Maria Edgeworth’s \u003ci\u003eThe Double Disguise\u003c\/i\u003e (1786): Irish Patriotism, Consumption, and the Martial Male Body\u003cbr\u003e\u003ci\u003eSonja Lawrenson\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eReimagining Maria Edgeworth’s \u003ci\u003eThe Knapsack\u003c\/i\u003e (1801) for a Contemporary Young Audience\u003cbr\u003e\u003ci\u003eFiona McDonagh \u0026amp; Marc Mac Lochlainn\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eMary Balfour’s \u003ci\u003eKathleen O’Neil\u003c\/i\u003e (1814):  An Expression or Betrayal of Her Ulster Scots Background?\u003cbr\u003e\u003ci\u003eDavid Clare\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eJustice and the “Triple Goddess” Archetypes in Anna Maria Hall’s \u003ci\u003eMabel’s Curse\u003c\/i\u003e (1837)\u003cbr\u003e\u003ci\u003eCiara Moloney\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eOperas without a Hero: \u003ci\u003e\u003c\/i\u003eA Comic Trilogy (1876–1879) by Elena Norton and Mary Heyne\u003ci\u003eMark Fitzgerald\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Petticoats!—petticoats! petticoats!”: Sartorial Economics in Clotilde Graves’s \u003ci\u003eA Mother of Three\u003c\/i\u003e (1896)\u003cbr\u003e\u003ci\u003eJustine Nakase\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eFrom Gort to Antarctica: Lady Gregory’s Audiences and \u003ci\u003eThe Rising of the Moon\u003c\/i\u003e (1903)\u003cbr\u003e\u003ci\u003eAnna Pilz\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eLady Gregory’s \u003ci\u003eGrania \u003c\/i\u003e(1912): Myth and Mythology\u003cbr\u003e\u003ci\u003eShirley-Anne Godfrey\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“You have let the play go to pieces”: Geraldine Cummins and Susanne R. Day’s \u003ci\u003eFox and Geese\u003c\/i\u003e (1917) and the Hegemony of the Early Abbey Theatre\u003cbr\u003e\u003ci\u003eThomas Conway\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Something left over from the Eighteenth Century, undergoing a slow process of decay”: The Impotence of the Ascendancy in Mary Manning’s \u003ci\u003eYouth’s the Season–? \u003c\/i\u003e(1931)\u003cbr\u003e\u003ci\u003eRuud van den Beuken\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eShape Shifting the Silence: An Analysis of \u003ci\u003eTalk Real Fine, Just Like a Lady\u003c\/i\u003e (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy’s \u003ci\u003eThe King of Spain’s Daughter \u003c\/i\u003e(1935)\u003cbr\u003e\u003ci\u003eÚna Kealy \u0026amp; Kate McCarthy\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Premiere Staging of \u003ci\u003eMount Prospect \u003c\/i\u003e(1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre\u003cbr\u003e\u003ci\u003eCiara O’Dowd\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eCorruption and Socio-Political Tensions in Christine Longford’s \u003ci\u003eTankardstown \u003c\/i\u003e(1948)\u003cbr\u003e\u003ci\u003eKevin O’Connor\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eSocial Class, Space, and Containment in 1950s Ireland: Maura Laverty’s “Dublin Trilogy” (1951–1952)\u003cbr\u003e\u003ci\u003eCathy Leeney \u0026amp; Deirdre McFeely\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eMáiréad Ní Ghráda’s \u003ci\u003eAn Triail\/On Trial\u003c\/i\u003e (1964): Hiding Hypocrisy in Plain Sight\u003cbr\u003e\u003ci\u003eFeargal Whelan\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eChristina Reid: Acts of Memory in \u003ci\u003eTea in a China Cup \u003c\/i\u003e(1983), \u003ci\u003eThe Belle of the Belfast City\u003c\/i\u003e (1989), and \u003ci\u003eMy Name, Shall I Tell You My Name\u003c\/i\u003e (1989)\u003cbr\u003e\u003ci\u003eEmilie Pine\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eAnne Devlin: Depicting a Gendered Journey: Men and Women on \u003ci\u003eThe Long March\u003c\/i\u003e (1984)\u003cbr\u003e\u003ci\u003eMegan W. Minogue\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eA Partial Eclipse: The Role of the Religious in Patricia Burke Brogan’s \u003ci\u003eEclipsed \u003c\/i\u003e(1988 \/ 1992)\u003cbr\u003e\u003ci\u003ePatricia O’Beirne\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eCoda –  What the Woman Sees: Waking Up to Feminist Aesthetics\u003cbr\u003eCathy Leeney\u003cbr\u003e","brand":"Liverpool University Press","offers":[{"title":"Default Title","offer_id":50470073041239,"sku":"9781800859463","price":104.02,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/bookcurl.com\/products\/the-golden-thread-irish-women-playwrights-volume-1-1716-1992-9781800859463","provider":"Book Curl","version":"1.0","type":"link"}