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... ken Irish as its decline became increasingly evident. Language- related activity grew throughout the nineteenth century and, following the establishment in 1893 of the Gaelic League, or in Irish Conrad na Gaeilge, the objective of maintaining and extending the use of Irish as a vernacular fused with the renewed separatist movement which culminated in the establishment of the Irish Free State in 1922. The State has made various provisions for the maintenance and promotion of the language.
Irish is an obligatory subject at primary and second level schools. The Department of Arts, Culture and the Gaeltachta have responsibility for promoting the cultural, social, and economic welfare of the Gaeltachta, and more generally for encouraging the use of Irish as a vernacular. The Department has two statutory boards under its aegis: dars na Gaeltachta Gaeltachta Authority, some of whose members are elected by the people of the Gaeltachta, is a development authority for Gaeltachta areas; Board na Galilee Irish-language board has responsibility for the promotion of Irish as a vernacular throughout the country. The Irish Government with a view to creating a significant international financial services industry in Ireland has established the International Financial Services Center (IFSC), situated in the Custom House Docks Area in Dublin.
Generous tax advantages are available as an incentive to set up in the center. A wide range of international / financial activities is eligible for the benefits offered. These must be carried out on behalf of nonresidents and where relevant in non-Irish currencies. Activities, which qualify, include the following: fund management, insurance, foreign exchange dealing and brokerage operations, treasury management, financial advice and financing activities. The main clearing banks are Allied Irish Banks, Bank of Ireland, National Irish Bank Limited and Ulster Bank Limited.
The Irish Stock Exchange, based in Dublin, separated from its UK counterpart at the end of l 995 and is an independent entity. The origins of Irish art are obscure, dating back to perhaps as early as 3, 000 BC in tombs and sanctuaries along the Boyne Valley. This art was abstract and three-dimensional, expressing itself through spirals, loops and geometric forms on curbstones and granite slabs, following the contours of stone pillars at passage graves and burial tombs in New grange and Knot. In the pre-Christian era, the dominant form belongs to the La Tne period of Celtic art, which relates to a broader culture spanning the continent of Europe. Uninterrupted by the Roman incursions which fragmented Celtic culture in Britain, Irish society remained based on small tribal units whose structure was not affected in a radical way by the coming of Christianity in AD 432. Artists and craft workers continued to enjoy a privileged position in society, producing bronze and enamel work, as well as some manuscript illumination.
By the 8 th and 9 th centuries, technical advances and the scholarship encouraged by the many monastic settlements throughout the island brought Celtic art to its greatest heights. Illuminated manuscripts such as the Book of Durrow, a copy of the Gospels, combined abstract panels of interlocking forms and spirals with a limited palette of red, green and yellow, turning at times into highly stylized animal shapes. These forms were developed in such works as the Book of Drama and culminated in the late 8 th century in the Book of Kells (see page 20), where thee previously central abstract motifs were organized around the figure of Man, whether as Christ, as Devil or as Angel. The artists palette now included several shades of blue, brown, yellow, green, red and mauve. The prosperity of the 18 th century and the influence of the Enlightenment throughout the fields of philosophy and aesthetics produced an atmosphere in which great public buildings were commissioned. Examples include the Parliament House, now the Bank of Ireland, by Edward Lovett Pearce, and the Custom House and Four Courts by James Garden.
At the same time, men and women of ideas were debating one of the century's most influential works on aesthetics, Edmund Burkes A Philosophical Enquiry into the Origin of our Ideas of The Sublime and Beautiful, published in 1756 but probably written earlier. Two major painters of the period, George Barret (1732 - 84) and James Barry (1741 - 1806) were process of Burke and embody in their work many of his aesthetic ideas. With such ideas as the excitement of pain or danger (the sublime) or love (the beautiful), the subject matter of painting broadened to include historical and some landscape work, often with classical or mythological allusions. Topography, too, was a central concern and was best expressed by James Malton, a former draughtsman in Gardens practice, who drew his Views of Dublin between 1790 and 1791. Since the introduction of bursaries and studio grants in the 1970 s and the development of galleries and arts centers, a structure has been provided within which the visual arts can flourish. Businesses are developing collections and sponsoring exhibitions and events and municipal authorities are allocating budgets for the arts.
The Aosdna scheme, which is administered by the Arts Council, provides for a collegiate of 200 creative artists and for five-year annuities to those wishing to work full-time at their art. During the past decade, the Arts Council has paid particular attention to developing access to the arts in those parts of the country outside of the major cities. Central to this process was the creation of arts centers where the public could have access to theatre, music and the visual arts. The Council supports centers in Wexford, Waterford, Cork, Tralee, Listowel, Mullingar, Limerick, Galway, Castlebar, Sligo, Monaghan, Drogheda and Dublin (three). Twenty of the countrys 33 major local authorities employ specialist Arts Officers who organize and promote theatre, music and the visual arts.
The Arts Council and the Arts Council of Northern Ireland co-operate closely on joint projects such as touring. To accommodate the growth in sculpture, there are two art foundries in Dublin and the National Sculpture Factory (1989) in Cork. Reflecting the upsurge of interest in the contemporary visual arts, the Government established a new Museum of Modern Art at the Royal Hospital, Kilmainham. With the addition of the completed RHA Gallagher Gallery in Dublin the capital is now well provided with large, well-equipped public exhibition places.
The standing of the arts and culture was enhanced with the establishment in 1993 of a new Department of Arts, Culture and the Gaeltachta. Major development of the national cultural institutions is underway, including the conversion of Collins Barracks, near the center of Dublin, for use by the National Museum. The National Library is to be extended and its services improved, and development is continuing at the National Gallery. Proposals are being developed to relocate the Chester Beatty Library, with its prestigious collection of Islamic, Oriental and Christian manuscripts, paintings and other works of art, to the Clock Tower at Dublin Castle.
Cultural relations abroad are assisted through the Advisory Committee on Cultural Relations (the Cultural Relations Committee), which advises the Minister for Foreign Affairs on expenditure on projects involving Irish artists outside Ireland. The executive power of the people is exercised by the Government or on its authority. Under the Constitution the Government must consist of not less than seven and not more than fifteen members, each of who normally heads one or more Departments of State. It acts as a collective authority responsible to the Dil. There may be up to seventeen Ministers of State, who are not members of the Government but who assist specific Ministers in their work. The practice is that, following a general election; the prospective Taoiseach first secures the support of a majority in the new Dil and then is formally appointed by the President.
The Taoiseach must resign when the Government ceases to retain majority support in the Dil. The office of Taoiseach (styled 'President of the Executive Council', 1922 - 37) has been held by the following: William T Cosgrave (1922 - 32), Eamon de Valera (1932 - 48, 1951 - 54, 1957 - 59), John A Costello (1948 - 51, 1954 - 57), Sean F Less (1959 - 66), Liam Cosgrave (1973 - 77), Jack M Lynch (1966 - 73, 1977 - 79), Charles J Haughey (1979 - 81, March 1982 -November 1982, 1987 - 92), Garret FitzGerald (1981 -February 1982, December 1982 - 1987), Albert Reynolds (February 1992 - 1994), John Bruton (1994 - July 1997) and Bertie Ahern (1997 - present). The lifetime of a Dil is not more than five years from the date of its first meeting. In practice, however, the Taoiseach normally exercises his power to recommend dissolution before the end of that period.
A general election must take place within thirty days of dissolution of the Dil, and the newly elected Dil must meet within thirty days of the polling date. Bibliography: References Sited Ireland: A Concise History from the Twelfth Century To the Present Day. Paul Johnson, Nadia May. Audio Cassette (May 1995) Fodor's: Ireland 2000.
Fodor's. Paperback, December 1999 The Irish Language in Northern Ireland: The Politics of Culture and Identity. Camille O'Reilly. Hardcover. September 1999.
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Research essay sample on Visual Arts Northern Ireland
