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| Vol 44 n 1 Spring/Summer 2014 | Vol 44 n 2 Autumn/Winter 2014 | Vol 45 n 1 Spring/Summer 2015 | Vol 45 n 2 Autumn/Winter 2015 |  |
| Titre : | Irish University Review : Périodique numérique et imprimé Vol 44 n 1 - Spring/Summer 2014 |
| Type de document : | Bulletin |
| Paru le : | 01/06/2014 |
Dépouillements
Article
Article
"Brendan at the Chelsea", which started life at the National Theatre Studio, was one of the first productions in the opening season at the newly rebuilt Lyric Theatre, Belfast in 2011. The Lyric pr...
Article
As John Brannigan has pointed out, the anecdote as a genre – ‘a theatre of memory and an imagined community’ – was key to Behan's world and his writing. Brannigan identifies the newspaper column as...
Article
This essay examines Brendan Behan's evolution as a dramatist, linking him to the tradition of O'Casey's urban theatre, particularly "Juno and the Paycock", and emphasising his closeness to the expe...
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A dance for all the outcasts : Class and Postcolonialism in Brendan Behan's An Giall and The Hostage
As Susan Bassnett and Harish Trivedi argue, ‘translation does not happen in a vacuum, but in a continuum; it is not an isolated act, it is part of an ongoing process of intercultural transfer’. In ...
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In Brendan Behan's "An Giall" and "The Hostage", song and dance establish atmosphere and character, comment ironically on the action, relate the characters to one another in a union of society's ou...
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This essay examines the political uses to which Behan puts language in his autobiographical fiction, "Borstal Boy", both as an instrument of domination and a means of liberation. Identifying Standa...
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‘New York humour is largely an Irish-Jewish creation’ (Ulick O'Connor, "Brendan Behan", 1970). Brendan Behan, of course, was not a professional ‘stand-up comedian’ in the strictest sense of the ter...
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Half a century after his death Brendan Behan is, all too frequently, remembered for the addiction which killed him. Throughout the multiple biographical portraits and references in popular culture,...
