305,353 research outputs found
Selected Images : Vivienne Dick, Micky Donnelly, Paul Durcan, Brian Cronin, Joan Fowler, Paul Graham, Alanna O'Kelly, Victor Sloan
No full textThe intention of this exhibition and catalogue was to show selected work by Irish artists wherein imaging plays an important part of a narrative structure. Durcan discusses the works which draw from a range of disciplines (drawing, painting, performance, language, film and photography) and are linked to a continuum beyond categorisations or national identity
The Poet Durcan & I
No full textUma reflexão pessoal e subjetiva do escritor e cineasta Alan Gilsenan sobre suas memórias e relacionamento com Paul Durcan e sua poesia. Gilsenan colaborou com Durcan em três projetos cinematográficos: um filme experimental do longo poema Six Nuns Die in Convent Inferno; um perfil documental, Paul Durcan: The Dark School (1944-1971); e o poeta emprestou a sua voz para ULISSES | FILM, uma instalação visual em resposta ao romance icônico de James Joyce, encomendada para o novo MOLI (Museum of Literature Ireland) de Dublin.A personal and subjective reflection by writer and film-maker Alan Gilsenan on his memories and relationship with Paul Durcan and his poetry. Gilsenan has collaborated with Durcan on three film projects: an experimental film of the long poem Six Nuns Die in Convent Inferno; a documentary profile, Paul Durcan: The Dark School (1944- 1971); and the poet provided the voice for ULYSSES | FILM, a visual installation in response to the iconic novel by James Joyce, commissioned for Dublin’s new MOLI (Museum of Literature Ireland)
Greetings to Durcan
No full textPaul Durcan. Greetings to our friends in Brazil. London: The Harvile Press, 1999.Paul Durcan. Greetings to our friends in Brazil. London: The Harvile Press, 1999
The Assembly of Paul Durcan
No full text"The Assembly of Paul Durcan", de Paul Muldoon."The Assembly of Paul Durcan", by Paul Muldoon
On Paul Durcan and the Visual Arts: Gender, Genre, Medium
No full textA obra de Paul Durcan encontra uma das suas feições mais atraentes no modo como reconhece fronteiras e explora travessias. As linhas divisórias que a sua poesia cruza regularmente são de vários tipos: são semióticas e intermediais, quando Durcan interpela verbalmente representações noutros sistemas de significação – em particular nas artes visuais; são culturais e políticas, envolvendo o processamento poético de circunstâncias irlandesas ou globais; e questionam identidades de gênero, salientando as perplexidades de mulheres e homens como sujeitos e objetos de uma multiplicidade de inscrições. Este ensaio aborda a escrita (literalmente) transgressiva de Durcan e os desafios intelectuais e disciplinares que ela comporta, ao interrogar o modo como lemos poemas e imagens, mas também como aceitamos a auto-contenção de configurações políticas e identitárias.The poetry of Paul Durcan finds one of its major attractions in its acknowledgement and crossing of boundaries. Such borderlines are of various types: they are semiotic and intermedial, involving Paul Durcan’s deployment of verbal resources to co-opt or challenge representations in other systems of signification – especially visual media; they are cultural and political, concerning the poet’s processing of elements from both Irish and global cultures; and they are those proper to gendered identities, highlighting the positions of men and women as both subjects and objects of a variety of inscriptions. This essay approaches Durcan’s (literally) transgressive writing and the intellectual and disciplinary challenges it poses by questioning our ability to read poems and pictures, and accept the ostensible self-containment of political conformations and modes of identity
Paul Durcan Dances Down to Brazil
No full textPoema "Paul Durcan Dances Down to Brazil", de Heleno Godoy.Poem "Paul Durcan Dances Down to Brazil", by Heleno Godoy
Orpheus Ascending The Berlin Wall Café by Paul Durcan
No full text"Orpheus Ascending The Berlin Wall Café by Paul Durcan", by Derek Mahon. The Irish Review, 1986. Publicado com a permissão de Gallery Press. "Orpheus Ascending The Berlin Wall Café by Paul Durcan", by Derek Mahon. The Irish Review, 1986 Published with the kind permission of Gallery Press. 
Paul Durcan. The Art of Life
No full textPaul Durcan has published prolifically over the years and yet his presence in critical journals is remarkably inconspicuous. Despite the support of such eminent critics as Edna Longley and the numerous prestigious awards he has gleaned over the years, his appeal has remained essentially popular — he has become the closest one can get to the almost extinct notion of a bestselling poet. Perhaps it is this perceived “populism” that has caused academic criticism to largely disregard him. His surf..
On Paul Durcan and the visual arts: gender, genre, medium
No full textA obra de Paul Durcan encontra uma das suas feições mais atraentes no modo
como reconhece fronteiras e explora travessias. As linhas divisórias que a sua poesia cruza
regularmente são de vários tipos: são semióticas e intermediais, quando Durcan interpela
verbalmente representações noutros sistemas de significação - em particular nas artes visuais;
são culturais e políticas, envolvendo o processamento poético de circunstâncias irlandesas ou
globais; e questionam identidades de gênero, salientando as perplexidades de mulheres e
homens como sujeitos e objetos de uma multiplicidade de inscrições. Este ensaio aborda a
escrita (literalmente) transgressiva de Durcan e os desafios intelectuais e disciplinares que
ela comporta, ao interrogar o modo como lemos poemas e imagens, mas também como
aceitamos a auto-contenção de configurações políticas e identitárias.The poetry of Paul Durcan finds one of its major attractions in its
acknowledgement and crossing of boundaries. Such borderlines are of various types: they are
semiotic and intermedial, involving Paul Durcan's deployment of verbal resources to co-opt or
challenge representations in other systems of signification - especially visual media; they are
cultural and political, concerning the poet's processing of elements from both Irish and global
cultures; and they are those proper to gendered identities, highlighting the positions of men and
women as both subjects and objects of a variety of inscriptions. This essay approaches
Durcan's (literally) transgressive writing and the intellectual and disciplinary challenges it
poses by questioning our ability to read poems and pictures, and accept the ostensible selfcontainment
of political conformations and modes of identity
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