Singing Ideas

Tríona Ní Shíocháin is a whistle-player, singer and interdisciplinary scholar specializing in performance theory, oral theory and Irish-language song and poetry. She is Professor of Modern Irish and Performing Arts at Maynooth University, and was previously Lecturer in Irish Traditional Music at University College, Cork. She is author of Bláth’s Craobh na nÚdar: Amhráin Mháire Bhuí (2012).

“Structured into three eloquent chapters and a conclusion, the book features a detailed appendix section containing the Irish compositions, the English translations and the music transcriptions, as well as a list of sound recordings, bibliography and discography. As readers, we are left with a thirsty ear, craving to listen to Máire Bhuí Ní Laeire’s musical makings, perhaps hoping to gain an aural glimpse into those ‘liminal moments of sheer potentiality’ that have inspired generations of women, and men, before us.” • Scenario“Singing Ideas: Performance, Politics, and Oral Poetry, presents an innovative take on researching the ephemeral, non-textual archives of oral tradition…Ní Shíocháin’s weaving of frameworks from philosophy and literature in Singing Ideas will be useful to anyone studying performance of the subaltern, embodiment, and unjust political structures of power.” • Ethnomusicology Review“This excellent book gives a concise, comprehensive overview of oral poetry in a crisply written style, confidently delivered and supported by rigorous scholarship.” • Lillis Ó Laoire, National University of Ireland, Galway

• Chapter 1. Singing Ideas: An Alternative History of Thought(Un)doing History: The Authority of Literacy and the Performativity of ThoughtOral Trouble and Women’s Voices: Searching for IntellectualTraditions Beyond the Written WordSinging Politics and Power in Society: Some Comparative ExamplesSeizing Agency: Women of SongBeyond the Limits of Textuality: Performing the Past and Performing ThoughtChapter 2. ‘Where Everything Trembles in the Balance’: Song as a Liminal Ludic SpaceThe Theory of LiminalityPerforming Liminality: Poetry as a Symbolic Marker for Liminality in the Irish TraditionA Journey to the Sacred and Back: The Liminality of the Aisling (Vision)Song and Oral Poetic Performance as RitualSeparating from the Profane: Ekstasis and SongMoments of Potentiality: The Antistructure of Melody and Verse in the Irish TraditionThe Ritual Powers of (Song) Poetry: Satire, Insult and FearlessnessThe Potentiality of the Play-Sphere: The Challenging Discourse of SongThe Singer of Ideas as ‘Seer of Communitas’: The Liminality of Song and the Generation of IdeasChapter 3. Singing Parrhesia: Máire Bhuí Ní Laeire, Song Performance and Politics in Nineteenth-Century IrelandMáire Bhuí Ní Laeire: Nineteenth-Century Song PoetIrish-Language Song-Making: Poetry as Performance and the Aesthetics of OralityMultiformity and Oral Formulaic TechniquesLocal Agrarian Agitation and the Creation of the Poetic RadicalCrisis and Charisma: The Song Poet as Prophet and Truth-TellerIdentity and the Aesthetics of Orality: New Ideas and the Narrative of BelongingFraming the Revolution: Performing Antistructure and the Vision of the Revolution through SongFrom Generation to Generation to Regeneration: The Legacy of Ideas through SongConclusion: Singing Ideas in Society: Experience, Song and ‘Passing Through’Appendix of Songs and LoreBibliographyIndex