Genre: Literary Criticism
Irish Fiction Since the 1960s

Irish Fiction Since the 1960s

£40.00

This collection of fourteen substantial essays has been designed to map the landscape of Irish fiction since 1960, and to assess the extraordinary literary achievement of Irish novelists and short story writers, North and South of the border, over the last forty years.

As this volume demonstrates, Irish novelists and short story writers since 1960 have both continued and challenged conventional notions of Irish fiction; and they have contributed, in stimulating and inventive style, to the continuous examination of Irish identity, culture and politics, while making their fiction resonate with wide cultural, intellectual and human interest.

The book includes essays which focus on major individual writers - Samuel Beckett, Brian Moore, Jennifer Johnston, Maurice Leitch, John McGahern, Patrick McGinley and John Banville. There are also general essays of a more explicitly comparative and thematic nature covering such topics as the impact of modernisation on Irish fiction, the contemporary ‘Big House’ novel, the Protstant imagination, the ‘Troubles’ Novel, the importance of the past, childhood and women’s narratives, constructions of masculinity, and women short story writers. By closely analysing key texts, exploring the relationships between texts, and also between texts and their social, cultural and political contexts, and by examining significant themes and preoccupations, these essays offer valuable insights into the variety and complexity of modern Irish fiction from a range of viewpoints.

Contents

Introduction: The New Humanism. Elmer Kennedy-Andrews

Part 1: Thematic and Comparative Studies
‘Something important had changed’: Modernisation and Irish Fiction since 1960. Patrick Walsh
Ivy over Imperial Ireland: The Irish Big House Novel since 1960. Robin Marsh
‘Fabled by the Daughters of Memory’: History as Nightmare in Contemporary Irish Fiction. Robert Garratt
Shadows of the Gunmen: The Troubles Novel. Elmer Kennedy-Andrews
How I Achieved this Trick’: Representations of Masculinity in Contemporary Irish Fiction. Eamonn Hughes
To Say ‘I’: Female Identity in The Maid’s Tale and The Wig my Father Wore. Heidi Hansson

Part 2: Individual Author studies
Beckett after 1960: A Post-Humanist Context. Paul Davies
The Art of Science: Banville’s Doctor Copernicus. Declan Kiberd
‘A Shocking Libel on the People of Donegal’? The Novels of Patrick McGinley. John Goodby and Jo Furber
Form, Theme and Genre: The Importance of Catholics in Brian Moore’s Work. Kathleen Devine
The Remains of Protestantism in Maurice Leitch’s Fiction. Barry Sloan
Jennifer Johnston: Tremors of Memory. Richard York
‘All Toppers’: Children in the Fiction of John McGahern. Patrick Crotty

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The Poetry of Austin Clarke

The Poetry of Austin Clarke

£30.00

Late in his career, the Irish poet Austin Clarke was asked by Robert Frost what kind of poetry he wrote. ‘I load myself with chains,’ Clarke replied, ‘and try to get out of them.’ ‘Good Lord!’ Frost said. ‘You can’t have many readers.’ Despite a distinguished career spanning almost sixty years, Austin Clarke has not had many readers outside Ireland. Inside Ireland, many critics ranked Clarke as the most important Irish poet writing after Yeats, but his work has not received extensive critical attention — partly because it is often difficult and complex, and partly because Clarke was committed to writing not just about the Irish, but also for the Irish.

In The Poetry of Austin Clarke, the first published book-length study of Clarke’s poetry, Gregory Schirmer argues against seeing Clarke as a provincial writer. Rather, he sees Clarke’s large and varied canon as informed by a broad humanistic vision that enables it to transcend Clarke's commitment to the local.

Clarke once said that in reading Joyce’s A Portrait of the Artist as a Young Man he had difficulty distinguishing between Stephen Dedalus and himself. Like Joyce, Clarke (1896-1974) came to see Irish Catholicism as a powerful and complex threat to his freedom and artistic vocation. In The Poetry of Austin Clarke, Schirmer asserts that almost all of Clarke’s poetry moves between two poles: his view of Irish Catholicism as a repressive, life-denying force, and his humanistic faith in man’s inherent goodness and right to moral, intellectual, and spiritual freedom.

This argument is advanced through a detailed reading of Clarke’s poetry, beginning with the early narrative poems, which are based on the same pre-Christian Irish legends that inspired Yeats and the Irish Literary Revival, and then turning to Pilgrimage (1929) and Night and Morning (1938), two volumes of lyrics that are central to understanding Clarke’s poetry as a whole. In these books, Clarke sets forth the terms that govern all his art – the struggle between humanism and religion, flesh and spirit, reason and faith. Clarke’s satirical poems and epigrams of the 1950s and 1960s are then examined in terms of this tension. Finally the book discusses Clarke’s later poetry, including the long, semi-autobiographical Mnemosene Lay in Dust (1966), the late erotic poetry, and Clarke’s free translations of Gaelic verse.

Throughout all this varied writing, Schirmer argues, Clarke is celebrating the human in the face of the forces that he sees ranged against it. It is this vision that makes Clarke’s poetry an important part, not just of Irish literature, but of all literature attempting to express man’s condition in the twentieth century.

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Flann O’Brien: Myles From Dublin

Flann O’Brien: Myles From Dublin

£5.99
and BERNARD SHAW AND THE COMEDY OF APPROVAL
ISBN: 978-0-86140-329-5
21.0 x 14.8 cm.  48 pp.  1991    Princess Grace Irish Library Lectures Series (ISSN 0950-5121) volume 7 More info →
Selected Plays of Hugh Leonard

Selected Plays of Hugh Leonard

£9.99 paperback
Chosen and Introduced by S.F.Gallagher

The ninth volume of the Irish Drama Selections series (ISSN 0260-7962), General Editors: Joseph Ronsley and Ann Saddlemyer.

Hardcover ISBN: 0-86140-140-9 / 978-0-86140-140-6 £35.00
Papercover ISBN: 00-86140-141-7 / 978-0-86140-141-3 £9.95
21.6 x 13.8 cm.   

Contains: The Au Pair Man, The Patrick Pearse Motel, Da, Summer, A Life, Kill, Bibliographical Checklist.

`Hugh Leonard' is the pen-name of John Keyes Byrne. He is, as Christopher Fitz-Simon has written, `the most prolific and most technically assured of modern Irish playwrights', and his cosmopolitanism is shown by the range of his work, twenty-five plays (eighteen of which have been published), and seven adaptations of others' work for stage, something like thirty individual plays for television, work for over forty TV series totalling well in excess of 120 original episodes, and over 100 episodes for serials based on others' works (Emily Bronte, Dickens, Dostoevsky, Flaubert, Somerville & Ross, for example), as well as over a dozen film scripts. The output is truly phenomenal.

Although a constant contributor to television, it is for the theatre that he has produced his finest work. This selection amply illustrates Leonard's cosmopolitan talent and his constant ability to entertain his audience.

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Synge: the Medieval and the Grotesque

Synge: the Medieval and the Grotesque

£28.00
21.6 x 13.8 cm    viii, 209 pp.   1982           Irish Literary Studies series (ISSN 0140-895X) volume 11

J. M. Synge’s plays have often been regarded as folk drama, but this study considers them from a new literary perspective. It stresses the importance of the playwright’s studies with two medievalists at the Sorbonne, Professors Henri d’Arbois de Jubainville and Louis Petit de Julleville, and makes, for the first time, a full examination of the various uses he made of medieval material. This is shown to contain grotesque motifs which accommodate both Synge’s inclusive anti­thetical vision and the Rabe­laisian note in Irish peasant life, as he perceived it. Toni O’Brien Johnson also shows that the use of Hiberno-English language structures reinforces the clash inherent in the grotesque in Synge’s plays.

This book shows the opera­tion of the dramatist’s dualist aesthetic through the co­presence in his work of what is repulsive and sublime, cruel and noble, violent and heroic, pitiless and beautiful. It also emphasises the prominent role played by bodily life and the degenerative aspects of old age, death, and decay in Synge’s work.

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‘Ulysses’, a Review of Three Texts

‘Ulysses’, a Review of Three Texts

£30.00
21.6 x 13.8 cm.     xviii, 232 pp.   1989  The Prince Grace Irish Library series (ISSN 0269-2619) volume 4
ISBN: 976-0-86140-314-1

Feeling that none of the existing editions of Ulysses adequately represented the text of the novel, Philip Gaskell and Clive Hart looked again at the evidence of Joyce's manuscripts, typescripts, and proofs, and have produced lists of suggested alterations for the three most important editions of the book: the first edition of 1922, the standard American edition of 1961, and the so-called 'corrected' edition of 1984. They believe that a copy of any of these editions, marked up with the alterations they propose, will result in a text closer to what Joyce intended in 1922 than any that has yet been achieved. What is offered here, in fact, is not a new edition of Ulysses, but a kit for repairing the major faults of existing editions.

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A Study of the Novels of George Moore

A Study of the Novels of George Moore

£28.00
21.6 x 13.8 cm.    271 pp.    1978       Irish Literary Studies series (ISSN 0140-895X) volume 3

George Moore once complained, after warmly appreciative reviews of a novel, 'So few bother to analyse the book carefully. It would have been very easy to discuss the form, compare my treatment of it with others' treatment of similar themes and so on, yet apparently no one has ever thought of that.' This rueful remark was the starting point in Richard Cave's design of this study. He has examined each of Moore's novels in detail and viewed them within the pattern of his total development and in the context of Moore's current reading and ideas about technique, as well as assessing the value of a wide range of influences to him. Professor Cave's study is basically divided into three parts: 'The Novel of Social Realism', which deals with A Modern Lover, A Mummer's Wife, A Drama in Muslin and Esther Waters;  'A Phase of Experiment' deals with new influences and the resultant problems, the four novellas, Wagner's influence, Evelyn Innes and Sister Teresa; and 'Styles for Consciousness' – The Lake, The Brook Kerith and the late historical novels, followed by a conclusion.

Author's Note
Introduction

Part One: THE NOVEL OF SOCIAL REALISM
1. A Modern Lover
2. A Mummer's Wife
3. A Drama in Muslin
4. Esther Waters

Part Two: A PHASE OF EXPERIMENT
5. New Influences – New Problems
6. Four Novellas
7. Wagner and the Novel
8. Evelyn Innes and Sister Teresa

Part Three: STYLES FOR CONSCIOUSNESS
9. The Lake – The Wagnerian Novel Perfected
10. The Brook Kerith and the Late Historical Novels
Conclusion

Notes

Index

Richard Allen Cave, Emeritus Professor of Drama and Theatre Arts at Royal Holloway in the University of London, has published extensively in the fields of renaissance drama (Jonson, Webster, Brome), modern English and Irish theatre (Wilde, Yeats, Pinter, Beckett, Friel, Mc Guinness), dance (Ninette de Valois, Robert Helpmann), stage design (Charles Ricketts, Robert Gregory) and direction (Terence Gray). Most recently, he devised and was General Editor of an AHRC-funded project to create an online edition of The Collected Plays of Richard Brome (2010), and published the monograph, Collaborations: Ninette de Valois and William Butler Yeats (2011). The Collected Brome is soon to be published in a more traditional book-format by Oxford University Press (2020). He has also edited the plays of Wilde, Yeats and T.C. Murray; and the manuscript versions of Yeats’s The King of the Great Clock Tower and A Full Moon in March. Professor Cave is a trained Feldenkrais practitioner who works on vocal techniques with professional actors and on extending movement skills with performers in physical theatre.

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Ze-Ami and his Theories of Noh Drama

Ze-Ami and his Theories of Noh Drama

£33.00
ISBN 978-0-86140-214-4 21.6 x 13.8 cm.

For over five centuries the essays of Ze-Ami – considered, with his father Kan-Ami, to be the founder of Noh, the classical dance-drama of Japan – were kept secret. They were not shown to more than one Noh actor in each generation until recently. Though they contain a large number of paradoxes and contradictory statements as well as a great deal of repetition, they were regarded as a Bible by actors in the Noh technique. As repetition was a constant feature in training and in techniques in many arts in Japan, and as paradox had often been used in the search for the truth in Zen, so Ze-Ami's essays were accepted, despite their repetitions, paradoxes and contradictions. They were not. however, easily translatable, and they benefit from being edited.

In this work therefore, Ze-Ami's ideas are dealt with in eight chapters: The History of Noh: Five Groups of Noh Plays: Training: Acting: Writing a Play: Public Tachiai Competitions and Grades of Acting: The Audience: and Hana. This arrangement presents Ze-Ami's ideas with some order and consistency. Relevant sections of eighteen essays by Ze-Ami are translated and discussed. These include Fushi-kaden, Kashū, Ongyoku-Kowadashi-kuden, Kukyō, Shikadō, Nikyoku-Santai-Ningyōzu, Sandō, Fushizuke-shidai Fukyokushū, Yūgaku-Shūdō-Fūcken, Goi, Kyūi, Rikugi, Shūgy-okutokuka, Goonkyoku-Jōjō, Goon, Shūdosho, Kyakurui-ku, and Zeshi-Roku-juigo-Sarugaku-Dangi.

This volume is a most useful introduction to an understanding of Noh history, practice, and technique, for all readers in the West, written as it is by a trained Noh actor..

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Irish Writers and their Creative Process

Irish Writers and their Creative Process

£27.00
This volume contains the lectures delivered at Caen University in June 1992 for an international symposium organised by the Research Group in Anglo-Irish studies.

In memory of our dear friend, Gus Martin, 1935-1995

The theme was the creative process, successively studied in three literary genres: poetry, drama and the novel. Professor Genet selected two of the most famous representatives of each genre – Seamus Heaney and John Montague, Thomas Kilroy and Tom Murphy, John McGahern and John Banville – asking them to speak of their own creation: what happens in their minds during the birth and development of the creative work? A question that is far-reaching, abstruse and certainly indiscreet.

To challenge the writers slightly more, she had placed in front of each of them a critic – Maurice Harmon, Augustine Martin, Christopher Murray, Lynda Henderson, John Cronin, Rudiger Imhof – each of whom expounded their own point of view on the same phenomenon. These inner and outer perspectives generally converged and their complementarity throws a vivid light on the mystery of artistic creation. That was the purpose of the meeting and also the aim of this book, which should be essential reading for anyone wishing to understand the creative process of writing.

CONTENTS
Introduction. Jacqueline Genet

I. The Irish Poets and the Creative Process

Seamus Heaney. 'The Frontier of Writing'
Maurice Harmon. 'Seamus Heaney and the Gentle Flame'

John Montague. 'The Sweet Way'
Augustine Martin. 'John Montague: Passionate Contemplative'

II. The Irish playwrights and the Creative Process'

Thomas Kilroy. 'From Page to Stage'
Christopher Murray. 'Thomas Kilroy's World Elsewhere'

Tom Murphy. 'The Creative Process'
Lynda Henderson. 'Men, Women, and the Life of the Spirit in Tom Murphy's Plays'

III. The Irish Novelists and the Creative Process

John McGahern. 'Reading and Writing'
John Cronin. 'John McGahern: A New Image?'

John Banville. 'The Personae of Summer'
Rudiger Imhof. 'In Search of the Rosy Grail: The Creative Process in the Novels of John Banville'

Notes
Index

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Rediscovering Oscar Wilde

Rediscovering Oscar Wilde

£38.00
The Princess Grace Irish Library 8

In the same way that students of Shakespeare discuss their `Supreme Quartet' of plays, so Irish Studies has its own quartet of writers – Yeats, Joyce, Beckett and Wilde – whose fame is outstanding and world-wide. Over the past years, conferences on all four members of this Irish quartet have been organised by the Princess Grace Irish Library of Monaco, the most recent, on Wilde, in 1993. The inclusion of Wilde in the quartet may surprise some, but it is an incontrovertible fact that scholars are coming to appreciate Wilde’s intrinsic importance as a writer, and as a major influence on 20th century literature.

Over the past years, conferences on all four members of this Irish quartet have been organised by the Princess Grace Irish Library of Monaco (the proceedings of each being published in this series), the most recent, on Wilde, in 1993. This collection of papers given then covers every aspect of Wilde's oeuvre, not only considering his plays, poetry and novels, but his family, his influence on writers both in English (such as Joyce and Stoppard) and in other languages (including, Martí, Darío, Borges and Lispector).

Quite how influential and far-reaching he has become can be seen by the names of the universities at which the contributors teach: Antonio Ballesteros González and Mariano Baselga (Universidad Autónoma, Madrid), Pia Brinzeu (Timisoara, Romania), Edward Burns (Liverpool), Richard Allen Cave (London), Davis Coakley (TCD), Jean M. Ellis D’Allessandro (Florence), Masolino D’Amico (Rome), Lawrence Danson (Princeton), Denis Donoghue (New York), Joseph Donohue (Massachusetts), Irène Eynat-Confino (Tel-Aviv), Michael Patrick Gillespie (Marquette, WI), Robert Gordon (London), Warwick Gould (London), Merlin Holland (Wilde’s grandson), Joel H. Kaplan (British Columbia), Patricia Kellogg-Dennis (Rider College, NJ), Melissa Knox (St Peter’s College, NJ), Jacques de Langlade (Paris), Donald Lawler (East Carolina, NC), Jerusha McCormack (UCD), Bart J. Moore-Gilbert (London), Isobel Murray (Aberdeen), Sylvia Oslermann (Jena), Norman Page (Nottingham), Keny Powell (Miami, Ohio); María Pilar Pulido (Lyon), Peter Ruby (Cambridge), Gerd Rohmann (Kassel), Roy Rosenstein (American University of Paris), Neil Sammells (Bath College), Ronald Schuchard (Emory), Theoharis Constantine Theoharis (MIT), Deirdre Toomey, Emmanuel Vemadakis (Angers), and Marie- Noelle Zeender (Nice).

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Jonathan Swift & the Art of Raillery

Jonathan Swift & the Art of Raillery

£5.99
ISBN: 978-0-86140-264-9

21.0 x 14.8 cm.       31 pp.      1986    Princess Grace Irish Library Lectures Series (ISSN 0950-5121) volume 3

In the first of the Princess Grace Irish Library Lectures, Professor A.Norman Jeffares began his consideration of the Parameters of Irish Literature in English by referring to 'the first great Irish writer in English . . . Jonathan Swift, the Dean of St. Patrick's, master of irony, and of the saeva indignatio, the fierce anger that inspired his satires'. In this, the third lecture, Professor Charles Peake turns to a very different aspect of Swift's mastery of irony – his development and refinement of what he called 'raillery' or 'irony . . . on the subject of praise'. Professor Peake shows how raillery suited both Swift's temperament and the characteristic bent of his genius, and examines some of the methods and techniques, ranging from the comparatively simple to the elaborately complex, by which Swift praised and honoured while avoiding fulsome eulogy.

Appended to the lecture are 'Notes on Irish Writers associated with Swift' which supply brief information, not only about figures of such distinction as Congreve and Thomas Parnell, but also about a number of minor writers, many of them undeservedly neglected, who were associated with the first great emergence of 'Irish Literature in English'.

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Writings on Literature and Art

Writings on Literature and Art

£45.00
Edited and Introduced by Peter Kuch

32.6 x 13.8 cm.     xxii, 474 pp.  + 2pp. with three colour illus.  2011   Part 4 of the Collected Works of G. W. Russell - 'A.E.'

George William Russell, or AE as he was more familiarly known, was mentor and friend to three generations of Irish writers. To visit or to be sought out by AE was to be assured of a place in Irish literary history. The young James Joyce knocked on his door at midnight; Lady Gregory looked forward to his visits to Coole; Patrick Kavanagh walked from Inniskeen to Dublin to meet him; Yeats regarded him as his ‘oldest friend’; Liam O’Flaherty sought his patronage; Frank O’Connor asked his advice.

As if to guarantee Russell would not be forgotten, George Moore concluded his engaging, gossipy account of the literary movement, Hail and Farewell (1911-14), with a benediction for ‘AE and the rest’. Whether aspiring, accomplished, real or imaginary, Irish writers inevitably found themselves indebted to his practical help and inspired by his spiritual and critical insights. Even Stephen Dedalus admits to himself AEIOU.

This scrupulously researched volume brings together for the first time all of Russell’s writings on poetry, prose, drama and painting—writings central to understanding the role of literature, theatre and art in Ireland’s quest for self-realisation. Included are reviews, prefaces, introductions and articles; letters to the press on censorship and the Irish Academy of Letters; and The Honourable Enid Majoribanks, a hitherto unpublished play. Extensive notes drawing from published and unpublished sources situate each item in terms of text, intertext and context.

Peter Kuch is the inaugural Eamon Cleary Professor of Irish Studies at the University of Otago in Dunedin, New Zealand. The Director of the Centre for Irish and Scottish Studies at Otago, he is also an Honorary Professor at the John Hume Institute for Global Irish Studies at the University of New South Wales. He holds an Honours degree from the University of Wales and an M.Litt and D.Phil from Oxford. He has held posts at the Universities of Newcastle and New South Wales, Australia; L’Université de Caen, France; and been a Visiting Fellow at the Humanities Research Centre at the Australian National University, and the Anthony Mason European Fellow at Trinity College, Dublin. The author of Yeats and AE: ‘the antagonism that unites dear friends’ (Colin Smythe, 1988), he is currently researching a cultural history of the performance of Irish theatre in colonial Australasia.

 

CONTENTS
Preface Acknowledgements
Introduction
1. “The Poetry of William B. Yeats”; 2. “A New Irish Poetess”: review of Eva Gore-Booth, Poems; 3. “Literary Ideals in Ireland”; 4. “Nationality and Cosmopolitanism in Literature”; 5. Review of Eleanor Hull, The Cuchullin Saga in Irish Literature; 6. Review of Edward Martyn, The Heather Field and Maeve 7. “Politics and Character”; 8. “Fiona Macleod’s New Book”: review of The Dominion of Dreams; 9. Review of Fiona Macleod, The Divine Adventure; 10. “A Note on William Larminie” in Stopford Brooke and T.W. Rolleston, eds., A Treasury of Irish Poetry; 11. “The Dramatic Treatment of Heroic Literature”; 12.  “The Character of Heroic Literature”: review of Lady Gregory, Cuchulain of Muirthemne; 13. “The Poetry of William Butler Yeats”; 14. “A Book about the Earth Life”: review of Ethel Longworth Dames, Myths; 15. “A Note on Standish O’Grady” in Justin McCarthy, ed., Irish Literature; 16. “Preface” to New Songs; 17. “A Note on Seamus O’Sullivan”; 18. Review of T.W. Rolleston, The High Deeds of Finn; 19. “The Poetry of James Stephens”; 20. “The Boyhood of a Poet”; 21. “A Tribute to Standish O’Grady”; 22. “On Quality of Sound”; 23. Foreword to Shan F. Bullock, Mors et Vita; 24.  Foreword to Liam O’Flaherty, The Black Soul; 25. Foreword to F.R. Higgins, Island Blood; 26. Foreword to Hugh Alexander Law, Anglo-Irish Literature; 27. “Address to the Thirtieth Annual Dinner of the American-Irish Historical Society”; 28. “The Censorship in Ireland”; 29. Introduction to Oliver St. John Gogarty, Wild Apples; 30. Foreword to Katharine Tynan, Collected Poems; 31. Review of Humbert Wolfe, Snow; 32. Introductory Essay to Hugh MacDiarmuidFirst Hymn to Lenin and Other Poems; 33. “On the Character in Irish Literature” in Frank O’ConnorThe Wild Bird’s Nest: Poems Translated from the Irish; 34. "The New Irish Academy – AE replies to Father Gannon”; 35. “The Irish Academy of Letters: Letter from AE”; 36. “The New Irish Academy: Letter from AE”; 37. “The New Irish Academy: Letter from AE”; 38. “Oliver St. John Gogarty: An Appreciation”; 39. Foreword to Oliver St. John Gogarty, em>Selected Poems; 40. Introduction to Seamus O’Sullivan, Twenty-five Lyrics; 41. Introduction to Irene Haugh, The Valley of Bells and Other Poems; 42. “Memories of A.R. Orage”; 43. “An Appreciation” of Ruth Pitter, A Mad Lady’s Garland; 44. Foreword to Joseph O’Neill, Land Under England; 45. “The Sunset of Fantasy”; 46. Deirdre: A Legend in Three Acts; 47. The Honourable Enid Majoribanks: a Comedy; 48. “Art in Ireland”; 49. “An Irish Sculptor: John Hughes”; 50. “The Spiritual Influence of Art”; 51. “Two Irish Artists”; 52. “An Artist of Gaelic Ireland”; 53. “Art and Literature”; 54. “Art and Barbarism”; 55. “The Lane Bequest”; 56. “An Appreciation” of J.B. Yeats, Essays: Irish and American; 57. “Hugh Lane’s Pictures”; 58. “Some Irish Artists”

Appendices:
Preface to Some Irish Essays; Prefaces to Imaginations and Reveries; “Nationality or Cosmopolitanism – 1925 text”; The Countess of the Wheel; Britannia Rule-the-Wave: A Comedy; “AE’s Oration: George Moore”; “An Artist of Gaelic Ireland – 1908 text”
Abbreviations used in Glossary of Mythological References and Notes and Commentary; Glossary of Mythological References; Guide to Notes and Commentary; Notes and Commentary – Literary Writings; Notes and Commentary – Writings on Art; Notes and Commentary – Appendices; Bibliography; Index

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Yeats The European

Yeats The European

£40.00

21.6 x 13.8 pp.    xvi, 340 pp.  1989      Princess Grace Irish Library series (ISSN 0269-2619)  volume 3

Contains the papers given at the 1987 conference held at the Princess Grace Irish Library, Monaco, with contributions assessing Yeats's influence on European authors and how much the European mainland and its authors, artists and sculptors influenced him.

The papers in this volume are by Michael Alexander, Birgit Bramsbäck, Toni Cerutti, Denis Donoghue, Jacqueline Genet, Warwick Gould, Bernard Hickey, John Kelly, Heinz Kosok, Peter Kuch, Alasdair Macrae, William M.Murphy, Andrew Parkin, Patrick Rafroidi, Ann Saddlemyer, Ronald Schuchard, Masaru Sekine, Michael Sidnell, C.K.Stead, Helen Vendler and George Watson, with opening and closing addresses by A. Norman Jeffares.

 

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International Aspects of Irish Literature

International Aspects of Irish Literature

£40.00
ISBN: 978-0-86140-363-9
21.6 x 13.8 cm.      xii, 450 pp.  1996   Irish Literary Studies series (ISSN 0140-895X) volume 44,   IASAIL Japan series volume 5

This is a selection of the papers read at the Inter­national Association for the Study of Anglo-Irish Literature’s 1990 conference, held in Kyoto, with the theme ‘Irish Literature as an International Literature’, at which Seamus Heaney was the keynote speaker.

The collection is divided into sections: ‘Time Out of Mind’, ‘Regional Responses’, and ‘Chrono­logical Responses’, with panels on ‘Interdiction of an Artist: Samuel Beckett’ and ‘Women in Irish Writing’, the essayists being Marie Arndt, Joseph Chadwick, Joan Coldwell, Steven Connor, Richard Corballis, Martin J. Croghan, Adele M. Dalsimer, Ganesh Devy, Theo D’Haen, Eilis Dillon Mercier, Seamus Heaney, Werner Huber, Clair Hughes, Michael Kenneally, Masaki Kondo, Heinz Kosok, Junko Matoba, Peter MCMillan, Leon McNamara, Naoya Mori, Kristin Morrison, Maureen Murphy, Ciaran Murphy, Seán O h-Eidirsceoil, Mitsuko Ohno, Britta Olinder, Peter Robinson, Joseph Ronsley, Ann Saddlemyer, Tetsuro Sano, Bonnie Kime Scott, Fuyiji Tanigawa, Stanley Weintraub, Robert Welch, and summaries of papers not published in full in this volume.

There are essays on folk memory as history, folklore, place names in early Irish and Japanese literature, Irish novels in an early 19th century German court library, echoes of Ireland in New Zealand literature, Irish regionalism, magic real­ism, four essays on aspects of W. B. Yeats, four on Joyce, with others featuring Jonathan Swift, Oscar Wilde, Bernard Shaw, Lafcadio Hearn, Sean O’Casey, Jack B. Yeats, Denis Johnston, Samuel Beckett, Seamus Heaney, John Hewitt, Toni Morrison, Maria Edgeworth, Sean O’Faolain and John Butler Yeats.

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The Romantic Theatre. An International Symposium

The Romantic Theatre. An International Symposium

£20.00
21.6 x 13.8 cm  

This symposium was first delivered as a series of lectures in Rome arranged under the auspices of the Keats-Shelley Memorial Association and the British Council. The aim was very much to interpret the drama created by the English Romantic poets from the perspective of the modern theatrical tradition.

The four essays included here investigate the relationship between the Romantics and the theatre of their own time, assess the considerable body of dramatic works com­posed by Byron and Shelley, and explore the history of plays by Wordsworth, Coleridge, Shelley and Byron in performance on the British stage.

All argue that, though the Romantic poets were out of sympathy with the theatre of their day, they wrote forms of drama that to a considerable degree anticipate the theatre of the present century.

As Sir Joseph Cheyne states in his Foreword to this volume: ‘No one realised, when the symposium was planned, what a remarkable impact it would have. The accepted idea of the Romantic theatre was still one of lyric drama, difficult to produce and perform. To hear it described suddenly as modern, psychological drama, as the theatre of the mind, the “theatre of violence”, was so striking that the ripples are still washing the shore’.

This symposium comprises ‘The Romantic Poet and the Stage: A Short, Sad History’ (Professor Timothy Webb), ‘The Dramas of Byron’ (Professor Giorgio Melchiori), ‘The Shelleyan Drama’ (Professor Stuart Curran), ‘Romantic Drama in Performance’ (Dr. Richard Allen Cave), and a select biblio­graphy on the Romantic Drama (Christina Gee and Judith Knight).

Richard Allen Cave, Emeritus Professor of Drama and Theatre Arts at Royal Holloway in the University of London, has published extensively in the fields of renaissance drama (Jonson, Webster, Brome), modern English and Irish theatre (Wilde, Yeats, Pinter, Beckett, Friel, Mc Guinness), dance (Ninette de Valois, Robert Helpmann), stage design (Charles Ricketts, Robert Gregory) and direction (Terence Gray). Most recently, he devised and was General Editor of an AHRC-funded project to create an online edition of The Collected Plays of Richard Brome (2010), and published the monograph, Collaborations: Ninette de Valois and William Butler Yeats (2011). The Collected Brome is soon to be published in a more traditional book-format by Oxford University Press (2020). He has also edited the plays of Wilde, Yeats and T.C. Murray; and the manuscript versions of Yeats’s The King of the Great Clock Tower and A Full Moon in March. Professor Cave is a trained Feldenkrais practitioner who works on vocal techniques with professional actors and on extending movement skills with performers in physical theatre.

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Yeats and the Noh: A Comparative Study

Yeats and the Noh: A Comparative Study

£30.00
21.6 x 13.8cm. Irish Literary Studies series 38

W.B. Yeats wrote the plays in Four Plays for Dancers (1921) when he was strongly influenced by Japanese Noh theatre, and was searching for some breakthrough in his efforts to promote poetic drama.

Since then, various books have been published on this topic but, with the notable exception of Richard Taylor, no scholar has been able to cope with both Yeats and Noh. Yeats and the Noh started in a small seminar room in University College Dublin, when both authors took part in productions of The Dreaming of the Bones and Nishikigi with their students. Masaru Sekine directed both plays and Christopher Murray performed in them: they were therefore equipped with live experience as well as their personal expertise in Irish literature and Noh drama.

Professor Augustine Martin introduces the volume, and apart from the main section of the book, Colleen Hanrahan, one of the students who took part in both UCD productions, writes about acting in Yeats’s play; Peter Davidson writes about Yeats, Pound, Rummel and Dulac; and Katharine Worth provides an essay on Yeats, Beckett and Noh. There are 16 pages of illustrations.

This volume is unique in providing detailed analysis of contrasts in theatrical aims, as well as examining why man seeks to explore tragic drama as a means of extending the limits of reality.

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Perspectives of Irish Drama and Theatre

Perspectives of Irish Drama and Theatre

£30.00
Irish Literary Studies series 33

This volume gives a comprehensive view of Irish drama. studied chronologically from the nineteenth century to the present day. as well as considering its international impact. The study of the plays dealing with the lives of Deirdre and Grania rehabilitates Lady Gregory’s Grania. The similarities between Yeats and Beckett are pointed out: both were concerned with the actor considered as a marionette – Yeats, nearly sixty years before Beckett, had thought of rehearsing actors in barrels. Beckett's Irishness is also examined.

The image of Ireland in nineteenth-century drama is no longer an uncharted territory, while the problem of translation is considered in an essay on Joyce's translation into Italian of Riders to the Sea and one on Brian Friel's play Translations. There is also a more general essay on this major playwright. Synge's influence on other playwrights is also considered, while another contribution explores the three adaptations of Antigone, by Brendan Kennelly. Tom Paulin. and Aidan Carl Mathews: and after a study of Thomas Kiiroy's theatre, there is a view of the Field Day Theatre Company. The question of language is at the core of Thomas Murphy's drama, while MacNeice's perception of Irish history is studied through his They Met on Good Friday. John Hewitt's The Bloody Brae is situated in Irish drama and specifically in Ulster drama.

Throughout these essays, which constitute a network encompassing the different aspects of the Irish Theatre, we find recurring political and social problems, but also the universal topics of literature, the question of language and the care for art and stagecraft. The different literary approaches throw an interesting light on the vitality of the genre in Ireland.

All have developed from the papers given at the International Association for the Study of Anglo-Irish Literature's 1987 conference held at the University of Caen, and hosted by Professor Jacqueline Genet, then President of the University. The contributors are Richard Allen Cave, Colin Meir, Margaret Rose, Katherine Worth, Heinz Kosok, Maureen S.G. Hawkins, Britta Olinder, Paul F. Botheroyd, Joan Fitzgerald, Lucia Angelica Salaris, the late Patrick Rafroidi, Christopher Murray, Denis Sampson, Patrick Burke, and Joseph Swann. More info →

Synge’s The Aran Islands: A World Of Grey
The Poetry of Michael Longley

The Poetry of Michael Longley

£33.00
21.6 x 13.8 cm    illus.   Ulster Editions & Monographs Series (ISSN 0954-3392) volume 10

Nuala Ní Dhomhnail included Michael Longley’s ‘Ceasefire’ in her choice of ten representative poems of the 1990s in Irish poetry in the following terms: ‘it made its first electrifying appearance in print in The Irish Times to coincide with the announcement by the IRA of the first Northern Ireland ceasefire. . . its effect was dynamic, and rippled right through the community, both North and South, having a galvanising effect that can only be imagined of some lines of Yeats, perhaps, at the turn of the century’.

This underlines both Longley’s stature and his humane response to the Northern Irish ‘Troubles’; and the Homeric base of ‘Ceasefire’ exemplifies his distinctive ability to find trans-cultural perspectives on localised issues. A creative tension between the general and particular is the hall-mark of his work as love poet, nature poet, and poet of conflict; and the spare, concentrated focus of his lyric practice is at the heart of his ability to image the macrocosm in the microcosm.

His status as a poet resident in Belfast throughout the ‘Troubles’ has been of talismanic importance over the last three decades. Just as significantly for his open outlook, his ‘home from home’ in Carrigskeewaun in the West of Ireland has been the inspiration for a rich and luminous body of lyric poetry where what he sees as his basic themes of love and death are broached via a naturalist’s intimate involvement with the elemental processes of the physical world.

In his latest volume, The Weather in Japan, winner of the 2000 Hawthornden Prize for ‘best work of imaginative literature’, Italy and Japan further extend the geographical and cultural co-ordinates within which his poetry finds its moral and aesthetic realisation. This new collection continues the remarkable resurgence in Longley’s career during the 1990s, marked by the lyric intensities of Gorse Fires (1991) and the more unruly lyric energy of The Ghost Orchid (1995). These volumes consolidate Longley’s position at the forefront of contemporary Irish poetry.

The present volume, the first book devoted entirely to Longley’s work, brings together a number of experts on Longley and Irish poetry in general – Michael Allen, Terence Brown, Neil Corcoran, Douglas Dunn, Elmer Kennedy-Andrews, Peter McDonald, Alan Peacock and Robert Welch. Through a variety of thematic, contextual and technical approaches it examines the whole of his career up to and including The Weather in Japan.

The majority of the essays were given as papers at the 1996 session of the Ulster Symposium at the University of Ulster, Coleraine.

Kathleen Devine lectured in English at the University of Ulster at Coleraine, where Alan Peacock also lectured in Classics and English.

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Irelands in the Asia-Pacific

Irelands in the Asia-Pacific

£45.00
21.6 x 13.8 cm.   xviii, 489 pp.    2003  Irish Literary Studies series (ISSN 0140-895X) volume 52

Since Mary McAleese embraced the expatriate and emigrant Irish in her inaugural Presidential address, much has been made of the global Irish family. This exciting collection of essays by a group of eminent scholars explores the teaching and research of Irish  literature in a region of the world that has scouted the attractions of western culture since the sixteenth century. Three or four centuries later those attractions, as far as the Irish are concerned, have become specific.

It is reasonably well-known that in his own life-time W.B. Yeats was invited to take up a Professorship in Japan; that Ulysses has been translated at least three times into Chinese; that the plays of George Bernard Shaw apparently strike a chord with students in Hong Kong; that the fairy-tales of Wilde are reverenced in China; and that the Irish influence on Australian literature has been pervasive if not profound.

But what is not well-known are the contexts for these and other interrelations. Irelands in the Asia-Pacific explores these in a sequence of articles grouped under the headings of: Writing an Irish Self; Joyce at large; Post-Colonial readings of Irish Literature; Antipodean Connections; Teaching Irish Literature in the Asia-Pacific; and Irish Literature Down-Under.

CONTENTS
Introduction
Section 1: Writing an Irish Self
Shakespeare and the Irish Self. Terence Brown
‘Not a disease but a social necessity!’ Shaw and the Function of the Artist. T.F. Evans
The Silver Mirror & the Woven Veil: Oscar Wilde & the Art of Criticism. Julie-Ann Robson
Reading Food: Feast and Famine in Irish Women’s Writing. Joan Coldwell
Eavan Boland: the Complex State of the Woman Poet. Maurice Harmon
Section 2: Joyce at Large
Bloom’s appeal to the peoples of the world. Jin Di
National Apostate vs National Apostle: Joyce and St. Patrick. Bruce Stewart
Mothers/Mirrors: Sources of Self-Image in Irish Modernism. Diane Stubbings
James Joyce and the Dreamwork of Language: The Book from the Twenty-first Century. Donald E. Morse
Section 3: Post-Colonial Readings of Irish Writing
Post-Colonial Interpretation: The case of The Playboy. Nicholas Grene
Irish Post-Colonial Drama: A Hungarian View. Csilla Bertha
Ireland, Post-Colonial Transformation and Global Culture. Bill Ashcroft
Section 4: Antipodean Connections
John, Willy, Lily, George, Gilbert ... and Arthur: My Australian Connections. Ann Saddlemyer
Ascendancy Down-Under: George Bernard Shaw’s Irish & Australian Relations. A.M.Gibbs
The Port Phillip Gentlemen: Still Neglected. Jarlath Ronayne
The Emigrant’s Friends: Three Women. Maureen Murphy
The Scotch-Irish in 18th century America and their Counterparts in 19th century Australia: A Comparative Study of Relations between Colonists and Natives on Two Frontiers. James E. Doan
Section 5: Teaching Irish Literature in the Asia-Pacific
The Reception of W.B. Yeats in Modern China. Linda Pui-ling Wong
Modern Irish Literature in an Asian Context: Relevance and Advantages. Andrew Parkin
The ‘Sense of Happiness’ must not Disappear: Teaching Irish Literature in Japan. Taketoshi Furomoto
Re-reading Irishness: The problem of Lafcadio Hearn and Japan. George Hughes
Japan as Celtic Otherworld: Lafcadio Hearn and the Long Way Home. Ciaran Murray
Section 6: Irish Literature Down-Under
‘The weight of social opinion on [his] side’?: Ulysses, Censorship, Modernism and Canonisation, Australian-style. Frances Devlin-Glass
Through The Irish Looking Glass: School Experience of Irish Literature, History and Culture in Australia. Donna Gibbs
The Burden of Tyre and ‘the Loyal Gael’: The Expatriate Muse in the work of Christopher Brennan. Justin Lucas
‘Too Cold and Wide for the Tender Plant of the Irish Language to Thrive in?’ The Teaching of the Irish Language in Australia: 1880-1960. Jonathan M. Wooding
Notes and References – Notes on Contributors – Index

This collection of papers was given at the University of New South Wales, Sydney, Australia, at a conference convened under the aegis of the International Association for the Study of Irish Literatures (IASIL).

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