Assembled cigar box fiddle. Fiddlin’ John Hutchison learned to play on a fiddle made from an Old Virginia Cheroots Tobacco box. In a taped interview he calls it a “cigar box.”

The label is under the soundboard. Fiddlin’ John Hutchison learned to play on a fiddle made from an Old Virginia Cheroots Tobacco box. In a taped interview he calls it a “cigar box.”

Fiddlin’ John Hutchison learned to play on a fiddle made from an Old Virginia Cheroots Tobacco box. In a taped interview he calls it a “cigar box.”

Through a critical redefinition of the term ‘postmemory and the introduction of the corresponding term ‘prememory’, two different directions are proposed for advancing the historical study of memory in Ireland and beyond: Regenerative prememory and postmemory, which broadly surveys cycles of remembrance that range over extended periods of time.…[Read more]

On the face of it, the legacy of the 1798 rebellion in the northeastern Irish counties of Antrim and Down seems to be a paradigmatic case of “collective amnesia.” Over the course of the long nineteenth century, growing identification of the Protestants of the area with unionism, loyalism and Orangeism, fortified through opposition to the rise of…[Read more]

In this presentation, we provide an overview of the contents and development of The Séamus Connolly Collection of Irish Music, a recently-launched open access collection of over 330 tunes and songs. The audio, sheet music, stories, and essays can be viewed and/or listened to on mobile devices, tablets, and computers. Through Omeka and SoundCloud,…[Read more]

In addition to showing how politically oriented Flann O’Brien’s At Swim-Two-Birds remains despite its playful exterior, this essay constitutes an extended reflection on issues of power and agency within the postcolonial Irish context. It demonstrates that Irish identity is constructed and controlled via a god-like architecture of temporal and dis…[Read more]