Men and the Classroom: Gender Imbalances in Teaching

The teaching of young children has long been dominated by women. This global phenomenon is firmly rooted in issues related to economic development, urbanization, the position of women in society, cultural definitions of masculinity and the values of children and childcare. Yet, amongst the media scare stories and moral panics about underachieving boys, there are surprisingly few empirically-supported answers to vital questions such as: <ul>
<li>Is the feminisation of teaching really a problem?</li> <li>How is the relationship of gender and teaching considered within a framework of feminist theory?</li> <li>What are the perceptions of students of teaching, in comparison to other professions?</li> <li>Why are so few men attracted to teaching?</li> <li>Can more men be attracted into the classroom?</li>
</ul>
The authors of this groundbreaking book have undertaken the largest, most in-depth study ever carried out on this topic, in order to assess both teachers and students' views across primary education.

Education & Teaching

O’Flynn, John

Drudy, Sheelagh

Martin, Maeve

Woods, Mairide

Schools & Teaching

Routledge

The Irishness of Irish Music (Ashgate Popular and Folk Music Series)

This book brings together important material from a range of sources and highlights how government organizations, musicians, academics and commercial companies are concerned with, and seek to use, a particular notion of Irish musical identity. Rooting the study in the context of the recent history of popular, traditional and classical music in Ireland, as well as providing an overview of aspects of the national field of music production and consumption, O'Flynn goes on to argue that the relationship between Irish identity and Irish music emerges as a contested site of meaning. His analysis exposes the negotiation and articulation of civic, ethnic and economic ideas within a shifting hegemony of national musical culture, and finds inconsistencies between and among symbolic constructions of Irish music and observed patterns in the domestic field. More specifically, O'Flynn illustrates how settings, genres, social groups and values can influence individual identifications or negations of Irishness in music. While the apprehension of intra-musical elements leads to perceptions of music that sounds Irish, style and authenticity emerge as critical articulatory principles in the identification of music that feels Irish. The celebratory and homogenizing discourse associated with the international success of some Irish musical forms is not reflected in the opinions of the people interviewed by O'Flynn; at the same time, an insider/outsider dialectic of national identity is found in various forms of discourse about Irish music. Performers and composers discussed include Bill Whelan (Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes, Dolores Keane and Gerald Barry.

Arts & Photography

Music

Music, the Moving Image and Ireland, 1897–2017 (Ashgate Screen Music Series)

Music and Identity in Ireland and Beyond

Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ’music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ’Historical Perspectives’, ’Recent and Contemporary Production’ and ’Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ’moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold

Fitzgerald, Mark

This book brings together important material from a range of sources and highlights how government organizations, musicians, academics and commercial companies are concerned with, and seek to use, a particular notion of Irish musical identity. Rooting the study in the context of the recent history of popular, traditional and classical music in Ireland, as well as providing an overview of aspects of the national field of music production and consumption, O'Flynn goes on to argue that the relationship between Irish identity and Irish music emerges as a contested site of meaning. His analysis exposes the negotiation and articulation of civic, ethnic and economic ideas within a shifting hegemony of national musical culture, and finds inconsistencies between and among symbolic constructions of Irish music and observed patterns in the domestic field. More specifically, O'Flynn illustrates how settings, genres, social groups and values can influence individual identifications or negations of Irishness in music. While the apprehension of intra-musical elements leads to perceptions of music that sounds Irish, style and authenticity emerge as critical articulatory principles in the identification of music that feels Irish. The celebratory and homogenizing discourse associated with the international success of some Irish musical forms is not reflected in the opinions of the people interviewed by O'Flynn; at the same time, an insider/outsider dialectic of national identity is found in various forms of discourse about Irish music. Performers and composers discussed include Bill Whelan (Riverdance), Sinead O'Connor, The Corrs, Altan, U2, Martin Hayes, Dolores Keane and Gerald Barry.

Music, the Moving Image and Ireland, 1897–2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers, along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968–1998). Focusing on scoring and other aspects of soundtrack production for domestic newsreel, documentary film and TV programming, it interprets the substantial output of many Irish composers within this milieu, particularly from the 1960s to the 1990s. Also referring to broader cultural and historical themes, the book’s third and final part charts approaches to and developments in music and sound design over various waves of Irish cinema, from its relatively late emergence in the 1970s to an exponential growth and increasingly transnational orientation in the early decades of the 21st century.

The history of Gaelic games in Canada, before the founding of             the Gaelic Athletic Association in Ireland in 1884 and in the years since, proves a             determination by Irish immigrants who have arrived in numerous provinces of Canada.             Through their dedication the flag of Irish sports has flown strong, and will continue to             fly in the years to come.  The sporting traditions include the             oldest European field game of hurling-a masterful art and the fastest game in the             world-in which players use an ash wood stick and a hard ball. Many argue with some             conviction, and no small amount of fact to support their case, that Canada's national             sport, ice hockey, has its origins in hurling. The word puck is derived from the Irish             word poc, which is the action of striking the ball with a hurley.              In 1845, the civic fathers of Quebec City banned the playing of hurling in their narrow             streets, while in St. John's, Newfoundland, hurling was being played as early as 1788 at             the "Barrens" of the city. The ladies' version of hurling, Camogie, has had its presence             on occasion in some Canadian communities. The skilful play of Gaelic Football, which has             dominated the sporting scene across the country in many Canadian cities, continues to be             the greatest strength in modern times. Along with two other Irish sports of handball and             rounders, many wonderful memories for the Canadian-Irish community are celebrated in             this book that captures an exciting facet of Irish culture.

The History of the Gaelic Athletic Association in Canada

Baldwin, Ainsley

Biographies & Memoirs

Trafford Publishing

Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ’music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ’Historical Perspectives’, ’Recent and Contemporary Production’ and ’Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ’moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold

See the best price to sell, buy, or rent books by O’Flynn, John. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by O’Flynn, John

See the best price to sell, buy, or rent books by O’Flynn, John. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Men and the Classroom: Gender Imbalances in Teaching

The Irishness of Irish Music (Ashgate Popular and Folk Music Series)

Music, the Moving Image and Ireland, 1897–2017 (Ashgate Screen Music Series)

Music and Identity in Ireland and Beyond

The Irishness of Irish Music (Ashgate Popular and Folk Music Series)

Music, the Moving Image and Ireland, 1897–2017 (Ashgate Screen Music Series)

The History of the Gaelic Athletic Association in Canada

Music and Identity in Ireland and Beyond