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The word Fenian (/ ˈ f iː n i ə n /) served as an umbrella term for the Irish Republican Brotherhood (IRB) and their affiliate in the United States, the Fenian Brotherhood. They were secret political organisations in the late 19th and early 20th centuries dedicated to the establishment of an independent Irish Republic .
The Fenian Movement in the United States, 1858–86 (Catholic University of America Press, 1947) Jenkins, Brian. Fenians and Anglo-American Relations during Reconstruction (Cornell University Press, 1969). Jenkins, Brian, The Fenian Problem: Insurgency and Terrorism in a Liberal State, 1858–1874 (Montreal, McGill-Queen's University Press. 2008).
He was described as "remarkably handsome" with blue eyes and auburn hair. More importantly, "he was highly intuitive, cool in danger, and absolutely fearless". [2] Flood's first prominent role was as part of the 14-man team that engineered the escape of Fenian founder James Stephens from the Richmond Bridewell in Dublin in November 1865. Along ...
The Fenian Chief: a Biography of James Stephens. Coral Gables, 1969. Senior, Hereward (1991). The Last Invasion of Canada: The Fenian Raids, 1866–1870. Dundurn. ISBN 978-1-77070-064-2. Steward, Patrick, and Bryan P. McGovern. The Fenians: Irish Rebellion in the North Atlantic World, 1858-1876. Knoxville: University of Tennessee Press, 2013.
The Fenian Rising of 1867 (Irish: Éirí Amach na bhFíníní, 1867, IPA: [ˈeːɾʲiː əˈmˠax n̪ˠə ˈvʲiːnʲiːnʲiː]) was a rebellion against British rule in Ireland, organised by the Irish Republican Brotherhood (IRB).
The new republican movement in Ireland was quick to realise the propaganda value of the old Fenian's death, and Tom Clarke cabled to John Devoy the message: "Send his body home at once". Against Rossa's wishes to be buried with his father and other victims of the Great Famine, [ 8 ] his body was returned to Ireland for burial and a hero's ...
The Fenian dynamite campaign (also known as the Fenian bombing campaign) was a campaign of political violence orchestrated by Irish republican paramilitary groups in Great Britain from 1881 to 1885.
The ideals of miyabi stood firmly against the use of metaphors such as this. Furthermore, appreciation of miyabi and its ideal was used as a marker of class differences. It was believed that only members of the upper class, the courtiers, could truly appreciate the workings of miyabi. Miyabi in fact limited how art and poems could be created.