DOCSLIB.ORG

Yeats As Playwright

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yeats As Playwright THE RICE INSTITUTE YEATS AS PLAYWRIGHT by ERVIN JAMES KORGES A THESIS SUBMITTED TO THE FACULTY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Houston, Tezas May, 1955 CONTENTS Introduction i Chapter I Background, historic and dramatic 1. The political and literary revival...*. 1 2. Irish drama before the revival... 14 3. Belated movements. 17 Chapter II Dramatic theory and practice, 1884-1906 1. The 1884 plays 25 2. Changing ideals. S3 3. Plays of the 1890*s and revision 41 Chapter III Formation of a public theatre 1. The Irish Literary Theatre. ...••• 56 2. Interim....... 61 3* The Irish National Theatre................... 64 4. Beform of the theatre 69 Chapter 17 Dramatic theory and practice, 1902-1912 1* Theories. « 81 2. Flays. * • *.. 99 Chapter 7 Formation of a private theatre 1. Withdrawal.. 116 2. Discovery of the Noh 122 3. Myth and philosophy. 129 Chapter VI Dramatic theory and practice, 1912-1939 1. The theory extended .......... 133 2. Plays 141 Conclusion. 163 Appendix A Mari tain on myth 175 Appendix B Yeats as translator........................ 177 Appendix C Publication dates of Yeats*s plays......... 179 Notes 180 Bibliography. 207 Introduction The poetry of William Butler Yeats is accorded a very high place in contemporary English literature; yet his other work has been neglected. The plays are customarily passed over as an appendage to his poetry, and the prose works are almost entirely neglected, except as philosophical documents. Though the poems are constantly being examined and explicat¬ ed, the prose style is mentioned only incidentally: "one may observe in passing that the section on history in A Vision includes the finest 1 rhythmic prose written in English since that of Sir Thomas Browne." The paradox is that though Yeats* s dramatic movement, in the form of the Abbey Theatre, exerted great influence on English and American drama, his plays themselves remain outside the realm of influence and have not passed into the tradition of English drama. This may be explained in two ways, if it can be explained at all: either because he wrote one- act plays, a form that is as unfashionable as the short-story, or because he was concerned with poetic drama, a form that is as unfashionable as poetry, Yeats attached great importance to his work in and for the theatre. He wrote in the preface to Poems 1Ô99-1905 Some of my friends...do not understand why I have not been con¬ tent with lyric writing. But one can only do what one wants to do, and to me drama—and I think it has been the same with other writers—has been the search for more of manful energy, more of cheerful acceptance of whatever arises out of the logic of events, and for clear outline, instead of those outlines of ii lyric poetry that are blurred with desire and vague regret. 2 By undertaking the practice of the stage Yeats was forced to revise his art, to trim decorations that grew from lyric impulse, to cut away excess description and narration. This process can easily be seen in compari¬ sons of the early and late plays as well as in comparison of poems. As Parkinson says: "By its very nature dramatic poetry demands conflict, and through the demands of the theatre Yeats was forced to objectify the conflict that implicitly underlay the early poems.He develops the point at length, concluding that when working in dramatic verse ...he had to make his characters speak to one another, to subdue his inclination toward the rhapsodic. The same mo¬ tives compelled him to reduce the number of esoteric sym¬ bols in the poetry and to provide for those retained an elucidating context of common speech. He also learned to modulate his diction so as to be able to express several points of view and to shape his metrics to the demands of a living voice. 4 But Yeats* s adventures in the theatre were not motivated only by a de¬ sire to strengthen his poetiy by dramatic practice; he was also a part of the Irish Renaissance, and more important he sought reform of the modem stage. "As a critic," writes Moody E. Prior, Yeats sought to reveal the failings of the current drama and to trace the foundations on which a new attempt might be raised; as a poet, he experimented over a long period of time in the hopes of discovering a new means which would enable the poet to find once more his proper place in the theatre, and he brought to his task one of the unquestionably great poetic gifts of our time. 5 Prior might have added that Yeats wanted not only to trace the founda¬ tions on which a new attenpt might be raised, but to trace to the founda¬ tions, for Yeats was concerned with renewing the ancient drama of poetry, ritual, and myth. It is toward the definition of these aims of Yeats as playwright and an examination of the theories he proposed in his attenpt to achieve those aims that this thesis is written. iii It is, to say the least, disconcerting to be confronted with the great divergence of opinion on Yeats as playwright. T. R. Hem, writing in 1950, observed that "it is curious to observe the unanimity of criti- 6 cal opinion that Yeats is not a dramatist." The unanimity has broken itself in the past few years, however, and a more tempered position is being reached. Louis MacNeice had written that "Yeats was the cause of drama in other men but he does not seem to me to have been properly a dramatist. ...On the whole the poetry of the plays is less interesting, less power¬ ful, and less original than that of the lyrics, but it is always the 7 same man writing." Joseph Holloway wrote that Yeats "is more a lyric poet than a dramatist, and is never satisfied with his work for the Ô stage, but keeps eternally chopping and changing it," as though re¬ vision and correction were sinful. And A. E. Morgan stated triumphant¬ ly that "Mr. Yeats suffers as a dramatist from the defects of his merits as a poet." Morgan continues: He will be remembered as a lyrist capable of embodying in fine verse and with lovely symbolism the subtleties of his mystical thought. This quality is not wholly advantageous as a drama¬ tist; and in effect Mr. Yeats's plays are apt to be so strange in thought and so vague in expression that the meaning is difficult to grasp. 9 It is no condemnation of these plays that their form is in¬ comprehensible to the ordinary man, but it is a serious thing if they are made not of real human stuff but of the unreal imaginings of a visionary. 10 Since Morgan's time there has been some revision of our ideas of reality and of our ideas of drama, and the concept of "real human stuff" has been questioned. The theories to be discussed in the body of this thesis may give some clue for the absence of such "stuff" from some of Yeats's plays. Edmund Wilson believed that "Yeats' s plays have little dramatic iv importance because Yeats himself has little sense of drama, and we think of them primarily as a department of his poetry, with the same sort of 11 interest and beauty as the rest," whereas Joseph Hone, Yeats's bio¬ grapher, wrote that "Yeats was one of the few poets with a born drama¬ tic gift, not only in the effect and economy with which he could nail down a really dramatic theme on the barest of boards in the rarest of wards...but in the fact that he knew exactly what effect he wanted and 12 how it should be obtained." William Archer, with his realistic bias, missed the point of Yeats's work in the theatre when he wrote that "Mr. Yeats contributed one or two plays, notably The King's Threshold and the beautiful symbolic play¬ let, Kathleen-ni-Houlihan; but this first of Irish poets is scarcely a 13 born dramatist." Eglinton, on the other hand, makes such a stout de¬ fence of Yeats as playwright that he praises even the faulty early plays, such as The Land of Heart*s Desire, because in them Yeats "had already succeeded in doing what the Shakespearian dramatists longed and tried unsuccessfully to do; and he was able to do so because that 'Celtic' element which survived in Shakespeare was the element in which 14 Yeats moved with real power and understanding." T. S. Eliot, though he shows greater critical insight than either of these critics, is too preoccupied with finding a new verse form for the stage and therefore praises the late Yeats plays, though justly, vhile neglecting master- 15 pieces of the middle period written in blank verse. Yeats realized that good poetic plays could still be written in that measure, if the verse was not diluted Elizabethan and if the diction was as modern as the theatre in which it was to be spoken. In his 1951 essay on "Poetry and Drama,” Eliot wrote: V Yeats is a very different case, from Maeterlinck or Synge. A study of his development as a dramatist would show, I think, the great distance he went, and the triumph of his last plays. In his first period, he wrote plays in verse about subjects conventionally accepted as suitable for verse, in a metric which—though even at that early stage having the personal Yeats rhythm—-is not really a form of speech quite suitable for anybody except mythological kings and queens.
Load more

Recommended publications
  • Washington Division of Geology and Earth Resources Open File Report
    l 122 EARTHQUAKES AND SEISMOLOGY - LEGAL ASPECTS OPEN FILE REPORT 92-2 EARTHQUAKES AND Ludwin, R. S.; Malone, S. D.; Crosson, R. EARTHQUAKES AND SEISMOLOGY - LEGAL S.; Qamar, A. I., 1991, Washington SEISMOLOGY - 1946 EVENT ASPECTS eanhquak:es, 1985. Clague, J. J., 1989, Research on eanh- Ludwin, R. S.; Qamar, A. I., 1991, Reeval­ Perkins, J. B.; Moy, Kenneth, 1989, Llabil­ quak:e-induced ground failures in south­ uation of the 19th century Washington ity of local government for earthquake western British Columbia [abstract). and Oregon eanhquake catalog using hazards and losses-A guide to the law Evans, S. G., 1989, The 1946 Mount Colo­ original accounts-The moderate sized and its impacts in the States of Califor­ nel Foster rock avalanches and auoci­ earthquake of May l, 1882 [abstract). nia, Alaska, Utah, and Washington; ated displacement wave, Vancouver Is­ Final repon. Maley, Richard, 1986, Strong motion accel­ land, British Columbia. erograph stations in Oregon and Wash­ Hasegawa, H. S.; Rogers, G. C., 1978, EARTHQUAKES AND ington (April 1986). Appendix C Quantification of the magnitude 7.3, SEISMOLOGY - NETWORKS Malone, S. D., 1991, The HAWK seismic British Columbia earthquake of June 23, AND CATALOGS data acquisition and analysis system 1946. [abstract). Berg, J. W., Jr.; Baker, C. D., 1963, Oregon Hodgson, E. A., 1946, British Columbia eanhquak:es, 1841 through 1958 [ab­ Milne, W. G., 1953, Seismological investi­ earthquake, June 23, 1946. gations in British Columbia (abstract). stract). Hodgson, J. H.; Milne, W. G., 1951, Direc­ Chan, W.W., 1988, Network and array anal­ Munro, P. S.; Halliday, R. J.; Shannon, W.
    [Show full text]
  • ענליוו – Wilna – – Wilno – Vilnius
    – Wilna – ווילנע – Wilno – Vilnius צו אבזערווירן און צו טראכטן… מו״לים ומתרגמים יידיים של ספרות הוגי דעות גרמניים Yiddish Publishers and TranslaTors of German auThors ThrouGh The lens of Their books ביום 23 ספטמבר 1943 חוסל גטו וילנה, כשנתיים לאחר שהוקם על ידי הגרמנים. היהודים שעוד היו בגטו גורשו או נרצחו בפונאר הסמוך. באלימות ובחוסר אנושיות הגיעה לקיצה היסטוריה בת מאות שנים של "ירושלים של הצפון" או "ירושלים דליטא", כפי שכונתה וילנה היהודית. אוצרות תרבותיים שמקורם ב"ייִדיִש לאַ נד" ובמיוחד בווילנע, שמה היידי של בירת ליטא וילנה היום, אינם משתקפים בנוף הספרותי והתאטרלי העכשווי במקום. תעשיית הוצאות הספרים של אז מציגה את העניין הרב שגילה קהל הקוראים בספרות היידית, כמו גם בתרגומים ליידיש של מחברים אירופאיים, ובמיוחד גרמנים. תרבות הקריאה תרמה, במיוחד בתוך חומות הגטו, להישרדות רוחנית. On September 23, 1943 the Vilna Ghetto, established two years earlier by occupying German forces, was liq- uidated, and the remaining Jews were either deported or murdered in the nearby Ponar Woods. With this act of brutality and inhumanity, the centuries old history of the so-called “Jerusalem of the North” or “Jerusalem of Lithuania” ended. The cultural treasures generated into a “Yidishland”, particularly in Vilna – the Yiddish name of the Lithuanian capital Vilnius – are reflected not only in the theatrical and literary worlds. The publishing indus- try of the time attested to a lively interest among reader- ship in Yiddish literature, but also on Yiddish translations of European, especially German authors. Reading helped facilitate intellectual survival, especially in the Ghetto. דער ווילנער ֿפאַ רלאַ ג ֿפון בּ. קלעצקין. בּ אָ ר י ס אָ ר ק אַ ד י י ו ו י ץ ק ל ע צ ק י ן )1875-1937( נולד הוצאות לאור, בתי דפוס בהרודיץ׳, וייסד בית הוצאה לאור משלו׃ דער Publishing Houses, Printers ווילנער ֿפאַ רלאַ ג ֿפון בּ.
    [Show full text]
  • A Book of Irish Verse
    A BOOK OF IRISH VERSE W.B. YEATS TO THE MEMBERS OF THE NATIONAL LITERARY SOCIETY OF DUBLIN AND THE IRISH LITERARY SOCIETY OF LONDON PREFACE I HAVE not found it possible to revise this book as completely as I should have wished. I have corrected a bad mistake of a copyist, and added a few pages of new verses towards the end, and softened some phrases in the introduction which seemed a little petulant in form, and written in a few more to describe writers who have appeared during the last four years, and that is about all. I compiled it towards the end of a long indignant argument, carried on in the committee rooms of our literary societies, and in certain newspapers between a few writers of our new movement, who judged Irish literature by literary standards, and a number of people, a few of whom were writers, who judged it by its patriotism and by its political effect; and I hope my opinions may have value as part of an argument which may awaken again. The Young Ireland writers wrote to give the peasantry a literature in English in place of the literature they were losing with Gaelic, and these methods, which have shaped the literary thought of Ireland to our time, could not be the same as the methods of a movement which, so far as it is more than an instinctive expression of certain moods of the soul, endeavours to create a reading class among the more leisured classes, which will preoccupy itself with Ireland and the needs of Ireland.
    [Show full text]
  • Select Letters of Percy Bysshe Shelley
    ENGLISH CLÀSSICS The vignette, representing Shelleÿs house at Great Mar­ lou) before the late alterations, is /ro m a water- colour drawing by Dina Williams, daughter of Shelleÿs friend Edward Williams, given to the E ditor by / . Bertrand Payne, Esq., and probably made about 1840. SELECT LETTERS OF PERCY BYSSHE SHELLEY EDITED WITH AN INTRODUCTION BY RICHARD GARNETT NEW YORK D.APPLETON AND COMPANY X, 3, AND 5 BOND STREET MDCCCLXXXIII INTRODUCTION T he publication of a book in the series of which this little volume forms part, implies a claim on its behalf to a perfe&ion of form, as well as an attradiveness of subjeâ:, entitling it to the rank of a recognised English classic. This pretensión can rarely be advanced in favour of familiar letters, written in haste for the information or entertain­ ment of private friends. Such letters are frequently among the most delightful of literary compositions, but the stamp of absolute literary perfe&ion is rarely impressed upon them. The exceptions to this rule, in English literature at least, occur principally in the epistolary litera­ ture of the eighteenth century. Pope and Gray, artificial in their poetry, were not less artificial in genius to Cowper and Gray ; but would their un- their correspondence ; but while in the former premeditated utterances, from a literary point of department of composition they strove to display view, compare with the artifice of their prede­ their art, in the latter their no less successful cessors? The answer is not doubtful. Byron, endeavour was to conceal it. Together with Scott, and Kcats are excellent letter-writers, but Cowper and Walpole, they achieved the feat of their letters are far from possessing the classical imparting a literary value to ordinary topics by impress which they communicated to their poetry.
    [Show full text]
  • The Celtic Awakening the Pathos of Distance
    The Celtic Awakening The pathos of distance ; a book of a thousand and one moments James Huneker 1913 • IRELAND “ Ireland, oh Ireland ! Centre of my longings. Country of my fathers, home of my heart ! Over seas you call me : Why an exile from me ? Wherefore sea-severed, long leagues apart ? “ As the shining salmon, homeless in the sea depths. Hears the river call him, scents out the land. Leaps and rejoices in the meeting of the waters, Breasts weir and torrent, nests him in the sand ; “ Lives there and loves, yet, with the year’s returning. Rusting in the river, pines for the sea, Sweeps back again to the ripple of the tideway, Roamer of the waters, vagabond and free. “ Wanderer am I like the salmon of the rivers ; London is my ocean, murmurous and deep. Tossing and vast ; yet through the roar of London Comes to me thy summons, calls me in sleep. “ Pearly are the skies in the country of my fathers. Purple are thy mountains, home of my heart. Mother of my yearning, love of all my longings, Keep me in remembrance, long leagues apart.” — Stephen Gwynn. • How dewy is the freshness and exquisite flavour of the newer Celtic poetry, from the more ambitious thunders of its epics to its tenderest lyric leafage ! It has been a veritable renascence. Simultaneously, there burst forth throughout Ireland a trilling of birdlike notes never before heard, and the choir has become more compact and augmented. Fiona Macleod told in luscious, melting prose her haunting tales ; beautiful Dora Sigerson sang of the roses that fade ; Katharine Tynan-Hinkson achieved at a bound the spun sweetness of music in her Larks.
    [Show full text]
  • What Literature Knows: Forays Into Literary Knowledge Production
    Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism.
    [Show full text]
  • The Riff Issue
    STOCKHOLM WOW AUTUMN CITIES: LONDON, P The riff issue : COPENHA ARIS, BERLIN, WE ARE ON OUR WAY! T he future of of he future GEN I celandic cinema is in the air THE RIFF ISSUE The future of Icelandic cinema What is RIFF? Learn all there is to know about Reykjavík International Film Festival WOW PICKS The must-see list at RIFF What’s going on? Iceland is happening IS IN THE AIR I ssue five Winter is coming: ISSUE 2013 GET YOUR GEAR READY FOR FIVE 2013 THESE AWESOME PISTES Tax & Duty Free Experience Iceland All of our shops and restaurants offer you Icelandic memories to take home. /SIA.IS/FLE 63311 04/13 ÍSLENSKA One of few airports in the world that is both tax and duty free — meaning up to 50% off city prices. Nearby Landmannalaugar 2 ı WOW is in the air TaxTax && DutyDuty FreeFree ExperienceExperience IcelandIceland AllAll ofof ourour shopsshops andand restaurantsrestaurants offeroffer youyou IcelandicIcelandic memoriesmemories toto taketake home.home. /SIA.IS/FLE 63311 04/13 /SIA.IS/FLE 63311 04/13 ÍSLENSKA ÍSLENSKA OneOne ofof fewfew airportsairports inin thethe worldworld thatthat isis bothboth taxtax andand dutyduty freefree —— meaningmeaning upup toto 50%50% offoff citycity prices.prices. NearbyNearby LandmannalaugarLandmannalaugar Issue five ı 3 Hello darkness my old friend … The fall is a time for contemplation and, at least in my case, a new beginning. It’s about getting the kids back to school, wiping the frost from the car windows, rejoicing in the autumn colors and dreading but still kind of looking forward to the darkest days of winter.
    [Show full text]
  • CALIFORNIA's NORTH COAST: a Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors
    CALIFORNIA'S NORTH COAST: A Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors. A Geographically Arranged Bibliography focused on the Regional Small Presses and Local Authors of the North Coast of California. First Edition, 2010. John Sherlock Rare Books and Special Collections Librarian University of California, Davis. 1 Table of Contents I. NORTH COAST PRESSES. pp. 3 - 90 DEL NORTE COUNTY. CITIES: Crescent City. HUMBOLDT COUNTY. CITIES: Arcata, Bayside, Blue Lake, Carlotta, Cutten, Eureka, Fortuna, Garberville Hoopa, Hydesville, Korbel, McKinleyville, Miranda, Myers Flat., Orick, Petrolia, Redway, Trinidad, Whitethorn. TRINITY COUNTY CITIES: Junction City, Weaverville LAKE COUNTY CITIES: Clearlake, Clearlake Park, Cobb, Kelseyville, Lakeport, Lower Lake, Middleton, Upper Lake, Wilbur Springs MENDOCINO COUNTY CITIES: Albion, Boonville, Calpella, Caspar, Comptche, Covelo, Elk, Fort Bragg, Gualala, Little River, Mendocino, Navarro, Philo, Point Arena, Talmage, Ukiah, Westport, Willits SONOMA COUNTY. CITIES: Bodega Bay, Boyes Hot Springs, Cazadero, Cloverdale, Cotati, Forestville Geyserville, Glen Ellen, Graton, Guerneville, Healdsburg, Kenwood, Korbel, Monte Rio, Penngrove, Petaluma, Rohnert Part, Santa Rosa, Sebastopol, Sonoma Vineburg NAPA COUNTY CITIES: Angwin, Calistoga, Deer Park, Rutherford, St. Helena, Yountville MARIN COUNTY. CITIES: Belvedere, Bolinas, Corte Madera, Fairfax, Greenbrae, Inverness, Kentfield, Larkspur, Marin City, Mill Valley, Novato, Point Reyes, Point Reyes Station, Ross, San Anselmo, San Geronimo, San Quentin, San Rafael, Sausalito, Stinson Beach, Tiburon, Tomales, Woodacre II. NORTH COAST AUTHORS. pp. 91 - 120 -- Alphabetically Arranged 2 I. NORTH COAST PRESSES DEL NORTE COUNTY. CRESCENT CITY. ARTS-IN-CORRECTIONS PROGRAM (Crescent City). The Brief Pelican: Anthology of Prison Writing, 1993. 1992 Pelikanesis: Creative Writing Anthology, 1994. 1994 Virtual Pelican: anthology of writing by inmates from Pelican Bay State Prison.
    [Show full text]
  • The Theory of the Modern Stage
    The Theory of the Modern Stage AN INTRODUCTION TO MODERN THEATRE AND DRAMA EDITED BY ERIC BENTLEY PENGUIN BOOKS Contents Preface by Eric Bentley 9 Acknowledgements 17 PART ONE TEN MAKERS OF MODERN THEATRE ADOLPHE APPIA The Ideas of Adolphe Appia Lee Simonson 27 ANTONIN ARTAUD The Theatre of Cruelty, First and Second Manifestos Antonin Artaud, translated by Mary Caroline Richards 55 Obsessed by Theatre Paul Goodman 76 BERTOLT BRECHT The Street Scene Bertolt Brecht, translated by John Willett 85 On Experimental Theatre Bertolt Brecht, translated by John Willett 97 Helene Weigel: On a Great German Actress and Weigel's Descent into Fame Bertolt Brecht, translated by John Berger and Anna Bostock 105 E. GORDON CRAIG The Art of the Theatre, The First Dialogue E. Gordon Craig 113 A New Art of the Stage Arthur Symans 138 LUIGI PIRANDELLO Spoken Action Luigi Pirandello, translated by Fabrizio Melano 153 Eleanora Duse Luigi Pirandello 158 BERNARD SHAW A Dramatic Realist to His Critics Bernard Shaw 175 Appendix to The Quintessence of Ibsenism Bernard Shaw 197 KONSTANTIN STANISLAVSKY Stanislavsky David Magarshack 219 Emotional Memory Eric Bentley 275 CONTENTS RICHARD WAGNER The Ideas of Richard Wagner Arthur Symons 283 W. B. YEATS A People's Theatre W. B. Yeats 327 A Theory of the Stage Arthur Symons 339 EMILE ZOLA From Naturalism in the Theatre, Emile Zola, translated by Albert Bermel 351 To Begin Otto Brahm, translated by Lee Baxandall 373 PART TWO TOWARDS A HISTORICAL OVER-VIEW GEORG BRANDES Inaugural Lecture, 1871 Georg Brandts, translated by Evert Sprinchorn 383 ARNOLD HAUSER The Origins of Domestic Drama Arnold Hauser, translated in collaboration with the author by Stanley Godman 403 GEORGE LUKACS The Sociology of Modern Drama George Lukdcs, translated by Lee Baxandall 435 ROMAIN ROLLAND From TTie People's Theatre, Romain Rolland, translated by Barrett H.
    [Show full text]
  • Introduction 1. the Dreyfus Affair and the Birth of the 'Intellectuals'
    Notes Introduction 1.]. Guehenno, Journal des annees noires (1940-1944), Gallimard, 1947, p. 205. Quote brought to my attention by Jennifer Lefevre. 2. K. Reader, 'The Intellectuals: Notes towards a Comparative Study of Their Position in the Social Formations of France and Britain', Media, Culture and Society, 1982 (4), pp. 263-73, p. 266. 3. M. Leymarie, Les Intellectuels et Ia politique, Presses Universitaires de France (Collection Que sais-je?), 2001, p. 11. 4. J.-P. Sartre, 'Plaidoyer pour les intellectuels', in J.-P. Sartre, Situations VIII, Gallimard, 1972, p. 377. 5. For a recent study on female intellectuals, see N. Racine and M. Trebitsch, Intellectuelles. Du genre en histoire des intellectuels, Editions Complexe, 2004. 1. The Dreyfus Affair and the Birth of the 'Intellectuals' 1. E. Weber, France, Fin de Siecle, The Belknap Press of Harvard University Press, 1986, p. 66. 2. Ibid., p. 46. 3. At the end of 1871 Parisians opposed to the government of Adolphe Thiers elected a revolutionary council in Paris. Thiers fled to Versailles and subsequently organised a siege of the city in order to wrest control from the Communards. In May the Versailles troops entered Paris and at the end of the month the Commune was defeated. ln the bloody reprisals that followed some 18,000 Parisians died and almost 7,000 were deported. Communes were also crushed in other French cities and the repression cast a long shadow over relations between radicals and conservatives for years to come. 4. In 1815, after the fall of Napoleon, the monarchy was restored (Louis XVIII, 1815-25; Charles X, 1825-30).
    [Show full text]
  • March 21–25, 2016
    FORTY-SEVENTH LUNAR AND PLANETARY SCIENCE CONFERENCE PROGRAM OF TECHNICAL SESSIONS MARCH 21–25, 2016 The Woodlands Waterway Marriott Hotel and Convention Center The Woodlands, Texas INSTITUTIONAL SUPPORT Universities Space Research Association Lunar and Planetary Institute National Aeronautics and Space Administration CONFERENCE CO-CHAIRS Stephen Mackwell, Lunar and Planetary Institute Eileen Stansbery, NASA Johnson Space Center PROGRAM COMMITTEE CHAIRS David Draper, NASA Johnson Space Center Walter Kiefer, Lunar and Planetary Institute PROGRAM COMMITTEE P. Doug Archer, NASA Johnson Space Center Nicolas LeCorvec, Lunar and Planetary Institute Katherine Bermingham, University of Maryland Yo Matsubara, Smithsonian Institute Janice Bishop, SETI and NASA Ames Research Center Francis McCubbin, NASA Johnson Space Center Jeremy Boyce, University of California, Los Angeles Andrew Needham, Carnegie Institution of Washington Lisa Danielson, NASA Johnson Space Center Lan-Anh Nguyen, NASA Johnson Space Center Deepak Dhingra, University of Idaho Paul Niles, NASA Johnson Space Center Stephen Elardo, Carnegie Institution of Washington Dorothy Oehler, NASA Johnson Space Center Marc Fries, NASA Johnson Space Center D. Alex Patthoff, Jet Propulsion Laboratory Cyrena Goodrich, Lunar and Planetary Institute Elizabeth Rampe, Aerodyne Industries, Jacobs JETS at John Gruener, NASA Johnson Space Center NASA Johnson Space Center Justin Hagerty, U.S. Geological Survey Carol Raymond, Jet Propulsion Laboratory Lindsay Hays, Jet Propulsion Laboratory Paul Schenk,
    [Show full text]
  • Geologic Map of the Victoria Quadrangle (H02), Mercury
    H01 - Borealis Geologic Map of the Victoria Quadrangle (H02), Mercury 60° Geologic Units Borea 65° Smooth plains material 1 1 2 3 4 1,5 sp H05 - Hokusai H04 - Raditladi H03 - Shakespeare H02 - Victoria Smooth and sparsely cratered planar surfaces confined to pools found within crater materials. Galluzzi V. , Guzzetta L. , Ferranti L. , Di Achille G. , Rothery D. A. , Palumbo P. 30° Apollonia Liguria Caduceata Aurora Smooth plains material–northern spn Smooth and sparsely cratered planar surfaces confined to the high-northern latitudes. 1 INAF, Istituto di Astrofisica e Planetologia Spaziali, Rome, Italy; 22.5° Intermediate plains material 2 H10 - Derain H09 - Eminescu H08 - Tolstoj H07 - Beethoven H06 - Kuiper imp DiSTAR, Università degli Studi di Napoli "Federico II", Naples, Italy; 0° Pieria Solitudo Criophori Phoethontas Solitudo Lycaonis Tricrena Smooth undulating to planar surfaces, more densely cratered than the smooth plains. 3 INAF, Osservatorio Astronomico di Teramo, Teramo, Italy; -22.5° Intercrater plains material 4 72° 144° 216° 288° icp 2 Department of Physical Sciences, The Open University, Milton Keynes, UK; ° Rough or gently rolling, densely cratered surfaces, encompassing also distal crater materials. 70 60 H14 - Debussy H13 - Neruda H12 - Michelangelo H11 - Discovery ° 5 3 270° 300° 330° 0° 30° spn Dipartimento di Scienze e Tecnologie, Università degli Studi di Napoli "Parthenope", Naples, Italy. Cyllene Solitudo Persephones Solitudo Promethei Solitudo Hermae -30° Trismegisti -65° 90° 270° Crater Materials icp H15 - Bach Australia Crater material–well preserved cfs -60° c3 180° Fresh craters with a sharp rim, textured ejecta blanket and pristine or sparsely cratered floor. 2 1:3,000,000 ° c2 80° 350 Crater material–degraded c2 spn M c3 Degraded craters with a subdued rim and a moderately cratered smooth to hummocky floor.
    [Show full text]