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Books / Book Chapters

Irish-American Identity in the Films of Martin Scorsese by Matt R. Lohr Restricted Resource

John Wiley and Sons, 2015 
In the 40 years since Martin Scorsese emergence into the national consciousness with 1973's Mean Streets, he has established himself as the cinematic poet laureate of the Italian-American experience. An overview of Scorsese's filmography uncovers works depicting upper-crust white Anglo-Saxon protestants (WASPs), American southerners, Jews both American and ancient Middle Eastern even Tibetan Buddhists. Major facet of Irish-American cultural life, Catholicism, was a perhaps inevitable component of Scorsese's take on the Irish diaspora. Gangs of New York commences with a series of images that lead us to believe that Scorsese's conception of Irish Catholicism will be similarly steeped in the mysticism of the faith.

New world Irish notes on one hundred years of lives and letters in American culture byJack Morgan
Print Location: 305.89162 M847N (IICAS)
Palgrave Macmillan, 2011

Part I Nineteenth century
  1.1 Among Cromwell's children: the 
Irish and Yankee New England
  1.2 Requiem for the St.John: 
Thoreau's "the shipwreck" as an Irish famine narrative
Blighted prospects: Irish historical haunting in America
Fair and funeral: Henry O'Clarence McCarthy and the American Fenian years
  1.5 Broom and bridget: the Irish 
servant and the New England household
Part II Twentieth 
   2.1 The Liffey to the Red River: demented mentors in 
Joyce's The Sisters and Scott Fitzgerald's Absolution
   2.2 John Ford, the Irish, and his cavalry trilogy
   2.3 Jack 
Conroy, the Irish American left, and the radical Irish legacy
   2.4 Dublin to Bodega Bay: the dark side of Alfred 
Hitchcock's Juno and the paycock
   2.5 Migration and memory: 
Irish poetry in the United States 
Reading Irish-American fiction : the hyphenated self by Margaret Hallissy
Print Location: 813.00989162 H189R (CL)
Palgrave Macmillan, 2006

1. Irish types, American patterns
2. What Americans know and how they know it: song
3. What Americans know and how they know it: story
4. Picture Postcard Ireland: Thomas Morans The World I Made for Her
5. Naming the past: Lisa Careys The Mermaids Singing
6. The pain of not knowing: Katherine Webers The Music Lesson
7. Bringing paddies over: Alice McDermotts Charming Billy
8. The rage of the dying animal: Mary Gordons The Other Side

The Columbia guide to Irish American history by Timothy Meagher
Print Location: 973.049162 M482C (CL)
Columbia University Press, 2005

1. History of Irish Americans from the seventeenth to the twenty - first century
2. Issues and themes in Irish 
American history
3. Important people, organizations, 
events, and terms
4. Chronolgy of Irish America  

The construction of Irish identity in American literature by Christopher Dowd
Print Location: 810.9 D745C (IICAS)
Routledge, 2014

1. Staging Ireland in America
2. "Sivilizing" Irish America
Invisible ethnicity
4. Replacing the immigrant narrative
Afterword: Huck Finn's people
The Irish Americans : a history by Jay P. Dolan
Print Location: 973.049162 D659I (IICAS)
Bloomsbury Press,2008 
A forgotten era, 1700-1840
2. The famine generation and 
beyond, 1840-1920
3. Becoming American, 1920-1960
4. Irish 
and American, 1960-2000


A Comparison Of Irish Surnames In The United States With Those Of Eire by D Kenneth Tucker Restricted Resource
Names: A Journal of Onomastics, Volume 54, Issue 1, 2006, pages 55-75.

Abstract: This paper compares contemporary frequency distributions of Irish Surnames in Eire (2001) and the United States (US) (1997), about one hundred years after bulk of Irish emigration to the US, in order to measure changes, if any, in form and frequency of these surnames.
The Eire Data (ED) source is taken from the Eire 2002 Electoral Roll, where the graph of population against surnames is shown to be typical. The US Data (USD) source is Hanks’ Dictionary of American Family Names (DAFN). Results of a first comparison of these two sources prompted removal from the USD of all Irish surnames that also have UK roots, including 33 of the 100 most frequent surnames in the Eire data. A second comparison shows that many US surnames of Irish origin are not present in Eire: these are variants of common Irish surnames, and were then merged with the etymological Irish form. The remaining 67 of the most frequent 100 surnames from ED were then compared with USD. All except one are of roughly comparable frequency order albeit with some changes to their spelling form. It is concluded that the US Irish surnames clearly reflect their heritage although some are have never been found in Eire.
Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston by Paul F. Wells Restricted Resource
Abstract: Ryan's Mammoth Collection is a compendium of fiddle tunes assembled by William Bradbury Ryan. Originally published in Boston in 1883 by Elias Howe, Jr., it has remained in print in one form or another ever since. It has been used as a source of tunes by many generations of fiddlers in different stylistic traditions, but its value as a descriptive document of the repertoire of late-nineteenth-century Boston, particularly the Irish community in that city, has largely been overlooked. Ryan, rather than Capt. Francis O'Neill of Chicago, should be regarded as the first great documentarian of Irish traditional music in the United States.

Irish Music and Musicians in the United States: An Introduction by Paul F. Wells and Sally K. Sommers Smith Restricted Resource
“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark bookYesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

Managing sameness and difference: the politics of belonging among Irish-born return migrants from the United States by David Ralph Restricted Resource

Social & Cultural Geography

Volume 13Issue 5, 2012

Abstract: Contemporary immigration in Western countries spurs intense debates about immigrant–host society relationships, asking questions about who and what it means to belong in such immigrant-receiving societies. In the Republic of Ireland, the debate about belonging in the wake of large-scale in-migration during the ‘Celtic Tiger’ years placed the onus on newcomers to shed their ‘difference’ and conform to Irish society's norms of ‘sameness’ if they were to belong. Return migrants, however, complicate the terms of social belonging, positioned as they are somewhere between ‘newcomers’ and ‘natives’. Drawing on interviews with return migrants, I analyse returnees’ conceptualizations of belonging upon homecoming. I show how return migrants’ social positioning in the post-return context is complex, as they move between ascriptions of sameness and difference, at once blending with and challenging cultural norms set by the dominant group. This is important, suggesting that belonging in immigrant-receiving societies is not overdetermined by host society demands on immigrants to shed their difference and conform to dominant norms of sameness. Rather, even as they position themselves as the ‘same’ as the dominant group, my respondents also resist these norms, weaving moments of both sameness and difference in their everyday negotiations of belonging vis-à-vis the mainstream population.

Performing Cultural Memory: The Travelling Hibernicon and the Transnational Irish Community in the United States and Australia by Michelle Granshaw Restricted Resource
Nineteenth Century Theatre & Film; Winter2014, Vol. 41 Issue 2, p76-101.
Abstract: The proliferation of popular touring companies in the late nineteenth century provides an opportunity to explore how popular ideas of Irishness travelled and transformed across national borders. Through its international reach and unique form, the hibernicon - an Irish variation on the moving panorama - had the potential to create an imagined collectivity among Irish emigrants and their descendants in the US and Australia. Looking at the hibernicon and transnational theatre emphasises the ways that performances of cultural memory shift over time and are dependent not only on the relationship of the Irish to homeland, but also the transnational relationships among those who have left. The hibernicon highlights the crucial role popular entertainment played in conversations about cultural memory and demonstrates the importance of transnationalism in cultural memory's formation.

The texted and textured construction of Irish identity in the theatrical world of Charleston, South Carolina by Dee Dee Joyce Restricted Resource


Irish Studies Review Volume 23, Issue 2, 2015
On the eve of the American Civil War, the Irish who had immigrated to the United States as a result of the Great Famine were in the process of constructing an Irish working-class identity in Charleston, South Carolina. A “legacy” for such construction had been created in the previous century: those who had come from Ireland then had used public displays of celebration and concomitant rhetorical devices to create the impression that they were willing and eager to assimilate. Their rituals at banquets and other public occasions “set the stage”, so to speak, for the next century's generation of immigrant Irish who also found it necessary to articulate publicly their claim to an ethnic American identity. Theatrical venues and staged performances served the Famine Irish well in this endeavour.

Wheels of the World: How Recordings of Irish traditional music bridged the gap between homeland and diaspora by Scott Spencer Restricted Resource
Journal of the Society for American Music Journal of the Society for American Music / Volume 4 / Special Issue 04 / November 2010, pp 437-449.

Abstract : At the dawn of the twentieth century and the height of the Recording Age, Irish American musicians began to record Irish traditional music on both commercial and subcommercial recordings. Circulated within the diaspora during a changing sense of Irish identity and sent home to a nationalist revival, these recordings had a profound impact on both traditional performance practices and modes of transmission. Quickly accepted by many at the heart of the tradition, these recordings were used by practitioners to bridge vast geographic distances and solidify vital lines of communication, allowing the diaspora to engage actively with the larger tradition.


‘Equally at home on Beacon Hill and Hill 16’? Transnational identities among Irish-born return migrants from the United States by David Ralph Restricted Resource

Global Networks, Volume 14, Issue 4, pages 477–494, October 2014
Abstract: In this article, I examine the transnational identities that return migrants create upon resettlement in their country of origin. Specifically, I draw on interviews with Republic of Ireland-born return migrants from the United States between the years 1996 and 2006. The analysis shows that return migrants – like other migrant groups – maintain and establish translocal identities and practices that straddle ‘here’ (Ireland) and ‘there’ (United States) upon return. However, the article goes further, asking why returnees develop such border-spanning social fields. Some recent scholarship suggests that some migrants develop transnational identities as an adaptive response to a hostile receiving society. The analysis here shows a similar process at play for certain return migrants in the post-return environment. Doubtless, for some returnees, a transnational identity is a natural outgrowth of having spent several years in the United States. Yet for others, one can better explain this transnational identity as a coping strategy to buffer resettlement anxieties and disappointments.

Theses / Dissertations

Decolonizing Colleen: Gender, Power, and Diaspora in Irish Music in the United States by Claire Connell Restricted Resource
University of Washington, ProQuest Dissertations Publishing, 2011

Abstract: Bright rosy-cheeks, cornflower-blue eyes, long, flowing locks cascading around her pearly white face, Colleen, that pure and sweet little Irish lass, skips daintily across Irish-American popular imagery of the twentieth century. From the Tin Pan Alley standards of the early decades to the Broadway-style touring shows of recent years, Colleen has endured and flourished. While her male counterpart Paddy is more often depicted in the urban world of modernity and progress, Colleen has been made to represent tradition, rural Ireland, and the past. The figuring of Colleen as passive in popular presentations is mirrored in real life by Irish women's near total absence from the public performance of Irish music in the United States for most of the twentieth century. Values and belief systems in early twentieth century Ireland, originating in nationalist and Catholic ideologies, circumscribed woman's place to the private sphere of the home, carrying out the duties of wife and mother. Such ideas continued to hold sway in Irish communities in the U.S. well into the second half of the twentieth century.
In this dissertation, I explore the renaissance of Irish women's music-making that has taken place in the U.S. since the 1980s. I argue that Irish women musicians--second generation, migrant, and later generation--have created alternative versions of Irish-American femininity for popular consumption. Through the life stories and creative output of these musicians, stereotypical notions of Irish-American womanhood are decolonized and the complexities of Irish women, and in turn, of the Irish in the U.S., are revealed. In the process, the theoretical concept of an Irish transnational musical field is illuminated, a fluid sphere of overlapping musical scenes that stretches across Ireland and the U.S., aided by technology and cyberspace. The concept of Irish society is expanded to include both the music-making of the homeland and that of the Irish diaspora across the globe. In this new world order, Irish women artists in the U.S., as central actors in contemporary public musical life, are helping to shape the Irish transnational musical field into a post-colonial society without borders.