48-645: [REDACTED] Look up vaterland in Wiktionary, the free dictionary. Vaterland means " Fatherland " in German . It may also refer to: Vaterland, Norway , a neighborhood in Oslo The ocean liner SS Vaterland , later known as SS Leviathan Liechtensteiner Vaterland , largest daily newspaper in Liechtenstein Germany Das Vaterland ,
96-724: A Metropole in contrast to its colonies. People often refer to Mother Russia as a personification of the Russian nation. The Philippines is also considered as a motherland which is derived from the word " Inang Bayan " which means "Motherland". Within the British Empire , many natives in the colonies came to think of Britain as the mother country of one, large nation. India is often personified as Bharat Mata (Mother India). The French commonly refer to France as "la mère patrie"; Hispanic countries that were former Spanish colonies commonly referred to Spain as " la Madre Patria ". Romans and
144-405: A fatherland , a motherland , or a mother country , depending on the culture and language of the nationality in question. Motherland refers to a mother country , i.e. the place in which somebody grew up or had lived for a long enough period that somebody has formed their own cultural identity, the place that one's ancestors lived for generations, or the place that somebody regards as home, or
192-592: A nationalist concept, in so far as it is evocative of emotions related to family ties and links them to national identity and patriotism. It can be compared to motherland and homeland, and some languages will use more than one of these terms. The national anthem of the Netherlands between 1815 and 1932, " Wien Neêrlands Bloed ", makes extensive use of the parallel Dutch word, as does the current Dutch national anthem, Het Wilhelmus . The Ancient Greek patris , fatherland, led to patrios , of our fathers and thence to
240-531: A Gunman , was performed at the Abbey Theatre in 1923. This was the beginning of a relationship that was to be fruitful for both theatre and dramatist but which ended in some bitterness. The play deals with the impact of revolutionary politics on Dublin's slums and their inhabitants, and is understood to be set in Mountjoy Square , where he lived during the 1916 Easter Rising . It was followed by Juno and
288-593: A daughter, Shivaun. In 2005, David H. Greene donated a collection of letters he received from O'Casey from 1944 to 1962 to the Fales Library at New York University . Also in the collection are two letters written by Eileen O'Casey and one letter addressed to Catherine Greene, David Greene's spouse. O'Casey's papers are held in the New York Public Library , the Cornell University Library ,
336-706: Is a four-act political allegory in which the Star of Bethlehem turns red. The story follows Big Red (who was based on O'Casey's friend, James Larkin ) who is a trade-union leader. The union takes over the unnamed country despite the ruthless efforts of the Saffron Shirts, a fascist organisation openly supported by the Roman Catholic hierarchy of the country. It was staged by the Unity Theatre in London during 1940 (later, in 1978 by
384-479: Is different from Wikidata All article disambiguation pages All disambiguation pages Fatherland A homeland is a place where a national or ethnic identity has formed. The definition can also mean simply one's country of birth. When used as a proper noun , the Homeland, as well as its equivalents in other languages, often has ethnic nationalist connotations. A homeland may also be referred to as
432-818: The Dublin working classes. O'Casey was born at 85 Upper Dorset Street , Dublin , as John Casey, the son of Michael Casey, a mercantile clerk (who worked for the Irish Church Missions ), and Susan Archer. His parents were Protestants and he was a member of the Church of Ireland , baptised on 28 July 1880 in St. Mary's parish, confirmed at St John the Baptist Church in Clontarf , and an active member of St. Barnabas' Church on Sheriff Street until his mid-20s, when he drifted away from
480-548: The Irish Republican Army in Northern Ireland, especially during The Troubles . Fatherland is the nation of one's "fathers", " forefathers ", or ancestors . The word can also mean the country of nationality, the country in which somebody grew up, the country that somebody's ancestors lived in for generations, or the country that somebody regards as home, depending on how the individual uses it. It can be viewed as
528-621: The Latin patriota and Old French patriote , meaning compatriot; from these the English word patriotism is derived. The related Ancient Roman word Patria led to similar forms in modern Romance languages . "Fatherland" was first encountered by the vast majority of citizens in countries that did not themselves use it during World War II , when it was featured in news reports associated with Nazi Germany. German government propaganda used its appeal to nationalism when making references to Germany and
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#1732852446343576-575: The Sinn Féin lies, you know every Gael for England dies," "And you'll have Home Rule 'neath the clear blue skies." Says the grand old dame Britannia. In 1917, his friend Thomas Ashe died in a hunger strike and it inspired him to write. He wrote two laments: one in verse and a longer one in prose. Ballads authored around this time by O'Casey featured in the two editions of Songs of the Wren , published by Fergus O'Connor in 1918; these included "The Man from
624-879: The Uilleann pipes and was a founder and secretary of the St. Laurence O'Toole Pipe Band . He joined the Irish Republican Brotherhood , and became involved in the Irish Transport and General Workers Union , which had been established by Jim Larkin to represent the interests of the unskilled labourers who inhabited the Dublin tenements. He participated in the Dublin lock-out but was blacklisted and could not find steady work for some time. In March 1914, he became General Secretary of Larkin's Irish Citizen Army , which would soon be run by James Connolly . On 24 July 1914 he resigned from
672-724: The University of California, Los Angeles Library System , the University of London Library , the National Library of Ireland , Colby College , Boston College and the Fales Library . In Dublin, a foot bridge on the Liffey is named after him, as is Sean O'Casey Avenue in Summerhill and 'Sean O'Casey Community Centre' in East Wall . There is a plaque dedicated to O'Casey at the site of his former house on Dorset Street, Dublin and also at
720-674: The "O'Casey Festival" in 1962, which in turn made more theatre establishments put on his works, mostly in Britain and Germany. It is in the late years that O'Casey put his creative energy into his six-volume Autobiography. On 18 September 1964 at the age of 84, O'Casey died of a heart attack, in Torquay , Devon . He was cremated at the Golders Green Crematorium . In 1965, his autobiography Mirror in My House (the umbrella title under which
768-505: The 19th century. It appears in numerous patriotic songs and poems, such as Hoffmann's song Lied der Deutschen which became the national anthem in 1922. Because of the use of Vaterland in Nazi-German war propaganda, the term "Fatherland" in English has become associated with domestic British and American anti-Nazi propaganda during World War II . This is not the case in Germany itself, where
816-545: The Abbey in Dublin). Purple Dust (1943) follows two wealthy, materialistic English stockbrokers who buy an ancient Irish mansion and attempt to restore it with their wrong notions of Tudor customs and taste. They try to impose upon a community with vastly different customs and lifestyles that are much closer to ancient Gaelic ways and are against such false values. The Englishmen set their opposing standards against those represented by
864-614: The Austrian Catholic newspaper founded by Leo von Thun-Hohenstein Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Vaterland . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Vaterland&oldid=1094484931 " Category : Disambiguation pages Hidden categories: Short description
912-694: The Daily Mail", which, along with "The Grand Oul' Dame Britannia", became Irish rebel music staples. A common theme was opposition to the possible introduction of conscription in Ireland by the British government during World War I . He spent the next five years writing plays. In 1918, when both his sister and mother died (in January and September, respectively), the St Laurence O'Toole National Club commissioned him to write
960-602: The ICA, after his proposal to ban dual membership in both the ICA and the Irish Volunteers was rejected. One of his first satirical ballads, "The Grand Oul' Dame Britannia", was published in The Workers' Republic on 15 January 1916 under his penname An Gall Fada. "Ah, what is all the fuss about?", says the grand old dame Britannia, "Is it us you are trying to live without?", Says the grand old dame Britannia. "Shut your ears to
1008-635: The Paycock (1924) and The Plough and the Stars (1926). The former deals with the effect of the Irish Civil War on the working class poor of the city, while the latter is set in Dublin in 1916 around the Easter Rising . Both plays deal realistically with the rhetoric and dangers of Irish patriotism, with tenement life, self-deception, and survival; they are tragi-comedies in which violent death throws into relief
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#17328524463431056-456: The Paycock , O'Casey fell in love with Eileen Carey . The couple were married in 1927 and remained in London until 1938, when they moved to Totnes . In 1928, W. B. Yeats rejected O'Casey's fourth play, The Silver Tassie for the Abbey. It was an attack on imperialist wars and the suffering they cause. The Abbey refused to perform it. The premier production was funded by Charles B. Cochran , who took only eighteen months to put it on stage. It
1104-724: The Second World War he wrote Cock-a-Doodle Dandy (1949), which is perhaps his most beautiful and exciting work. From The Bishop's Bonfire (1955) O'Casey's late plays are studies on the common life in Ireland, "Irish microcosmos", like The Drums of Father Ned (1958). His play The Drums of Father Ned was supposed to go up at the 1958 Dublin Theatre Festival , but the Catholic Archbishop of Dublin , John Charles McQuaid , refused to give his blessing (it has been assumed because works of both James Joyce and O'Casey were in
1152-510: The Western World in 1907. There was a riot reported on the fourth night of the show. His depiction of sex and religion offended even some of the actors, who refused to speak their lines. The full-scale riot occurred partly because the play was thought to be an attack on the men in the rising and partly in protest in opposition to the animated appearance of a prostitute in Act 2. W. B. Yeats got onto
1200-538: The age of thirteen. He left school at fourteen and worked at a variety of jobs, including a nine-year period as a railwayman on the GNR . O'Casey worked in Eason's for a short while, in the newspaper distribution business, but was sacked for not taking off his cap when collecting his wage packet. From the early 1890s, O'Casey and his elder brother, Archie, put on performances of plays by Dion Boucicault and William Shakespeare in
1248-537: The blustering masculine bravado of characters such as Jack Boyle and Joxer Daly in Juno and the Paycock and the heroic resilience of Juno herself or of Bessie Burgess in The Plough and the Stars . Juno and the Paycock became a film directed by Alfred Hitchcock . The Plough and the Stars was not well received by the Abbey audience and resulted in scenes reminiscent of the riots that greeted J. M. Synge 's The Playboy of
1296-593: The brilliance of the underlying material, the musical has defied all efforts to mount any successful revival . Also in 1959, George Devine produced Cock-a-Doodle Dandy at the Royal Court Theatre and it was also successful at the Edinburgh International Festival and had a West End run. His eightieth birthday occurred in 1960, and to celebrate, David Krause and Robert Hogan wrote full-length studies. The Mermaid Theatre in London launched
1344-420: The church. There is a church called 'Saint Burnupus' in his play Red Roses For Me . O'Casey's father died when Seán was just six years of age, leaving a family of thirteen. The family lived a peripatetic life thereafter, moving from house to house around north Dublin. As a child, he suffered from poor eyesight, which interfered somewhat with his early education, but O'Casey taught himself to read and write by
1392-463: The emotions of the living characters to be shown against their own patterns and the patterns of the Park." Having got so far, he wrote to Alfred Hitchcock, and when Hitchcock and his wife dined with us Sean explained his ideas to an apparently responsive hearer. Hitchcock and he talked excitedly. They parted on the same terms, with the prospect of another immediate meeting, and Sean never heard again. The play
1440-605: The family home. He also got a small part in Boucicault's The Shaughraun in the Mechanics' Theatre , which stood on the site of what was to be the Abbey Theatre . As his interest in the Irish nationalist cause grew, O'Casey joined the Gaelic League in 1906 and learned the Irish language . At this time, he Gaelicised his name from John Casey to Seán Ó Cathasaigh. He also learned to play
1488-456: The festival). After Joyce's play was quietly dropped, massive changes were required for The Drums of Father Ned , a devious way to get O'Casey to drop. After this, Samuel Beckett withdrew his mime piece in protest. In 1959, O'Casey gave his blessing to a musical adaptation of Juno and the Paycock by American composer Marc Blitzstein . The musical, retitled Juno , was a commercial failure, closing after only 16 Broadway performances. It
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1536-490: The men employed to renovate the house. In the resulting confrontation the English are satirised and in the end disappointed when a symbolic storm destroys their dream of resettling the old into the present. The hint that is enforced by the conclusion is that the little heap of purple dust that remains will be swept away by the rising winds of change, like the residue of pompous imperialism that abides in Ireland. The show has been compared to Shaw's John Bull's Other Island , which
1584-566: The nation of our parents/fathers (From the Latin, Pater, father). As patria has feminine gender, it is usually used in expressions related to one's mother, as in Italian la Madrepatria , Spanish la Madre Patria or Portuguese a Pátria Mãe (Mother Fatherland). Examples include: Jews , especially Modern-Day Israelis, use several different terms, all referring to Israel , including: In some languages, there are additional words that refer specifically to
1632-445: The place where one is home to, but is narrower in scope than one's nation, and often have some sort of nostalgic, fantastic, heritage connection, for example: Se%C3%A1n O%27Casey Seán O'Casey ( Irish : Seán Ó Cathasaigh [ˈʃaːn̪ˠ oː ˈkahəsˠiː] ; born John Casey ; 30 March 1880 – 18 September 1964) was an Irish dramatist and memoirist. A committed socialist, he was the first Irish playwright of note to write about
1680-608: The play The Frost in the Flower . He had been in the St Laurence O'Toole Pipe Band and played on the hurling team. The club declined to put the play on out of fear that its satirical treatment of several parishioners would cause resentment. O'Casey then submitted the play to the Abbey Theatre, which also rejected it but encouraged him to continue writing. Eventually, O'Casey expanded the play to three acts and retitled it The Harvest Festival . O'Casey's first accepted play, The Shadow of
1728-549: The six autobiographies he published from 1939 to 1956 were republished, in two large volumes, in 1956) was turned into a film based on his life called Young Cassidy . The film was directed by Jack Cardiff (and John Ford ) featuring Rod Taylor (as O'Casey), Flora Robson , Maggie Smith , Julie Christie , Edith Evans and Michael Redgrave . O'Casey was married to Irish actress Eileen Carey Reynolds (1903–1995) from 1927 to his death. The couple had three children: two sons, Breon and Níall (who died in 1957 of leukaemia ), and
1776-460: The stage and roared at the audience: "You have disgraced yourselves again." The takings of the play were substantial compared with the previous week. O'Casey gave up his job and became a full-time writer. After the incident, even though the play was well liked by most of the Abbey goers, Liam O'Flaherty , Austin Clarke and F. R. Higgins launched an attack against it in the press. O'Casey believed it
1824-531: The state. It was used in Mein Kampf , and on a sign in a German concentration camp , also signed, Adolf Hitler . The term fatherland ( Vaterland ) is used throughout German-speaking Europe , as well as in Dutch. National history is usually called vaderlandse geschiedenis in Dutch. Another use of the Dutch word is well known from the national anthem, " Het Wilhelmus ". In German, the word became more prominent in
1872-474: The subjects of Rome saw Italy as the motherland ( patria or terrarum parens ) of the Roman Empire , in contrast to Roman provinces . Turks refer to Turkey as "ana vatan" (lit: mother homeland.). Kathleen Ni Houlihan is a mythical symbol of Irish nationalism found in literature and art including work by W.B. Yeats and Seán O'Casey , She was an emblem during colonial rule, and became associated with
1920-463: The word remains used in the usual patriotic contexts. Terms equating "Fatherland" in other Germanic languages: A corresponding term is often used in Slavic languages, in: Groups with languages that refer to their native country as a "fatherland" include: In Romance languages , a common way to refer to one's home country is Patria/Pátria/Patrie which has the same connotation as Fatherland , that is,
1968-522: Was able to see it. This was the first show of his own he saw since Within The Gates in 1934. Oak Leaves and Lavender (1945) is a propaganda play commemorating the Battle of Britain and Britain's heroism in the anti-Nazi crusade. It takes place in a manor with shadowy 18th-century figures commenting on the present. These plays have never had the same critical or popular success as the early trilogy. After
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2016-438: Was also panned by some critics as being too "dark" to be an appropriate musical, a genre then almost invariably associated with light comedy. However, the music, which survives in a cast album made before the show opened, has since been regarded as some of Blitzstein's best work. Although endorsed by the then 79-year-old O'Casey, he did not contribute to the production or even see it during its brief run. Despite general agreement on
2064-581: Was an attack on Yeats, that they were using O'Casey's play to berate Yeats. In 1952 he appeared in a play by Irish playwright Teresa Deevy , The Wild Goose , in which he played the part of Father Ryan. O'Casey was involved in numerous productions with the Abbey; these can be found in the Abbey Archives. While in London to receive the Hawthornden Prize and supervise the West End production of Juno and
2112-468: Was at that time far beyond the scope of the Abbey Theatre." A year later Johnston's own The Old Lady Says "No!" was similarly rejected, for the same reason. Nevertheless O'Casey's resentment over this persisted for many years. The plays O'Casey wrote after this included the darkly allegorical Within the Gates (1934), which is set within the gates of a busy city park based on London's Hyde Park . Although it
2160-444: Was highly controversial, Eugene O'Neill responded positively to it. The play was originally going to be a film script for Alfred Hitchcock . O'Casey's widow described it in her memoir, Sean (1971): Originally he had imagined it as a film in which everything, from flower-beds to uniforms, would be stylised. Beginning at dawn and ending at midnight, to the soft chime of Big Ben in the distance, it would be "geometrical and emotional,
2208-453: Was one of O'Casey's favourites, but aside from a few similarities, there are no real grounds for comparison. He also wrote Red Roses for Me (1943), which saw him move away from his early style in favour of more expressionistic means and overtly socialist content to his writing. It went up at Dublin's Olympia Theatre (which was the first one produced in Ireland in seventeen years). It would move on to London in 1946, where O'Casey himself
2256-513: Was put on at the Apollo Theatre but lasted for only twenty-six performances. It was directed by Raymond Massey , starred Charles Laughton and with an Act II set design by Augustus John . George Bernard Shaw and Lady Gregory had a favourable opinion of the show. Denis Johnston , who knew O'Casey and spent time with him in London in the 1920s, is certain that the Abbey was right not to stage The Silver Tassie : "Its expressionist second act
2304-532: Was unsuccessful in Northern Ireland and was not produced in the south until 2010. In the autumn of 1934, O'Casey went to the United States to visit the New York City production of Within the Gates , which he admired greatly. It was directed by actor Melvyn Douglas and starred Lillian Gish . This is when he befriended Eugene O'Neill , Sherwood Anderson and George Jean Nathan . The Star Turns Red (1940)
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