Tom Murphy, dramaturgo irlandês, apropria-se da tradição e a reescreve transformando-a e contextualizando-a para a Irlanda contemporânea. O trabalho trata de três peças: The Morning After Optimism (1971), The Sanctuary Lamp (1976) e The Gigli Concert (1983), que se caracterizam, predominantemente, pela reescritura. O estudo tem por objetivo analisar como a herança literária efetivamente ocorre na composição das peças de Tom Murphy, através da intertextualidade em citações, alusões, paródias, reescrituras e outras formas, bem como entender os motivos do autor utilizar-se de obras da tradição clássica, renascentista, medieval, dos contos populares, das óperas e música popular para escrever as três peças. / Thomas Murphy, an Irish playwright, appropriates tradition and rewrites it transforming and transcontextualizing it to the contemporary Ireland. The dissertation deals with three plays: The Morning After Optimism (1971), The Sanctuary Lamp (1976) and The Gigli Concert (1983) which are predominantely characterized by rewriting. The study aims to analyze how literary heritage effectively occurs in Tom Murphy\'s plays through intertextuality in citations, allusions, parodies, rewriting and other related forms, as well to understand why the author uses works of art from classical, renaissance, medieval, fairy tale, opera and popular music tradition to write the three plays.

<p>Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland.</p><p>The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes.</p><p>The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected.</p><p>This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.</p>

Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland. The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes. The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected. This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.

Tom Murphy, dramaturgo irlandês, apropria-se da tradição e a reescreve transformando-a e contextualizando-a para a Irlanda contemporânea. O trabalho trata de três peças: The Morning After Optimism (1971), The Sanctuary Lamp (1976) e The Gigli Concert (1983), que se caracterizam, predominantemente, pela reescritura. O estudo tem por objetivo analisar como a herança literária efetivamente ocorre na composição das peças de Tom Murphy, através da intertextualidade em citações, alusões, paródias, reescrituras e outras formas, bem como entender os motivos do autor utilizar-se de obras da tradição clássica, renascentista, medieval, dos contos populares, das óperas e música popular para escrever as três peças. / Thomas Murphy, an Irish playwright, appropriates tradition and rewrites it transforming and transcontextualizing it to the contemporary Ireland. The dissertation deals with three plays: The Morning After Optimism (1971), The Sanctuary Lamp (1976) and The Gigli Concert (1983) which are predominantely characterized by rewriting. The study aims to analyze how literary heritage effectively occurs in Tom Murphy\'s plays through intertextuality in citations, allusions, parodies, rewriting and other related forms, as well to understand why the author uses works of art from classical, renaissance, medieval, fairy tale, opera and popular music tradition to write the three plays.