Literary Criticism
Irish Writers and their Creative Process

Irish Writers and their Creative Process

£30.00

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.

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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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Yeats, Sligo And Ireland

Yeats, Sligo And Ireland

£30.00

21.6 x 13.8 pp.     x, 267 pp.   1980       Irish Literary Studies series (ISSN 0140-895X) volume 6

The twenty-first Yeats International Summer School was held in Sligo in 1980, and the Yeats Society, wishing to mark the school’s coming of age, asked Professor A. Norman Jeffares to edit a volume of essays specially com­missioned for the occasion. These essays are by Directors of the school and scholars who have lectured at it.

The essayists are Lester Conner, Denis Donoghue, Barbara Hardy, Seamus Heaney, T. R. Henn, John Holloway, A. Norman Jeffares, John Kelly, F. S. L. Lyons, Augustine Martin, D. E. S. Maxwell, William M. Murphy, Patrick Rafroidi, Ann Saddlemyer and Helen Vendler, together with a poem by Brendan Kennelly. OnIy one essay is not new, that by the late T. R. Henn; it was given as a lecture and included in his Last Essays: appositely it is on his native Sligo,

These essays show the breadth of Yeats studies, indicating eloquently the tremendous hold that Yeats exerts on scholar and general reader alike, stressing that he is the greatest poet Ireland and the twentieth century have produced.

'Remarkable for their vitality and freshness of interpretation.' ,i>Choice

CONTENTS
Acknowledgements
Introduction. A. Norman Jeffares
A MATTER OF CHARACTER: RED HANRAHAN AND CRAZY JANE.  Lester I.Conner
ROMANTIC IRELAND.  Denis Donoghue
THE WILDNESS OF CRAZY JANE.  Barbara Hardy
YEATS AS AN EXAMPLE?.  Seamus Heaney
THE PLACE OF SHELLS.  T.R.Henn
HOW GOES THE WEATHER?  John Holloway
YEATS AND THE WRONG LEVER.  A.Norman Jeffares
THE VISITOR. Brendan Kennelly
YEATS AND VICTORIAN IRELAND.  F.S.L.Lyons
HOUND VOICES WERE THEY ALL: AN EXPERIMENT IN YEATS CRITICISM. Augustine Martin
THE SHAPE-CHANGERS.  D.E.S.Maxwell
HOME LIFE AMONG THE YEATSES.  William M.Murphy
YEATS, NATURE AND THE SELF.  Patrick Rafroidi
THE 'DWARF DRAMAS' OF THE EARLY ABBEY THEATRE.  Ann Saddlemyer
FOUR ELEGIES.  Helen Vendler
BOOKS AND NUMBERLESS DREAMS: YEATS'S RELATIONS WITH HIS EARLY PUBLISHERS.  John S.Kelly
Notes on Contributors
Speakers at Sligo 1960-1980
Index

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Selected Plays of St. John Ervine

Selected Plays of St. John Ervine

£10.95

Chosen and Introduced by John Cronin

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

ISBN: 0-86140-101-8 / 978-0-86140-101-7 Hbk £35.00
ISBN 978-0-86104-102-6 /978-0-86140-102-4 Pbk £9.95

21.6 x 13.8 cm.

Contains: Mixed Marriage, Jane Clegg, John Ferguson, Boyd's Shop, Friends and Relations, prose extracts, bibliographical checklist.

John Greer Ervine was born in Ballymacarrett, a working-class district of East Belfast, in 1883 (he added the prefix ‘St.’ to his name when he began to write). He was to achieve a considerable reputation as playwright, drama critic, novelist and biographer, working at various times in London and New York. As a young man, he got to know Bernard Shaw and was associated with the Fabian Society. In 1915 he was appointed manager of Dublin’s Abbey Theatre, but his brusque manner and his declared intention of turning the Abbey into a typical British repertory theatre alienated the players, many of whom left to set up a separate company of their own.

Ervine’s real contribution to the Abbey consisted of a number of his vigorous early plays, including Mixed Marriage and John Ferguson. After leaving the Abbey, he joined the British Army and was severely wounded in 1918, necessitating the amputation of a leg. After the War, he wrote drawing-room comedies for the London stage, and his most substantial work of biography was a book on his idol, Shaw. He returned to Irish themes in the 1930s, with plays like Boyd’s Shop, which was to prove one of his most popular and frequently revived works for the stage. A determined realist, Ervine had little sympathy with the work of some his notable contemporaries, and wrote severely about, for example, Synge. Ervine is at his best in those plays in which he depicts characters like John Ferguson, whose rigid moral attitudes are grimly tested by cruel circumstances. He is also impressive in his creation of strong women characters, such as Mrs Rainey in Mixed Marriage and Jane Clegg in the play of that name. In plays like those, he often anticipates his more famous successor, Sean O’Casey, and even looks forward to later Northern Irish writers like Sam Thompson.

This volume was published with assistance from the Arts Council of Northern Ireland.

John Cronin is Emeritus Professor of English at the Queen’s University, Belfast. His publications include Somerville and Ross, Gerald Griffin 1803-1840: A Critical Biography, and The Anglo-Irish Novel, Volume 1: The Nineteenth Century, and Volume 2, 1900-1940. He is general editor of a series of eight Classic Irish Novels of the Nineteenth Century. In addition to his academic activities, Professor Cronin has worked extensively on arts programmes for BBC Northern Ireland and BBC World Service and was for many years a member of the Anglo-Irish Literature Committee of the Royal Irish Academy.

 

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New British Drama in Performance on the London Stage 1970-1985

New British Drama in Performance on the London Stage 1970-1985

£10.00

ISBN: 978-0-86140-321-9
21.6 x 13.8 cm         revised edition of the 1988 hbk

The works of established dramatists and of new talents are examined from the stand-point of the original production and initial casts, the major dramatists studied being Alan Ayckbourn, Samuel Beckett, Edward Bond, Trevor Griffiths, David Hare, Harold Pinter, Tom Stoppard, and David Storey. A central theme of the book is the current relationship between the author and the actor.

CONTENTS
Harold Pinter
New Forms of Comedy: Ayckbourn and Stoppard
Monologues and Soliloquies: Samuel Beckett
Poetic Naturalism: David Storey
Political Drama and David Hare
Trevor Griffiths
The History Play: Edward Bond

'As drama in performance is now, rightly, given such prominence in the study of playwrights and plays there is obvious need for an intelligent and sensitive book which looks at recent drama in the context of the stage. This is exactly what Richard Cave presents in his latest work. . . . this is a book which future historians will be grateful for, and which ordinary readers can dip into for the pleasure of reliving, or vicariously experiencing for the first time, the peculiar excitement of seeing new plays that constitute a new theatrical event.'  R.P.Draper in Times Higher Education Supplement

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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‘Since O’Casey’ and other essays on Irish Drama

‘Since O’Casey’ and other essays on Irish Drama

£25.00

In this collection of lucid essays that cover the entire eighty years of modern Irish drama, Robert Hogan writes about the major Irish dramatists of the 20th century and their impact on audiences, and on other playwrights, as well as considering the works themselves. In them he uses a variety of critical techniques, ranging from biography to studies of influence, structure and dialogue, to history and anecdote, and the ill-treatment of several sacred cows.

In addition to essays on such giants as Synge, O'Casey, and Beckett, the book deals with more neglected figures such as W. J. Lawrence and the still insufficiently appreciated George Fitzmaurice and Denis Johnston. It also presents a full critical survey of the years 1963-83 in which exciting writers like Brian Friel, Hugh Leonard and John B. Keane made their mark. The author's style and varied ways of dealing with the subjects make this volume particularly enjoyable, as well as informative, reading.

CONTENTS
Preface
YEATS CREATES A CRITIC
THE INFLUENCE OF SYNGE
THERE IS REALISM AND REALISM
O'CASEY, THE STYLE AND THE ARTIST
O'CASEY, THE STYLE AND THE MAN
THE INFLUENCE OF O'CASEY
DENIS JOHNSTON'S HORSE LAUGH
TRYING TO LIKE BECKETT
SINCE O'CASEY
A Factual Appendix
A Critical Appendix, by W. J. Lawrence, containing his reviews of Birthright by T. C. Murray (1910), The Magic Glasses by George Fitzmaurice (1913), Shanwalla by Lady Gregory (1915), and Juno and the Paycock by Sean O'Casey (1924)
Notes
Index

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Beckett and Proust

Beckett and Proust

£35.00

Ever since the first appearance of Proust in 1931, Samuel Beckett has responded extremely ambivalently, both praising and belittling his subject. Captivated by his occasionally contagious enthusiasm for it, Beckett's own critics have praised Proust as the ideal guide to both its subject and its author, creating the myth that their concerns are somehow one and the same.

Nicholas Zurbrugg's work – itself virtually a trilogy of critical studies – offers a timely antidote to this confusion. He begins by reassessing the Proustian vision before considering Beckett's Proust when he examines the evolution of this essay with particular reference to Beckett's own annotated copies of the work. Finally he reassesses Beckett's fictional vision, arguing that its peculiarly anti-Proustian character may be traced from his first, unpublished novel, Dream of Fair to Middling Women, to Company and his most recent writing of the 1980s.

I found [it] such compelling reading that once I had started I could not lay it down. . . . No-one can read this without learning much that is permanently useful not only about its central subjects, but also about lines of influence in modern literature, and about the nature of literary experiences. . . . I am sure I shall have cause to reread it many times.'   Professor S.S.Prawer

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Assessing the 1984 ‘Ulysses’

Assessing the 1984 ‘Ulysses’

£30.00

Alongside Eliot's Waste Land and Ezra Pound's Cantos, Ulysses is unquestionably the most important literary text of this century. That is why it is both natural and necessary to pay more than the usual attention to the significant detail embedded in that monumental work.

Joyce demanded that Ulysses be published on his fortieth birthday, 2 February 1922. He forced the non-English-speaking printers in Dijon to work against next to impossible deadlines, and from almost unreadable manuscripts and proofs, so clotted were they with revisions. For this and other reasons, Joyce himself was acutely aware of the unusually large number of 'errors' in the body of the book, and said as much in his letters to friends. There 'errors' irritated him so much that he even issued a number of errata lists during his lifetime, but to no avail. All editions of Ulysses teemed with misprints and other 'errors': this is about the only statement on which there is genuine critical consensus.

In the late 1970s a comprehensive research project was mounted in Munich in systematically to deal with these 'errors' with the aid of a sophisticated computer program. The outcome was the 'error-free' edition of Ulysses published on Bloomsday 1984.

The sole purpose of the conference held in Monaco in 1985, bringing together some of the most outstanding experts of the Joycean text, was to scrutinise collectively the validity of the changes made by the Munich team.

Anthony Burgess points out in his Preface that in Ulysses as in Finnegans Wake, 'it is virtually impossible to divide substance from form... the characters are so embedded in their mode of presentation that it would be dangerous to release them from their verbal ambience'. It is precisely that point that makes this collection of papers an indispensable companion to the New Text of Ulysses as it has emerged from its 1984 facelift.

The outstanding Joyce scholars contributing to this work include Richard Ellmann, Clive Hart, Fritz Senn, David Hayman, and Richard Kain.

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The Achievement of Brian Friel

The Achievement of Brian Friel

£30.00

21.6 x 13.8 cm.    xx, 267 pp.   1883    Ulster Editions and Monoographs Series (ISSN 0954-3392) volume 4

The reception of Brian Friel's recent Dancing at Lughnasa confirmed his status as Ireland's leading dramatist. The body of work that he produced is outstanding in its breadth of sympathy and interest, its dramaturgical invention and its wide cultural and intellectual purview. At one level, it may be seen as a continuous examination of Irish culture and politics, committed and analytical, but not sectionally propagandist.

His outlook in his drama, however, was not amenable to simplistic categorization, political or otherwise. As this volume demonstrates, linguistically, allusively, and in terms of its broad transcultural analogising, he work ranges widely. He utilised ideas and terminologies drawn from various cultural sources and academic disciplines in a way that exemplified his central, insistent concern with the phenomenon of language and its implications.
As an Irish dramatist, however, he made Irish social, political and, notably, family life his focus and built upon a recognised tradition of twentieth century Irish play-writing.

This book addresses the variety and complexity of Friel's drama by bringing to bear a range of academic and other professional and creative approaches in order to highlight particular aspects of his work and thought. Hence, contributors include a playwright, poet, theatre-producer, historian and various specialists in relevant literatures. In this way, the book suggests the intellectual richness, humanity, and protean skill and invention of the work.
Among the contributors are John Cronin, Neil Corcoran, Desmond Maxwell, Christopher Murray, Thomas Kilroy, Seamus Deane, Robert Welch, Sean Connolly, Joe Dowling, Terence Brown, Fintan O'Toole and Seamus Heaney.

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Yeats and AE: ‘The antagonism that unites dear friends’

Yeats and AE: ‘The antagonism that unites dear friends’

£33.00

21.6 x 13.8 cm.    xiv, 291 pp. + 16 pp. with 33 illus.  

During his life, W.B.Yeats formed only a few literary friendships from which he received as much as he gave. One of the foremost was his association with George William Russell. ‘A.E. was my oldest friend’ he confided to an admirer on Russell’s death in 1935. ‘We began our work together.’

This engaging, carefully researched book charts the history and evaluates the significance of the first twenty-three years of that work. It begins with the early months of 1884 when Yeats and Russell first met at the Arts Schools in Kildare Street, Dublin, and ends with their divisive quarrels in 1907 about the policies of the Abbey Theatre.

Taking as its focal point Yeats’s summary of the association – ‘between us as always there existed that antagonism that unites dear friends’ – the book sensitively gauges the pressures that each man exerted on the other. It also examines the way these pressures both affected their respective imaginative developments and shaped the course of the literary movement.

'What Kuch sets out to do, he does scrupulously and with such attention to detail, minutiae even, that his scholarly apparatus takes up nearly a quarter of the book. It is indeed "carefully researched".' Derek Mahon in The Irish Times

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