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The Great War in Irish Poetry
Durham E-Theses Creation from conict: The Great War in Irish poetry Brearton, Frances Elizabeth How to cite: Brearton, Frances Elizabeth (1998) Creation from conict: The Great War in Irish poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5042/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Creation from Conflict: The Great War in Irish Poetry The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. Frances Elizabeth Brearton Thesis submitted for the degree of Ph.D Department of English Studies University of Durham January 1998 12 HAY 1998 ABSTRACT This thesis explores the impact of the First World War on the imaginations of six poets - W.B. -
[Jargon Society]
OCCASIONAL LIST / BOSTON BOOK FAIR / NOV. 13-15, 2009 JAMES S. JAFFE RARE BOOKS 790 Madison Ave, Suite 605 New York, New York 10065 Tel 212-988-8042 Fax 212-988-8044 Email: [email protected] Please visit our website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers These and other books will be available in Booth 314. It is advisable to place any orders during the fair by calling us at 610-637-3531. All books and manuscripts are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. ALGREN, Nelson. Somebody in Boots. 8vo, original terracotta cloth, dust jacket. N.Y.: The Vanguard Press, (1935). First edition of Algren’s rare first book which served as the genesis for A Walk on the Wild Side (1956). Signed by Algren on the title page and additionally inscribed by him at a later date (1978) on the front free endpaper: “For Christine and Robert Liska from Nelson Algren June 1978”. Algren has incorporated a drawing of a cat in his inscription. Nelson Ahlgren Abraham was born in Detroit in 1909, and later adopted a modified form of his Swedish grandfather’s name. He grew up in Chicago, and earned a B.A. in Journalism from the University of Illinois Urbana-Champaign in 1931. In 1933, he moved to Texas to find work, and began his literary career living in a derelict gas station. A short story, “So Help Me”, was accepted by Story magazine and led to an advance of $100.00 for his first book. -
W. B. Yeats Selected Poems
W. B. Yeats Selected Poems Compiled by Emma Laybourn 2018 This is a free ebook from www.englishliteratureebooks.com It may be shared or copied for any non-commercial purpose. It may not be sold. Cover picture shows Ben Bulben, County Sligo, Ireland. Contents To return to the Contents list at any time, click on the arrow ↑ before each poem. Introduction From The Wanderings of Oisin and other poems (1889) The Song of the Happy Shepherd The Indian upon God The Indian to his Love The Stolen Child Down by the Salley Gardens The Ballad of Moll Magee The Wanderings of Oisin (extracts) From The Rose (1893) To the Rose upon the Rood of Time Fergus and the Druid The Rose of the World The Rose of Battle A Faery Song The Lake Isle of Innisfree The Sorrow of Love When You are Old Who goes with Fergus? The Man who dreamed of Faeryland The Ballad of Father Gilligan The Two Trees From The Wind Among the Reeds (1899) The Lover tells of the Rose in his Heart The Host of the Air The Unappeasable Host The Song of Wandering Aengus The Lover mourns for the Loss of Love He mourns for the Change that has come upon Him and his Beloved, and longs for the End of the World He remembers Forgotten Beauty The Cap and Bells The Valley of the Black Pig The Secret Rose The Travail of Passion The Poet pleads with the Elemental Powers He wishes his Beloved were Dead He wishes for the Cloths of Heaven From In the Seven Woods (1904) In the Seven Woods The Folly of being Comforted Never Give All the Heart The Withering of the Boughs Adam’s Curse Red Hanrahan’s Song about Ireland -
Development in Yeats's Use of the Refrain in Ballads and Folk Title Songs in "Beggar to Beggar Cried," "The Rose Tree,"And "Three Things
Development in Yeats's Use of the Refrain in Ballads and Folk Title Songs in "Beggar to Beggar Cried," "The Rose Tree,"and "Three Things Author(s) Nishitani, Mariko Citation Zephyr (2014), 26: 1-18 Issue Date 2014-03-31 URL https://doi.org/10.14989/189398 Right Type Departmental Bulletin Paper Textversion publisher Kyoto University Development in Yeats’s Use of the Refrain in Ballads and Folk Songs in “Beggar to Beggar Cried,” “The Rose Tree,” and “Three Things” Mariko Nishitani Introduction Yeats used the refrain throughout his lifetime and developed its functions at different stages in his career. Although the refrain was an important device for him in many senses, with some exceptions, he rarely referred to it in his prose. The following is one of these exceptions. Here, he explains how a simple repetitive phrase invites an audience to participate in a performance of poetry: In a short poem he [the reciter] may interrupt the narrative with a burden, which the audience will soon learn to sing, and this burden, because it is repeated and need not tell a story to a first hearing, can have a more elaborate musical notation, can go nearer to ordinary song…. (The Irish Dramatic Movement p. 103) The quotation refers to two important aspects of the refrain that would have occupied his mind at that time. First, the refrain in ballads and songs has been associated with establishing a cooperative relationship between a singer and his audience, as well as a sense of unity the singer may share with a singing audience. -
Symbolism in the Poetry of William Butler Yeats Alana White Western Kentucky University
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1972 Symbolism in the Poetry of William Butler Yeats Alana White Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation White, Alana, "Symbolism in the Poetry of William Butler Yeats" (1972). Masters Theses & Specialist Projects. Paper 1035. http://digitalcommons.wku.edu/theses/1035 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SYMBOLISM IN THE POETRY OF WILLIAM BUTLER YEATS A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Alana J. White May 1972 SYMBOLISM IN THE POETRY OF WILLIAM BUTLER YEATS APPROVED (Date) DlFectojb of Thesis t Dean of the Graduate School I wish to dedicate this thesis to Dr. William McMahon and Dr. Dorothy McMahon for the kind assistance they have given me in this project and in other ways as well. iii TABLE OF CONTENTS Page PREFACE 1 Chapter I. ' THE DEVELOPMENT OF A SYMBOLIC SYSTEM . 3 II. THE ROSE AND THE STONE AS SYMBOLS . 20 III. THE ROSE OF THE COUNTESS KATHLEEN AND VARIOUS LEGENDS AND LYRICS AND .THE WIND AMONG THE REEDS 32 IV. YEATS'S OBJECTIVITY THROUGH THE ROSE AND THE STONE 57 BIBLIOGRAPHY 101 lv PREFACE This thesis is a study of the development of the symbolic system formulated by William Butler Yeats and his subsequent application of this system to his poetry, with special attention to the rose and the stone. -
TUNE BOOK Kingston Irish Slow Session
Kingston Irish Slow Session TUNE BOOK Sponsored by The Harp of Tara Branch of the Association of Irish Musicians, Comhaltas Ceoltóirí Éireann (CCE) 2 CCE Harp of Tara Kingston Irish Slow Session Tunebook CCE KINGSTON, HARP OF TARA KINGSTON IRISH SLOW SESSION TUNE BOOK Permissions Permission was sought for the use of all tunes from Tune books. Special thanks for kind support and permission to use their tunes, to: Andre Kuntz (Fiddler’s Companion), Anthony (Sully) Sullivan, Bonnie Dawson, Brendan Taaffe. Brid Cranitch, Comhaltas Ceoltóirí Éireann, Dave Mallinson (Mally’s Traditional Music), Fiddler Magazine, Geraldine Cotter, L. E. McCullough, Lesl Harker, Matt Cranitch, Randy Miller and Jack Perron, Patrick Ourceau, Peter Cooper, Marcel Picard and Aralt Mac Giolla Chainnigh, Ramblinghouse.org, Walton’s Music. Credits: Robert MacDiarmid (tunes & typing; responsible for mistakes) David Vrooman (layout & design, tune proofing; PDF expert and all-around trouble-shooter and fixer) This tune book has been a collaborative effort, with many contributors: Brent Schneider, Brian Flynn, Karen Kimmet (Harp Circle), Judi Longstreet, Mary Kennedy, and Paul McAllister (proofing tunes, modes and chords) Eithne Dunbar (Brockville Irish Society), Michael Murphy, proofing Irish Language names) Denise Bowes (cover artwork), Alan MacDiarmid (Cover Design) Chris Matheson, Danny Doyle, Meghan Balow, Paul Gillespie, Sheila Menard, Ted Chew, and all of the past and present musicians of the Kingston Irish Slow Session. Publishing History Tunebook Revision 1.0, October 2013. Despite much proofing, possible typos and errors in melody lines, modes etc. Chords are suggested only, and cannot be taken as good until tried and tested. Revision 0.1 Proofing Rough Draft, June, 2010 / Revision 0.2, February 2012 / Revision 0.3 Final Draft, December 2012 Please report errors of any type to [email protected]. -
THE CATHOLIC UNIVERSITY of AMERICA James Joyce and The
THE CATHOLIC UNIVERSITY OF AMERICA James Joyce and the (Post)Modern Irish Conscience A DISSERTATION Submitted to the Faculty of the Department of English School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Kevin Farrell Washington, D.C. 2013 James Joyce and the (Post)Modern Irish Conscience Kevin Farrell, Ph.D. Director: Rebecca Rainof Mas, Ph.D. This study explores the body of literature surrounding the Easter Rising of 1916 to account for that revolution’s influence upon the development of Irish fiction. Using Ulysses and Finnegans Wake as my primary examples, I argue that James Joyce’s literary innovations emerged partially in response to the ideology expressed by prominent nationalists. Over the past thirty years, postcolonial studies of Joyce’s fiction have revealed the extent to which the author’s aesthetic innovations occurred in dialogue with, and in opposition to, both British Imperialism and Irish Nationalism. While such work has proven profitable, scholars have yet to sufficiently account for Joyce’s response to the Easter Rising, one of the defining moments of modern Irish history. This study endeavors to find that response by tracing the dialectic between the ideology of the Rising and Joyce’s emergent postmodern aesthetic. Through rhetorical analysis of poetry, essays, speeches, and letters produced by the Rising’s most prominent leaders, and texts written by other Irish nationalists, I argue that the Military Council of 1916 established the grounds for their rebellion in reference to a “grand narrative” of Irish national destiny, fashioned around the telos of the Irish Republic. -
W. B. Yeats' Influence on Irish Nationalism, 1916-1923
18 W.B. Yeats’ Influence on Irish Nationalism, 1916-1923 Mark Mulcahey 19 Mark graduated from Eastern Illinois University in 1999 with a B.A. in History. He is currently working on his M.A. at Brigham Young University, studying 20th Century U.S. Military History with an emphasis on U.S. military intervention. This paper was written for a course on The World in the Twentieth Century with Dr. Roger Beck. William Butler Yeats once said, “I understand my own race and in all my work, lyric or dramatic, I have thought of it . I shall write for my own people, whether in love or hate of them matters little, probably I shall not know which it is.”1 This credo is evident in the majority of Yeats’ literary efforts. Yeats believed literature should shape a country’s cultural identity, specifically in Yeats’ case, Ireland, while being free of all political motives. Despite this intention, Yeats’ literary addition to Ireland’s culture also contributed to radical Irish nationalism. Yeats’ main objective was to create an Irish identity free from English cultural influence. By no means was Yeats either an Anglophobe or an advocate for using violent tactics in nationalist movements. However, this did not prevent Yeats’ works from inspiring Irish nationalists who believed in using violence in order to attain self-rule. Padraig Pearse and Michael Collins, both of whom admired Yeats, interpreted Yeats’ works as supporting their respective ideologies during the Easter Uprising of 1916 and the Irish Civil War in 1922-1923. Yeats’ early poetry recounted Irish folklore, legends, and descriptions of Ireland’s natural imagery. -
Book Auction the Auction Rooms John Street, Kells, Co
BOOK AUCTION THE AUCTION ROOMS JOHN STREET, KELLS, CO. MEATH WEDNESDAY 31st OCTOBER AT 11am “From a Priest’s Library, Gormanston Cottage, Co. Meath and a Gentleman’s Library” VIEWING: Monday 29th 11am - 6pm, Tuesday 30th 10am – 6pm Morning of Sale OLIVER USHER Auctioneer & Valuer, John Street, Kells, Co. Meath. 046/9241097 & 086/1706767 www.usherauctions.com [email protected] 1 1. Lot Gardening Books Incl. The Complete Book By Thackeray Etc Of Gardening 32. G.A..A. Books Incl. Christy Ring, Con 2. Antiques Books Incl. The Complete Houlihan, All Star Posters Etc Enclclopaedia Of Antiques 33. 4 Vols Hammerton, History Of The Great War 3. Irish Historical Books Incl. The Capuchin + Geography Of Europe Annual 1955 34. World Furniture + Royal Wedding Etc 4. The Court Journal Etc 35. The Golfing Union Of Ireland 1891 -1991, 5. Guinness + Other Adverts Christy O’connor, Darren Clarke, Padraig 6. British Football Books + Programmes, Harrington Etc. Golfing Books + Golf Balls Tapes Etc Incl. Jack Charlton’s Testimonial 36. Lot Dublin Interest Books Incl. Book Of The Programme + More Liffey, Dublin Street Names, A Book Of Dublin 7. Irish Language Books – A Batch Etc 8. Shelf Of Plays + Poetry Books 37. Batch Of Books Relating To Irish 9. 3 Giles Cartoon Books IndependEnce, The Troubles + History 10. The Complete Family Lawyer + Historical 38. Bag Of Mostly Irish Rugby Programmes Books Incl. Spanish Armada Etc 39. Red Crate Of G.A.A. Programmes 11. Lot Modern Novels Incl. Maeve Binchy Etc 40. Republican Lot – The Secret History Of The 12. SHelf Of Books Incl. -
THE POETICS of IRISHNESS: 2Oth-CENTURY ANGLO-IRISH POETRY TRANSLATED INTO GREEK
THE POETICS OF IRISHNESS: 2Oth-CENTURY ANGLO-IRISH POETRY TRANSLATED INTO GREEK by Theodora Valkanou A thesis submitted to the Department of Translation and Intercultural Studies, School of English, Faculty of Philosophy, Aristotle University of Thessaloniki, Greece, in fulfillment of the requirements for the Degree of Doctor of Philosophy September 2012 Table of Contents Acknowledgments v Abstract vii Abbreviations ix INTRODUCTION 0.1 The Scope of Research: Initial Definitions 1 0.2 Aims of the Study 3 0.3 Method and Limitations 5 0.4 Significance of the Thesis 6 0.5 Chapter Outline 11 0.6 Notes 13 0.6.1 The Concept of Anglo-Irish Literature 13 0.6.2 A Note on Punctuation, Capitalization, and 14 Transliteration CHAPTER 1 – IDENTITY AND TRANSLATION Introduction to the Chapter 16 1.1 The Quest for Irishness: An Identity Quest 17 1.2 The Concept of Identity 18 1.3 The Construction of Identity 19 1.4 National Identity (and Its Connection to Ireland) 22 1.5 The Formation of Irish Identity 24 1.5.1 Ireland Imagined as England’s Other 24 1.5.2 Historical Overview of Irishness 28 1.5.3 Why is Interest in National Identity So Accentuated 35 in Ireland? 1.5.4 Ireland’s Colonial/ Postcolonial Experience 39 1.6 National and Cultural Identity: The Traits of Irishness 41 1.7 Is National Identity a Suitable Unit for Cultural Analysis? 48 1.8 Literatures Defined as “National” : The Case of Irish 50 Literature 1.9 The Role of Literature for Irish National Identity: 53 Representation 1.10 Cultures in Contact 56 1.11 The Translation of Culture and Cultural -
International Yeats Studies, Volume 3, Issue 1
International Yeats Studies Volume 3 | Issue 1 Article 1 November 2018 International Yeats Studies, Volume 3, Issue 1 Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation (2018) "International Yeats Studies, Volume 3, Issue 1," International Yeats Studies: Vol. 3 : Iss. 1 , Article 1. Available at: https://tigerprints.clemson.edu/iys/vol3/iss1/1 This Full Issue is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact [email protected]. International Yeats Studies Volume 3 | Issue 1 Article 1 November 2018 International Yeats Studies, Volume 3, Issue 1 Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation (2018) "International Yeats Studies, Volume 3, Issue 1," International Yeats Studies: Vol. 3 : Iss. 1 , Article 1. Available at: https://tigerprints.clemson.edu/iys/vol3/iss1/1 This Full Issue is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact [email protected]. Contents Volume 3 Yeats and Mass Communications David Dwan and Emilie Morin Introduction: Yeats and Mass Communications 1 Emily C. Bloom Broadcasting the Rising: Yeats and Radio Commemoration 15 Clare Hutton Yeats, Pound, and the Little Review, 1914–1918 33 Charles I. Armstrong: “Some Ovid of the Films”: W. B. Yeats, Mass Media, and the Future of Poetry in the 1930s 49 Melissa Dinsman Politics, Eugenics, and Yeats’s Radio Broadcasts 65 Review Soudabeh Ananisarab A Review of Irish Drama and the Other Revolutions 81 Notes on Contributors 87 Introduction: Yeats and Mass Communications David Dwan and Emilie Morin eats often aspired to a lofty independence—to an aristocratic form of art that had “no need of mob or Press to pay its way” (CW4 163). -
Politics, Eugenics, and Yeats's Radio Broadcasts
International Yeats Studies Volume 3 Issue 1 Article 5 November 2018 Politics, Eugenics, and Yeats's Radio Broadcasts Melissa Dinsman Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation Dinsman, Melissa (2018) "Politics, Eugenics, and Yeats's Radio Broadcasts," International Yeats Studies: Vol. 3 : Iss. 1 , Article 5. DOI: https://doi.org/10.34068/IYS.03.01.05 Available at: https://tigerprints.clemson.edu/iys/vol3/iss1/5 This Article is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact [email protected]. Politics, Eugenics, and Yeats’s Radio Broadcasts Melissa Dinsman n the opening to his 1937 BBC broadcast “In the Poet’s Pub,” William But- ler Yeats claims: “I want to make a certain experiment.” He then proceeds to explain that his experiment includes connecting spoken poetry with I“musical notes” so as to “enable the [listener’s] mind to free itself from one group of ideas, while preparing for another group, and yet keep it [the mind] receptive and dreaming” (CW10 266). The purpose of this experiment was to improve listener comprehension and connectivity. Music, which filled the spaces between poems, was intended to unite radio listeners with the broadcast and ensure that their minds did not break away from the “dream” that the radio performance cast.1 Yeats had a specific vision as to how the broadcast should be performed, especially with regard to shaping the listening experience. But he also attempted to control how people listened to radio, an experiment in which many radio broadcasters and theorists of the 1930s were invested.2 “In the Poet’s Pub” marks a shift in Yeats’s radio priorities.