School of Humanities
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The School of Humanities, (Scoil na nDaonnachtaí) which was established in 2007, brings together the Departments of English, History, and Philosophy, the Centre for Irish Studies, the Huston School of Film and Digital Media, and specialist fields in Journalism and Old and Middle Irish.
The School of Humanities is the largest of the five schools which constitute the College of Arts, Social Sciences and Celtic Studies. It has 60 full-time teaching and research staff, over 3,000 postgraduate and undergraduate students, including some 700 from overseas, and every year it is host also to various visiting scholars and creative writers and artists. Our School's community is a vibrant one, thriving on intellectual exchange within and between traditional subject areas and newer fields of enquiry and practice.
Broadly speaking, the common concern in the School of Humanities is human experience. From different perspectives, we address ourselves to humankind's diverse history, traditions and creativeness. Our methods and interests vary a great deal, but the environment in which we work is one of co-operation and mutual respect.
Sub-communities within this community
Recent Submissions
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Speaking Out: The Tricyle Theatre's Bloody Sunday: Scenes from the Saville Inquiry
(Irish Theatre Magazine, 2005)[No abstract available] -
“Old Fools are Babes Again”: Shakespeare at the Abbey Theatre: programme note for King Lear directed by Selina Cartmell at the Abbey Theatre
(Abbey Theatre, 2013)[No abstract available] -
The Last Summer by Declan Hughes: programme note for Gate Theatre, Dublin
(Gate Theatre, 2012)[No abstract available] -
Re-imagining Shakespeare: A tender thing directed by Selina Cartmell: programme note for Siren Productions
(Siren Productions, 2013)[No abstract available] -
The Match Box by Frank McGuinness: programme note for Galway International Arts Festival
(Galway International Arts Festival, 2015)[No abstract available] -
The New Electric Ballroom by Enda Walsh, Druid Theatre, Galway
(Irish Theatre Magazine, 2008)[No abstract available] -
A "global nervous system": The rise and rise of European humanitarian NGOs
(Palgrave Macmillan, 2014)Going a step beyond the guiding principle of Amnesty International and the human rights movement that individuals could change the policies of foreign governments humanitarian NGOs emphasised the power of ... -
All that Fall by Samuel Beckett, Pan Pan Theatre Company
(Irish Theatre Magazine, 2011)The first thing to say about Pan Pan’s performance of Beckett’s 1956 radio play is this: if you’re planning on going to it, please don’t read this review – it would be a shame to spoil the surprise that awaits you. And ... -
Only an Apple by Tom MacIntyre, Peacock Theatre
(Irish Theatre Magazine, 2009)You have to wonder why Irish dramatists keep writing plays about politicians. In 1969, Brian Friel’s The Mundy Scheme brilliantly satirised the political life of that period, while anticipating much that would follow. Yet ... -
The theatre of Marie Jones: telling stories from the ground up
(Taylor & Francis, 2016-11-11)It’s sometimes asserted that Irish women writers are doubly marginalised: first by their nationality and then by their gender. If that statement is true, we might add to it that Marie Jones has been marginalised a third ... -
Once: the musical by Enda Walsh, Gaiety Theatre
(Irish Theatre Magazine, 2013)As we enter the Gaiety, we discover that Once has already begun: the cast are gathered in what looks like an ordinary pub where a session is underway. They play music for about twenty minutes while members of the audience ... -
An enemy of the people, Ibsen adapted by Arthur Miller, Gate Theatre
(Irish Theatre Magazine, 2013)Ibsen’s 1882 An Enemy of the People is sometimes described as a problem play, in that it dramatises a compelling debate between two brothers about the nature of morality and individual responsibility. But that term might ... -
Tackling a live subject: the Hinterland controversy
(Irish Theatre Magazine, 2002)The ramifications of the controversy over Sebastian Barry’s latest play echo well beyond the "Hinterland", argues Patrick Lonergan. What, exactly, is so bad about Hinterland? Using aspects of the career of Charles ... -
Shakespearean productions at the Abbey Theatre, 1970-1985
(Palgrave Macmillan, 2015)[No abstract available] -
Krapp's Last Tape by Samuel Beckett, Gate Theatre
(Irish Theatre Magazine, 2010)It took Samuel Beckett about three weeks to write Krapp’s Last Tape. During that time, the play went through seven distinct stages which, according to the scholarship, involved a gradual stripping away of sentimentality: ... -
Dancing at Lughnasa by Brian Friel, Gate Theatre
(Irish Theatre Magazine, 2004)Dancing at Lughnasa premiered at the Abbey in 1990, and was produced in Dublin during five of the ten subsequent years – using the same director and designer every time. Our understanding of the play has therefore been ... -
HURL by Charlie O’Neill, Barrabas Theatre Company, Black Box Theatre, Galway
(2003)Minutes into Hurl, Charlie O’Neil’s play about a multi-ethnic hurling team, a ripple of discomfort sweeps through the audience. On stage, a man and woman have entered the house of an alcoholic ex-priest; understandably, ... -
Faith Healer by Brian Friel, Gate Theatre
(Irish Theatre Magazine, 2010)During the last decade, Owen Roe has emerged as one of Ireland’s very best actors – yet, until now, he’s rarely filled a major leading role. His performance as the Irishman in Ben Barnes’s 2001 Gigli Concert was astonishing ... -
Shakespeare and the Irish Writer edited by Janet Clare and Stephen O Neill
(Irish Theatre Magazine, 2010)Shakespeare, wrote Ben Jonson, was both the “soul of the age” and “for all time”. His work, that is, encapsulated the life of his society – but it also transcended space and time, acquiring universal importance. That ...