Quelle:The University of Chicago Press,, Chicago, United States, p.350 pages : (2022)
Schlüsselwörter:(OCoLC)fst00929383, (OCoLC)fst00978912, (OCoLC)fst00978919, (OCoLC)fst01033448, (OCoLC)fst01068574, Biographies., Biography., Chefs de police, fast, Folk music, Folk music., Histoire et critique., History and criticism., Illinois, Ireland, Irish, Irlandais, Irlandais., Irlande, Music, Music., Musique, Musique folklorique, Mœurs et coutumes., National characteristics, Irish., Police chiefs, Police chiefs., Social life and customs.
Includes bibliographical references and index.Introduction : The scholar -- Tralibane Bridge : Childhood and memory -- Out on the ocean : O'Neill's life at sea, in port, and in the Sierra -- Rolling on the ryegrass : A year on the Missouri prairie -- The new policeman : O'Neill's rise through the ranks -- Rakish Paddy : The Chicago Irish and their world -- Chief O'Neill's favorite : The chief in office -- King of the pipers : O'Neill's work in retirement -- Epilogue : Happy to meet, sorry to part : The legacy."Francis O'Neill was Chicago's larger-than-life police chief, starting in 1901- and he was an Irish immigrant with an intense interest in his home country's music. In documenting and publishing his understanding of Irish musical folkways, O'Neill became the foremost shaper of what "Irish music" meant. He favored specific rural forms and styles, and as Michael O'Malley shows, he was the "beat cop" -actively using his police powers and skills to acquire knowledge about Irish music and to enforce a nostalgic vision of it"--
- Zum Verfassen von Kommentaren bitte Anmelden.
- Google Scholar