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Treating Traum(A): Examples In The Tanakh That Mirror Events During The Life Of Bonhoeffer And Crimes Of The Ian Rankin Novel Knots And Crosses, Geraldine Mitchell

Journal of Franco-Irish Studies

The Hebrew Bible (Tanakh) contains a wealth of stories reflecting life in the ancient world including struggles and wars that prove(d) traumatic. It is shown time and again that history repeats itself, and the stories of the Bible reappear in the modern world, both real and (crime) fictional. In this paper, traumatic experiences associated with the German pastor Dietrich Bonhoeffer as well as the fictional character DI John Rebus created by the crime writer Ian Rankin, are linked with similar incidents recorded in the Tanakh. The first novel in the Rebus series, Knots and Crosses, also forms the basis …

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From The Dark Margins To The Spotlight: The Evolution Of Gastronomy And Food Studies In Ireland, Máirtín Mac Con Iomaire

Books/Book Chapters

For many years, food was seen as too quotidian and belonging to the domestic sphere, and therefore to women, which excluded it from any serious study or consideration in academia. This chapter tracks the evolution of gastronomy and food studies in Ireland. It charts the development of gastronomy as a cultural field, originally in France, to its emergence as an academic discipline with a particular Irish inflection. It details the progress that food history and culinary education have made in Ireland, suggesting that a new liberal / vocational model of culinary education, which commenced in 1999, has helped transform the …

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Imaging The Great Irish Famine: Representing Dispossession In Visual Culture, Preface & Introduction, Niamh Ann Kelly

Books/Book Chapters

‘Niamh Ann Kelly's lavishly illustrated book throws new light on the visual culture commemorative of hunger, famine and dispossession in mid-nineteenth-century Ireland. Located within the discipline of International Memorial Studies, the text and images both challenge and extend our understanding of Famine history. Examining the visual culture since the time of the Famine until the present, Kelly asks, how do we view, experience and represent the past in the present? To what extent does the viewer insert themselves in this complex process? Is there such a thing as ethical spectatorship? Kelly’s sophisticated yet sympathetic study of the “grievous history” …

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