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dc.contributor.authorLivingstone, David
dc.date.accessioned2024-07-09T15:13:31Z
dc.date.available2024-07-09T15:13:31Z
dc.date.issued2024
dc.identifier.urihttp://hdl.handle.net/20.500.11956/191237
dc.language.isoencs
dc.publisherUniverzita Karlova, Filozofická fakultacs
dc.subjectIrish folk musiccs
dc.subjectspoken wordcs
dc.subjectField recordingscs
dc.subjectBrendan Behancs
dc.subjectIrish politicscs
dc.subjectThe Hostagecs
dc.titleRowdy and Rough: Brendan Behan Sings Songs from The Hostagecs
dc.typeVědecký článekcs
dcterms.accessRightsopenAccess
dcterms.licensehttp://creativecommons.org/licenses/by-nc-nd/2.0/
uk.abstract.enAlthough most well-known for his plays and prose, the Irish writer Brendan Behan also recorded a number of songs, some of his own composition and others either traditional or written by contemporaries. His best-known recording, Brendan Behan Sings Irish Folk Songs and Ballads, remarkably captures not only his voice, but also his wit and distinct joie de vivre. The collection from 1960 includes not only the songs themselves (with Behan still in fine singing form), but also his introductions and wry comments on a range of subjects. The article looks at the circumstances behind the recording, the actual songs included on the album, and Behan’s ongoing commentary about a range of topics. The focus is on the first half of the recording which consists of songs from his play The Hostage, with an additional short discussion of one of his most well-known pieces, “The Auld Triangle,” which serves as an ongoing leitmotif in his earlier play, The Quare Fellow.cs
dc.publisher.publicationPlacePrahacs
uk.internal-typeuk_publication
dc.identifier.doi10.14712/2571452X.2024.67.9
dc.description.startPage140cs
dc.description.endPage158cs
dcterms.isPartOf.nameLitteraria Pragensiala
dcterms.isPartOf.journalYear2024
dcterms.isPartOf.journalVolume2024
dcterms.isPartOf.journalIssue67
dcterms.isPartOf.issn2571-452X
dc.relation.isPartOfUrlhttp://litteraria-pragensia.ff.cuni.cz


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