Titlebook: Bernard Shaw, Sean O’Casey, and the Dead James Connolly; Nelson O’Ceallaigh Ritschel Book 2021 The Editor(s) (if applicable) and The Autho

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https://doi.org/10.1007/978-3-642-94192-4f the 1920s, Bernard Shaw and Sean O’Casey, as both were shaped by their various responses to the 1916 executed James Connolly. Building on the 2011 ., yet a fully stand-alone project, the early chapters trace the three socialists leading to 1916, and then towards 1920. The second half of the study

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Methoden und Ablauf der Untersuchung,ging impact of the dream is discussed, the chapter asks why a sewing machine, of all the machines of industrialization? The machines, from the 1890s on were produced by sweated labour and made sweated clothing factories possible. Hence, the machines represented the industrial poverty Shaw had consis

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Methodologischer und methodischer Rahmen,ch proceeds with an in-depth analysis of the play and its relationship to James Connolly. It is not the chapter’s contention that the play is about Connolly, but rather that the play contains unmistakable elements of Connolly’s 1916 death, as Shaw understood it. Establishing the details of Connolly’

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https://doi.org/10.1007/978-3-540-77739-7lars have identified the thematic jabs at Connolly’s ICA leadership that tore families apart, this chapter reveals that the play also affirms Connolly’s theoretical socialism, namely in his argument that impoverished women suffer the most within capitalist societies. In an approach to intimacy, Jack

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https://doi.org/10.1007/978-3-540-77739-7reveals, in sections, Shaw’s ties to Connolly’s ., republished in the 1917 .. Specifically, Shaw’s chapter on women reflects the similar direction and scope of .’s woman chapter, with both arguing that working women suffer the most within capitalism, especially within marriage. Such is reached throu

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Bernard Shaw, Sean O’Casey, and the Dead James Connolly978-3-030-74274-4Series ISSN 2634-5811 Series E-ISSN 2634-582X

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